A salute to Gil Scott-Heron

92 Dreamteam
Ping Pong Intermission
Put Shot Drill
Bob Beamon
Ben Johnson vs. Usain Bolt
Tre Flip Nose Blunt

AUDDALYLYLYMPICS

Chayn Gang live in Cologne

Sunday Sessions Nº446

BACKYARD JOINTS - Night Shift - Vinyl Mix 
- Mixed by BeatPete (Mellow Orange Music)

Tracks from:

1. Intro
2. Metro - Interplanetary
3. Fredfades - Get Paid
4. 2Mex - Audible Angels
5. Fred Wesley & The J.B.'s - Blow Your Head
6. J. C. Davis - A New Day
7. James Reese & The Progressions - Joker (Where Did You Come From)
8. Stark Reality - Too Much Tenderness
9. Klaus Layer - All Of The Time
10. MF Doom - Lemon Grass
11. The Nonce - Keep It On
12. 12Vince - Brazilicum
13. Ohmega Watts & Surreal - No Delay
14. Dorothy Ashby - Soul Vibrations
15. Versis & Bagir Ba - Barista
16. Freddie Joachim - My Breakdown Lady
17. Sound Providers & Asheru - For Old Times Sake
18. Hulk Hodn - Trash
19. Glad2Mecha & Parental - Talking Raps
20. dude26 - Warmer
21. INI - What You Say
22. Pigeondust - 1995
23. Hubert Daviz - Da Brick
24. Youtaro - Amusement
25. Mujo - Meditate 
26. Wun Two & CoryaYo - Wavelude 2
27. I Marc 4 - Leslie Love
28. Chet Baker - You And The Night And The Music 

Backyard Joints Blog:
http://backyardjoints.blogspot.de/

Backyard Joints:
https://www.facebook.com/backyardjointsberlin/

http://www.pankeculture.com/backyard-joints/

BACKYARD JOINTS - Night Shift - Vinyl Mix - Mixed by BeatPete

Playing with Dilla's beats is just another way for me to practice and improvise, guess I'm not the only one doing that.
 
There's no losin' game when playin' with Love 
that's what I've learned from you, Dilla.
 
Blessing

1. What's up (Detroit 98)
2. I believe in a love Supreme (Let me be the one)
3. What a color (Colors of you)

Art Work by J.Lamotta Suzume

About Love #1 (Dilla Tribute)

About “The Egyptian Second Line” 

In the spirit of reclaiming that which colonization sought to destroy, I'm releasing the first single from my upcoming album Afro-Caribbean Mixtape at the top of Columbus Day weekend. Like a piece of African patchwork, this track is comprised of a lot of different elements — some old, some new. The main body of this record was constructed from the end vamp of a tune I wrote for Dr. Greg Carr (chair of African-American studies at Howard University) called, “Kimathi.” In fact, throughout the piece, you can hear my turntablist, DJ Lady Fingaz, scratching a sample I chopped from one of his interviews. I constructed a new work by cutting and pasting the best moments of Kevin Hays and I playing keyboards on top of the extended jam, and superimposed that over the groove laid down by bassist Vicente Archer, drummer Joe Dyson, and percussionist Daniel Sadownick. I did this with the help of my mix engineer, Blake Leyh (The Wire, Treme). 

Towards the beginning of the piece, you'll hear a chant from vocalists Yolanda Robinson, Jolynda Phillips, and Christina Machado. It's from a thing my father made up while walking through his childhood neighborhood of 13th Ward New Orleans back in the 1940s, “Na-na ni-ta ho-ho. Left, right. Left, right.” Thirty years later, as an elementary school band teacher at McDonogh #15, he had us chant this whenever we marched in second line parades. It recalls the syllabic prayers of ancient languages used in modern dance songs like Mani Dibango's “Soul Makossa,” of which Michael Jackson borrowed for “Wanna Be Startin' Something.”  


The centerpiece of the single is my recitation of a poem I wrote back in 2006 in the aftermath of the flood commonly referred to as “Katrina.” It's called “The Egyptian Second Line.” The gist of the poem toys with the theory that somehow Africans submitted to slavery in an attempt to become better versions of themselves. After the ladies chirp the hook, I step away from the keyboards and embrace the instrument I'm most known for — the trumpet — and blow a few before we take it out. With this song, I am channeling the energy of the ancestors to help give Africa back to herself in the best way I know how, through the power of music. 


In New Orleans, a “second line” is the procession where we dance in the streets to music played by a brass band to celebrate either life or death. When I think about what an Egyptian second line looks like, I think of the imagery of that photo of Louis Armstrong serenading his wife, Lucille in front of the Sphinx — again Africans giving Africa back to herself.
credits
released October 7, 2016 

Nicholas Payton: trumpet, spoken word, Fender Rhodes, Hammond B-3, Clavinet 

Kevin Hays: Fender Rhodes 

Vicente Archer: acoustic bass 

Joe Dyson: drums 

Daniel Sadownick: percussion 

DJ Lady Fingaz: turntable, sampler 

Yolanda Robinson: background vocals 

Jolynda Phillips: background vocals 

Composed by Nicholas Payton (BMI) 

Produced by Nicholas Payton 

Recorded, mixed, mastered, and designed using the PAYTONEsonic™ programming process 

Recording Engineer: David Stoller 

Assistant Engineer: Emily Eck 

Mixing Engineer: Blake Leyh 

Recorded at The Shed, New Orleans, LA 

Mastering: Michael Fossenkemper, Turtletone Studios, NYC 
turtletonestudio.com 

Art Direction: Nicholas Payton 

Cover Painting: Ayanna Bassiouni 

Cover Design: Ayanna Bassiouni

A salute to Gil Scott-Heron

Twit One