No seventies group represented Canada's musical identity to the world like THE STAMPEDERS. A quick look at Canada's music scene from 1971 until 1976 confirms The Stampeders were truly the country's international musical ambassadors. Instead of trying to blend into any specific format, they developed their own identity, which was both entertaining to watch in concert, and to listen to on radio and records. The Stampeders also toured more extensively in Canada and overseas than any other Canadian group of the same period.

While there were various line-ups of the group during their 15-year run, the current line-up of RICH DODSON ( guitars, vocals), KIM BERLY ( drums, vocals) and RONNIE KING ( bass, vocals) was, by far, the most successful and most widely-adored by the fans.
The group's beginnings can be traced back to Calgary in 1964 with a band called The Rebounds, formed when drummer, Kim Meyer (KIM BERLY), answered an ad placed in the paper by bassist, BRENDAN LYTTLE, and guitarist, RICH DODSON. The Rebounds consisted of RICH DODSON (lead guitar), LEN ROEMER (rhythmn guitar), BRENDAN LYTTLE (bass guitar), KIM BERLY (drums) and Kim's brother, Al Meyer (RACE HOLIDAY), on lead vocals.

In January of 1965, The Rebounds entered into a relationship with manager, Mel Shaw, and officially became The Stampeders. Len Roemer was replaced by Cornelis Van Sprang, known professionally as RONNIE KING, and his brother, Emile, who used the stage name VAN LOUIS. The six-man group started wearing assorted-coloured denim outfits and cowboy hats with the idea of promoting a group of cowboys playing rock 'n roll. During their first year as a band in Calgary, they had one single release on the SOTAN label entitled "House of Shake" b/w "Don't Look At Her."

Anticipating better things to come, The Stampeders decided to move to Toronto in 1966. At the invitation of Bigland booking agent, Ron Scribner, the six-man group, along with Mel Shaw and his family, loaded up their $800, used, '62 Cadillac limousine and U-Haul trailer, and left Calgary heading east to the 'big lights' of Toronto. Though most of the members were under the legal drinking age, they managed to beg, borrow and work their way across Canada, playing bars and various one-nighters. Upon their arrival in Toronto, the Western-Canadian band, with their yellow denim T-Kays, cowboy boots and hats, became an immediate curiosity in the folk-oriented, hippie clubs of the Yorkville district. Though the first year was an extremely lean one, the band managed to survive the six-month, Toronto Musician's Association's initiation and find work in the bustling Toronto club scene
 
The Stampeders finally had a breakthrough late in '68 with a single they recorded while on a sight-seeing trip to New York. Released on the independent label, CARAVAN, "Morning Magic" b/w "All The Time" wasn't much of a sales success, but critical acclaim earned the group a BMI (Broadcast Music Incorporated) Award.

The first major-label single release, "Be A Woman" b/w "I Don't Believe," came in 1968 on the MGM label in the U.S. The Stampeders played the rhythm tracks and sang the vocals while an inhouse MGM producer added a 16 piece string section. This was to be The Stampeders' final release as a six-member group. Late in 1968, the three oldest members - BRENDAN LYTTLE, VAN LOUIS and RACE HOLIDAY -left the band, leaving the line-up of RICH DODSON, KIM BERLY and RONNIE KING.

The period from late '68 to the mid '70's was a time of evolution for the new, three-man Stampeders in which they would develop their own sound, a sound that would take them around the world. The stage set-up had Dodson on guitar, King on bass and Berly on drums, while all three members shared lead vocals. With the exception of Dodson, the cowboy hats came off, they all still wore boots, but the colored T-Kay denim outfits became history. During this period, the band toured around Ontario and Quebec developing their stage show with the help of their new road man, lighting-wizard, Stan Whitcher, winning fans and becoming an in-demand club and one-nighter attraction.

The Stampeders' only release during 1969 was "Cross-Walk" b/w "I Don't Know Where I'm At Sometimes" on the Melbourne label, distributed by London Records. Quality Records, then a major independent label in Canada, became interested in the band. By mid-1970, The Stampeders were in the studio working on their first album, "Against The Grain". 

