CACHE JAZZ

Attica Blues

Blues For Brother George Jackson

Message From Home

Our Roots (Began In Africa)

The Olympians

Sirens of Jupiter

The Budos Band

T.I.B.W.F.

Make the Road By Walking

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https://bigcrownrecords.com/store/el-michels-affair-tearz-45/

With the full length, Return To The 37th Chamber dropping April 14th, El Michels Affair releases another flawless two sider to hold us over.

Side A’s cover of Tearz is as much an homage to the Wendy Rene sample as it is to the Wu-Tang Clan track.

The song starts as a glazed over cover of "After Laughter" with Shannon Wise of The Shacks singing Wendy Rene's timeless mantra. Halfway through, the mood dramatically shifts and the drums and organ that drive the original RZA sample, take over. A dubbed out Lee Fields taps in like only he can, and the song spirals into outer space.

Side B finds EMA dipping into the deeper side of the Wu catalog with Raekwon’s Verbal Intercourse. Mixing the grimy, gritty production aesthetic of the original with elements of dubbed out reggae, El Michels Affair once again pushes the definition of a “cover” and truly makes it a tune of their own.


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Buy at BCR

El Michels Affair - Tearz feat Lee Fields & The Shacks(45 Mix)- BC008-45 - Side A

Liberated Brother

Mr. Clean

Moanin'

Mr. Diva

Unstraight Ahead

Kaifa Part 1 & 2

Close but No Cigar

Country Fried Chicken

Herbs (Of Life)

Stone by Stone

Dram

On Top

On Top (Guitar & Flute)

Born in Lagos, Nigeria in 1940, of mixed Nigerian and Ghanaian parentage, Tony Allen taught himself to play by listening to records made by the American jazz drummers Art Blakey and Max Roach. He began working as a professional musician in 1960, gigging around Lagos and variously playing highlife and jazz. Today living in Paris, Allen has long been acknowledged as Africa’s finest kit drummer and one of it's most influential musicians, the man who with Fela Anikulapo Kuti created Afrobeat - the hard driving, James Brown funk-infused, and politically engaged style which became such a dominant force in African music and whose influence continues to spread today.

Allen had to overcome strong parental opposition to realise his dream of
becoming a professional musician. “My parents were…not keen. Back then, in Lagos, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.”

Allen started out as a jazz drummer. “Art Blakey was my big influence, and before that, before I started club crawling, it was Gene Krupa. When I started, I tried to play like Gene Krupa. Then I discovered Blue Note Records and Art Blakey’s Jazz Messengers - it opened up another style to me. Max Roach was important too. I studied some lessons he wrote in Down Beat magazine about how to play high-hats. Most drummers in Lagos never used them, they were just a decoration on the kit,and I’d always thought that was something incomplete.”

Moanin'

Tony Allen

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