excelente. permiso para utilizar su musica

East meets West for the latest release on Tel Aviv re-issue label @fortunarecords. 'Mezare Israel Yekabtzenu' is the a long lost, super rare 1973 jazz album from Middle Eastern pioneers The Jazz Workshop and comes out 1st December. 

More info at: http://www.gillespetersonworldwide.com/gpww-premiere-the-jazz-workshop-mezere-israel-yekabtzenu/

The Jazz Workshop - Mezare Israel Yekabtzenu (Worldwide Premiere)

Dizzy Gillespie - Lorraine

Enregistrement pour le JazzFest des jeunes du Quebec

Little Minor Thing

Pat's Riff

www.facebook.com/BlackPeachesBand
www.twitter.com/_black_peaches_
 
(c) 1965 Records

Rob Smoughton is probably best known as a long-time member of Hot Chip and Scritti Politti, while his alter-ego Grovesnor has released a number of albums to critical acclaim.

Now he unveils his new band, Black Peaches.

A midway point between the swamp and the tropics, Black Peaches’ music is gloriously loose-limbed and strung-out: a psychotropic stew of country boogie, spiritual jazz and funk.

With slide guitars, Latin percussion and shimmering keyboards, the Peaches sound is a cinematic experience, the soundtrack to a bar fight at the country disco or an incantation of the black arts. At other times they swagger with the easy confidence of Little Feat, Manassas, or Dr John to create a pulsating, unwinding groove for a hot summer's day where no one is in too much of a hurry.

Black Peaches is not just a sextet, but in the mind of its skipper, Smoughton, a destination where various strands of musical flavour and colour coalesce to form a heavenly brew, equal parts melody and groove, grit and bliss, sublimely tight and gloriously loose-limbed.

Black Peaches demanded a band format so, Smoughton sent his initial demos to musicians he fancied roping in, like Nick Roberts, Grosvenor’s live drummer, and Charlie Michael (The Severed Limb, Shock Defeat), a master of Brazilian percussion. Smoughton had played with bassist Susumu Mukai in (Hot Chip frontman) Alexis Taylor’s live band. Duelling guitarist Adam Chetwood, is a fellow country and jazz fan and plays pedal steel too. Thomas Greene (Cold Specks) on keyboards completes a consummate line-up that added ideas to Smoughton’s demos, which he took away and wrote more parts for.

Inspirations include ‘70s Nashville combo Barefoot Jerry and their guitarist Mac Gaden - that combination of southern soul and country coming together, with Caribbean or South American music seeped in.

Steven Stills’ first post-Crosby Stills Nash & Young ensemble Manassas were a blueprint in terms of Black Peaches’ line-up, with percussion and pedal steel.

Then from Brazil, the rhythm section of Baden Powell Sambas’ 1966 album Os Afro Sambas and the double guitar attack of the psych-tinged Novos Baianos, alongside Chicago’s funky post-rockers 5Style and Krautrock legends Can.

After all, peaches don’t only grow in Georgia…

Fire & A Water Sign

HERE TO THERE TO EVERYWHERE

With their first two Daptone albums – Get an Understanding, and as featured singers on Como Now – The Como Mamas established themselves as three of the strongest voices in gospel music today.
 
In December of 2015, they cemented that reputation by taking their first trip from their home in Como, MS up to Harlem, NY to crush the Apollo Theater as part of the Daptone Super Soul Revue. Taking full advantage of their presence in town, the Daptone crew brought Ester Mae Wilbourn, Della Daniels and Angelia Taylor into the House of Soul the week after the show to join forces for the first time with the musicians and studio that has defined their label’s sound.

Jimmy Hill, Thomas Brenneck, Homer Steinweiss, and Bosco Mann, all stalwarts of the Daptone stable, came together as “The Glorifiers Band,” to put down a churning musical foundation for these amazing singers. The results are some of the heaviest tracks that Daptone has cut to date. If you don’t like raw, soulful gospel music, you’re really gonna hate this one. Move Upstairs is a REAL mother!

Move Upstairs

The Como Mamas - Move Upstairs

"On paper it's a straightforward declaration of love, but in practice it's an excuse to scream the highest notes I can manage. Some of the fadeout reminds me of the singer in the nightclub altercation scene in the John Boorman film "Point Blank" in which Lee Marvin distinguishes himself as the first man in a Hollywood fight to punch his opponent in the orchestra stalls."
- James Hunter on "I Got Eyes"

Buy/Stream: http://dapt.one/IGotEyes

Dizzy Gillespie - Lorraine

Toon de Gouw

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