"Carry Me", the first single from this session, quickly hit the top of the Canadian charts, garnering the band it's first gold record. Simultaneously released on Polydor in the U.S., the single got lots of play but didn't quite make the charts. Canadian success, however, allowed the band to complete the album with one of their favorite recording engineers, TERRY BROWN. The resulting LP, "Against The Grain," was concurrently released with the next single, "Sweet City Woman" b/w "Gator Road." The band, along with it's new road crew -- Bob Luffman, Joel Wikhammer and Ian 'Snake' Dunbar -- was finally on it's way. 

The summer of 1971 saw "Sweet City Woman" climb the charts to the Number One position across Canada, catching the attention of the American label, Bell Records. The band was signed immediately and Bell rush-released the single in the U.S. Even though it was up against classic songs like The Doors' "Riders On The Storm," Paul and Linda McCartney's "Uncle Albert," and James Taylor's "You've Got A Friend," "Sweet City Woman" climbed the Billboard charts, reaching the Number Eight spot on September 11, 1971. The band recalls the time they pulled over to the side of the road at four-o'clock in the morning, while enroute back to Toronto from a gig, and jumped around the car with excitement after hearing "Sweet City Woman" fading in on radio station WABC in New York City as the Number One record of the week. Bell records renamed the album "Sweet City Woman" for the U.S. market to capitalize on the success of the single. Next came 'JUNO AWARDS' (Canada's version of 'The Grammy') for 'Best Vocal Instrumental Group,' 'Best Producer,' 'Best Single' and -- and their first European tour. In 1972, at the request of their U.K. label, EMI, The 'Best Composer' Stampeders toured The United Kingdom. Upon their arrival, they discovered that their American hit, "Sweet City Woman," had already been covered by The Dave Clark Five. Dates included the Marquee in London, the Hard-Rock Theatre in Manchester and appearances on BBC Radio and "Top Of The Pops." Both Phillips and Bovema-EMI Records helped support the balance of the tour through Holland, Germany, Denmark, France and the rest of Europe with British rock band, Steam Hammer. Holland was especially receptive to the band, partly due to the fact that Ronnie King (Cornelis Van Sprang) was a fellow Dutchman, having been born in Rotterdam. 

In Holland, The Stampeders received the prestigious 'EDISON AWARD' for "Most Promising Group," along with Ry Cooder and Beach Boy, Carl Wilson. Carl was in session at the time, along with the rest of The Beach Boys, recording their classic "Holland" album. During this visit, The Stampeders had the privilege of staying at Amsterdam's Hotel Weichman with the infamous Eagles. While Kim and Rich shared road experiences with Eagle drummer, Don Henley, Ronnie King and some of the other band members spent their time window-shopping in the famed, Amsterdam red-light district, only to find themselves locked out of the hotel upon their return. 

1972 also took The Stampeders to Los Angeles to perform at the legendary "Whisky A-Go-Go" and tape their appearances on "Don Kirshner's Rock Concert" and "The Dating Game." While hanging out at The Troubadour in Hollywood, Ronnie King met Keith Moon, drummer of The Who. Keith took a liking to Ronnie and asked him what he and The Stampeders were doing the next night. It happened to be Keith's birthday and he wondered if The Stampeders might be available to play at his party at The Beverly Hills' Wiltshire Hotel. Ronnie quickly replied, "Of course," and The Stampeders ended up on stage performing for some of Hollywood's rock elite and jamming with Keith Moon. Attendees at the party included Beach Boy, Brian Wilson, Neilson, Rod Stewart, Ron Wood and the then-infamous porno star, Linda Lovelace. 

Signing with U.S. booking agency, Premier Talent, in 1971 led to American tour appearances with Jim Dandy and Black Oak Arkansas, Santana, Joe cocker, Steve Miller, The James Gang, Robin Trower, Steely Dan, Sonny and Cher, The Beach Boys, ZZ Top, The Eagles, Earth, Wind And Fire, Mountain, America, Tower Of Power, Blood, Sweat and Tears and Genesis. Establishing themselves as a good concert draw in the U.S., The Stampeders played everywhere from New York to Hawaii, including Los Angeles, Reno, Disneyland and the much-sought-after southern-college circuit. 

Heavy airplay and extensive touring, coupled with many guest appearances on the popular Canadian TV shows of the time (Anne Murray, Miss Teen Canada, Kenny Roger's "Rollin' On The River" and The Ian Tyson Show), eventually led to The Stampeders' starring in their own CBC-TV special, "A Short Visit To Planet Earth". 

1972 also saw the release of The Stampeders' second album "Carryin' On," featuring the lead-off single, "Devil You" b/w "Giant In The Streets." Although it was the last record released in the U.S. on Bell, the album gained a release in Europe on Regal Zonophone. It featured hard rocker "Wild Eyes," a song that gave their sound more edge and introduced the band to a whole new audience. Part of the appeal of The Stampeders was their musical versatility. 

The Stampeders' busy schedule also took them to Rio De Janeiro and Sao Paulo, Brazil (South America). They were asked to represent Canada in the Rio De Janeiro Song Festival, which entailed performing to a live audience of 30,000 and a television viewership of 90-million. Accepting the offer was easy, but surviving the gig was another matter. The word was, "Don't drink the water." Little did they know that the locals washed the lettuce and watered down the milk with the water. Montezuma's revenge -- bigtime! Moreover, David Clayton Thomas, the U.S. representative, and Ronnie King, developed an affinity for the local drink, "Mescala," which led to some interesting situations. The label on the bottle displayed a dead scorpion. Ah, Brazil!! While 1971 was a banner year for The Stampeders, 1973 was, in many ways, their biggest year. Cross-Canada tours, coupled with the release of "Rubes, Dudes and Rowdies" and "From The Fire" kept the band very active. In Canada, both new singles, "Oh My Lady" and "Minstrel Gypsy," went gold, while follow-up singles, "Running Wild" and "Johnny Lightning," garnered heavy airplay and another JUNO nomination. Rich Dodson's solo single, "Julia Get Up," also went Top-Ten.The release of The Stampeders' fifth gold album, "New Day," saw the emergence of a more experimental sound and a highly popular single, "Ramona." Their live-album, "Backstage Pass," was recorded at Ontario Place before a sold-out crowd of 17,000 fans. This was soon followed by the heavier, "Steamin," which contained a cover version of "New Orleans" and the infamous get-together of Ronnie King and U.S. radio D.J., Wolfman Jack, for the recording of "Hit The Road Jack." 

The Stampeders met Wolfman Jack, and became good friends, while taping an NBC television special at the Saratoga Springs Song Festival in 1975. On April 4, 1976, "Hit The Road Jack" went Top-Forty in the U.S. and reached Number One in Canada and Holland, where it stayed for two weeks. The song featured vocals and dialogue between Wolfman Jack and Ronnie King, who uses his real name Cornelis. Cornelis pleads with Wolfman to let him stay at his mansion, because his 'baby' just threw him out of the house. The success of the single led to the release of The Stampeders' final gold album, "Hit The Road," and another JUNO nomination. It was later released in Europe by Quality records and in the U.S. on the Private Stock Label. 
The departure of Rich Dodson in 1977 signaled the end of the three-man Stampeders' unit which had been together since 1968. Rich left the band to start his own 24-track recording studio and independent record label, Marigold. The final three singles with Dodson, "Playing In The Band," "Sweet Love Bandit," and "San Diego" were released in 1976. 
With the release of "Platinum" in 1977, the new band's line-up included original members, Ronnie King and Kim Berly, along with back-up musicians Gibby Lacasse (drums and percussion), Ian Kojima (tenor and baritone sax and flute), David Norris-Elye (tenor and soprano sax), Doug Macaskill (guitar) and Gary Scrutton (guitar and vocals). Single releases included the horn-based R&B track, "Bring The House Down." Following "Platinum," TeeVee International released a "Best of The Stampeders" hit package. The failure of the new jazzier, funky-sounding Stampeders to gain critical and commercial acceptance, along with the increased cost of supporting the large band, eventually led to the departure of drummer, Kim Berly. Also gone was the band's recording deal with Quality records. 
Ronnie King tried to keep the flame burning with a new album on Apex called "Ballsy." The new line-up included Ronnie's youngest brother, Roy Van Sprang, Bob Allwood and Gary Storin. Lack of sales, high overhead and disappointed fans led to the band's final break up in 1980 and the departure of manager, Mel Shaw. 

In 1979, Kim Berly started his own new-wave band, The Cry, in which he performed under the name, Kimball Fox. Two album releases on RCA, good sales and intensive touring sustained the band for a couple of years, but mounting personal problems forced Kim to leave the music scene. From 1983 to 1989, Kim went briefly into acting, gaining recognition in the Toronto theatre community. Despite speculation within the music industry about just how successful The Stampeders would have been had they focused on just one style of music, one thing remains clear -- they left an enduring musical legacy. Between 1970 and 1977, they released ten albums and 15 singles, with six albums and seven singles going gold. Along with three Billboard chart singles in the U.S., The Stampeders had ten, Top-Ten singles in Canada. They also won three JUNO Awards, three BMI Awards, an EDISON Award and toured Canada, Europe, the U.S., including Hawaii, and South America.

Since reuniting in 1992, the original Stampeders - Rich Dodson, Kim Berly and Ronnie King - have become continual favourite at fairs, festivals, theatres, casinos and corporate functions. Juno award winners with NINE gold and platinum albums to their credit, and TEN top 10 hits (Sweet City Woman, Wild Eyes, Carry Me, Oh My Lady, Minstrel Gypsy, Hit the Road Jack, Ramona, Playin' in the Band, Then Came the White Man, Running Wild...) , this classic rock band has been delighting fans with their unique brand of musical entertainment.. Audiences, young and old alike, are drawn into the excitement of the STAMPEDERS music as they perform their hits from the '70's. With their inimitable musical style and subtle sense of humour, Rich, Ron and Kim are seasoned entertainers who always leave their audiences standing on their feet cheering for more.


marcospaivamusict@gmail.com



Choroso by Carlos Calado

How does one create instrumental music with Brazilian identity that does not sound like generic jazz? 

This is a challenge that has been faced with greater or lesser success by musicians of different periods, especially starting in the 1960s, with the first generation of samba jazz, most importantly by J.T. Meirelles, Edison Machado and the trios Tamba, Zimbo and Sambalanço.

When speaking of modern Brazilian instrumental music one must remember the works of Moacir Santos, Hermeto Pascoal, Egberto Gismonti and Paulo Moura, and groups like the Quarteto Novo, Pau Brasil and Uakti. In the last five decades, these instrumentalists, composers and groups developed original styles and repertoires, which dialogue with the language of jazz without losing their Brazilianness.

This selection of stars of our instrumental sound has just gained a talented reinforcement. After releasing the promising “St. Matthew” (São Mateus) in 2007, the album that marked his debut as a leader and composer, followed by “My Samba on Cymbals” (Meu Samba no Prato) in 2011, an exquisite original work dedicated to the drummer Edison Machado and the other musicians of samba jazz, the double bass player Marcos Paiva proved, in “Choroso vol. 2,” his third solo album, that he is prepared to take his place of importance on the instrumental music scene.

“I’m in pursuit of Brazilian Jazz, music that I can develop with lots of freedom and at the same time, with an accent very characteristic of Brazil,” he affirmed, demonstrating an awareness of his artistic horizon. This native of Tupã, São Paulo, was raised in Viçosa, Minas Gerais, and has lived in the city of São Paulo since 2000. At 38, with a professional resume that includes works and partnerships with dozens of top flight musicians and singers, he decided at last to invest more heavily in his abilities as an instrumentalist.

Those who have had the opportunity to hear him play, especially live, soon discover that he is one of those musicians that plays with feeling. Refined technique and control of the instrument are goals that, to a greater or lesser degree, guide the education of any instrumentalist, but, when playing the double bass, Paiva can do something less common: he is capable is transmitting feelings.

It is not by chance that, when I ask him which bass players most influenced him, Paiva mentions Charlie Haden, also a composer and leader of the sophisticated group Quartet West, in addition to other great masters of this instrument in the world of jazz, like Dave Holland, Scott LaFaro and Paul Chambers. While among Brazilian bass players, his favorites are Sizão Machado and Zeca Assumpção.
“Charlie Haden achieved something very special in jazz, without actually being a virtuoso. He uses technique to serve creativity. And he gives himself completely to the music, at the exact moment that it is being made,” commented Paiva, explaining why he liked this American jazz artist.

On the other hand, he also stresses the importance of musical discourse, the sound concept that must precede any project, for both the recording studio and the stage. “Thinking through the sound before making it strengthens its sound environment. I had always wanted to be more of a composer and arranger than instrumentalist, because the musical discourse begins in the conceptualization and visualization of this environment. This is one of the aspects that most attracted me to music,” he affirmed.

The ideas that led to the recording of this album emerged around 2008. During the almost two years he traveled through various countries as a bass player for the band of the Portuguese singer Teresa Salgueiro (Formerly Madredeus), Paiva had long conversations about the language and paths of Brazilian instrumental music with the clarinet player Nailor Proveta (leader of the band Mantiqueira) and the drummer Daniel de Paula, who is also a member of his sextet, MP6. Stimulated by these discussions, he decided to face the challenge of delving into the world of choro.

“At that time, I began to envision a project in which my music could open up more, both harmonically, and in improvisation,” he recalled. Although he does not consider himself a choro musician, Paiva has spent time and played with experienced choro musicians in São Paulo, including the flutist João Poleto and the violinists Zé Barbeiro and Luizinho (7 string)—not to mention the frequent guest artists in the São Paulo nightclub Ó do Borogodó, a meeting place for musicians and fans of this classic genre of Brazilian instrumental music.

“Why not open up the language of choro? Why can't the double bass take on the role of the seven-string guitar?” he asked, observing that, because he doesn’t consider himself a choro musician, he feels more at ease to deal with this musical genre with more freedom than those who are. “I have no intention of making choro evolve. I believe that you can only change a tradition when you're a part of it, but I don't like the idea of playing music that is struck in a certain period.”

Another essential influence came from jazz. At the time he was creating the Project “Choroso,” Paiva was listening to albums by the saxophonists Joe Lovano, Branford Marsalis and Joshua Redman—all, coincidentally, recorded with trios without piano (sax, double bass and drums), an instrumental format that allows the musician to play with greater harmonic freedom. Stimulated by these recordings, Paiva formed his vibrant trio with the saxophonist Cesar Roversi and the drummer Bruno Tessele. 

This more compact instrumental formation allowed him to feature more as a soloist, unlike what you hear in his previous albums, recorded with his sextet. “Without the piano or guitar mixing the sound frequencies, the double bass stands out. He can play a solo, melodies or take on the role of leader—a challenge for me," observed Paiva, also emphasizing the contributions of his new partners. 

“Their roles are as important as mine in this trio," he affirmed. “I think that César is the ideal saxophonist for this project, because he combines extensive experience with choro with the influence of John Coltrane and the great modern saxophonists, such as Chris Potter and Rudresh Mahanthappa. With him, this mixture of choro and jazz sounds natural."
“With regard to Bruno, I wanted a drummer that sounded clean and strong. We worked without the bass drum when playing choro and he adapted quickly," commented Paiva, highlighting the interaction of the partner with the members of the trio. “He is always entirely inside the sound, suggesting ideas and reacting creatively to what is played spontaneously.”

The author of the eight tracks on the album, Paiva says that he likes to compose, or even write arrangements, while thinking about the potential and the characteristics of the musicians that will participate in the recording. This helps to explain the fact that his arrangements for this album sound so fluid and natural, as if the musicians were improvising the entire time, with great freedom.

“Sopro,” the short track that opens this album, was originally created as a carnival march, at a time in which Paiva was still writing the repertoire for the first volume of the album “Choroso.” In this slower version, dedicated to the great Cuban double bass player Cachao López (1918-2008), the acoustic bass and soprano sax display the melody delicately, as if preparing the attention of the listener for stronger emotions.

In addition to being more dynamic, the two following compositions have in common the fact that they are inspired by classics of jazz or Brazilian music. In the same way that Charlie Parker, Dizzy Gillespie and other creators of bebop did during the 1940s and 1950s, composing based on the harmonies of American standards, to create “Seu Joaquim” Paiva rewrote the harmony of “Fee-Fi-Fo-Fum” (the theme that saxophonist Wayne Shorter composed and recorded on the album “Speak no Evil,” in 1964), adapting it to the language of choro. “I thought to myself: if this music had been done in the 1930s, what would it sound like? In the improvisations, we played around with using different harmonies," he revealed.

In “Duque,” the well known melody of choro “Tico Tico no Fubá” (by Zequinha de Abreu) appears in the first bars, significantly altered, followed by the nervous improvisation by Roversi, on the soprano sax. Paiva, who adapts choro’s typical seven-string guitar to the double bass in this track, also rewrites the harmony of “Tico Tico,” with a very jazzy and contemporary result.

“São Mateus,” composed originally in 2001, was created as an instrumental choro—only later adding the lyrics written by Rodrigo de Campos. Compared to the 2007 recording, which provided the title for Paiva’s first album, the new version sounds more dramatic. The timbre of the soprano sax by Roversi and the tambourine that Tessele uses on the snare drum reinforce the Arab nature of the melody. The spiritual atmosphere that touches this recording has a reference that is reminiscent of jazz of the 1960s: the album “A Love Supreme,” the masterpiece by saxophonist John Coltrane, whose influence Paiva recognizes in his composition.

An example of a staple of Brazilian instrumental music that often exists side by side with the classic repertoire of choro, “Barão” is a syncopated samba, composed by Paiva as a tribute to the master violinist Dino 7 Cordas (1918-2006). During a long improvisation by Roversi, the tenor sax, the bass player creates an inventive rhythmic counterpoint, which is, paradoxically, a solo performed as a duet.

In “Miquelito,” also written especially for this album, Paiva takes on the challenge of playing without a unified tempo. “When I wrote it, I wanted the freedom to dilate and shorten the tempo, a procedure that is also linked to the notion of space," he explained, revealing that, in this composition, he had in mind the advanced rhythmical concept of the quintet that Miles Davis led in the 1960s, which included Tony Williams, Ron Carter, Herbie Hancock and Wayne Shorter.

With a theme that appears to evolve from a frenetic march into a frevo, although quickly deconstructed, “Chefe” was born, according to Paiva, out of a game with Tessele’s dog, “who never sits still.” Also deconstructed, in a procedure typical to jazz, but reused throughout the track that closes the album, the simple melody of “Chorosa” is reminiscent of the classic form of the choro-canção. A composition that, incidentally, summarizes the successful outcome of this album. Few times have you heard, in the history of Brazilian instrumental music, choros that sound so naturally jazz like. Or, on the other hand, on rare occasions has jazz come so close to the language of choro.

Finally, I leave you with a personal tip. If you, like me, appreciate this album, don't miss the chance to hear the Marcos Paiva trio in person. After surprising me with the sensational performance of the sextet, playing the compositions and arrangements of “My Samba on Cymbals” (Meu Samba no Prato), I wouldn't miss the opportunity to hear this “power trio” re-creating their exciting repertoire on stage again for anything.

(*) Carlos Calado, journalist and music critic, is author of "Jazz Classics Collection Sheet" and books "Jazz Live" and "As The Jazz Show", among others.

▂ ▃ ▅ ▆ █•!¦[••]TECHNO[••]¦!•█ ▆ ▅ ▃ ▂ 
BIOGRAPHY 
TEK-NO-BEE PERFORMED IN THE NETHERLANDS AT WELL KNOWN PARTIES AND CLUBS LIKE: HELLBOUND (HEMKADE), HEMELRAVE (ENSCHEDE) FESTIVAL, WHITE WOLF (THE BRIDGE) (GER), ECLIPS (BURGERWEESHUIS), DUTCHTECHNO/TWSTD (AMTERDAM), Q-DANCE (Q-BEACH) LEGALIZE STREETRAVE (AMSTERDAM),LOKOMOTION (SLO) PIGFEST 14 PILZEN (CZ),WINKEL VAN SINKEL (UTRECHT) GELREDOME (ARNHEM),STUBNITZ (AMSTERDAM) INFINITY FESTIVAL (ALMERE),WIOYM (AMSTERDAM) AND LOTS OF ILLEGAL PARTIES LIKE: CHATEAU TECHNO, LAZY SUNDAYS, EMMA AND SECRET RAVE SOCIETY. 
IN EUROPE HE PLAYED IN BELGIUM, GERMANY, SLOVENIA AND CZECH REPUBLIC. AT THESE PARTIES HE PLAYED ALONGSIDE NAMES LIKE: SECRET CINEMA (NL) LAIDBACK LUKE (NL),BENNY RODRIGUES (NL) 2000 AND ONE (NL), 
LUCIEN FOORT (NL) MISS DJAX (NL), RUDE AWAKENING (NL),WOUTER DE MOOR (NL) DANO (NL) STEPHANE SIGNORE (BEL), 
LARS KLEIN (GER), KAY D SMITH (AUS), MARCO REMUS (GER),ANDREAS KRAMER & THOMAS POGADL (GER), ECHOPLEXX (PL), 
HEADROOM (SWE), DAMON WILD(USA) DON DIABLO (NL),JAN LIEFHEBBER (NL), SOLID DECAY (NL), RITZI LEE (NL), DAVE MILLER (NL),RYDEL (SLO),VEZTAX (SLO), BART SKILLS (NL) AND MANY MORE! 
SINCE 2003 HE STARTED SERIOUSLY PERFORMING ALL OVER THE NETHERLANDS, BELGIUM, GERMANY, SLOVENIA AND CZECH REPUBLIC. 
. 
HE IS TRYING TO BRING HIS MIXES TO A HIGHER LEVEL BY EXTRA EFFECTS, BEAT JUGGLES AND SCRATCHES AND ALSO HE IS DOING SINCE 2010 LIVESETS. 
HE STARTED HIS OWN X-PERIMENTAL PARTIES IN 2003 AND IN 2006 HAD HIS PITCH SHIFTER PARTIES IN HIS HOMETOWN. 
THESE PARTIES GAVE YOUNG TECHNO TALENT A CHANCE TO PROVE THEMSELVES. 
IN 2007 HE STARTED HIS OWN PARTY TOGETHER WITH A FRIEND CALLED: S.L.E.T (SOUNDS LIKE EXTREM TECHNO). 
IN 2009 HE STARTED LEARNING PRODUCING BY THE HELP OF TONY DEMOET. 
HIS PRODUCE STYLE YOU CAN DESCRIBE AS A MIXTURE OF INFLUENCES COMING FROM THE EIGHTIES AND NINETIES WITH HIPHOP, SOUL AND FUNK! 
HE LOVES TO MAKE THE CROWD MOVE SO HIS PRODUCTIONS ALWAYS HAVE A REALLY GREAT DRIVE! 
MAIN INFLUENCES...DAVE CLARKE, CHRIS LIEBING, THE ADVENT & INDUSTRIALYZER, BEN SIMS, MARCO BAILEY, THOMAS KROME, ADAM BEYER, IGNITION TECHNISIAN, D.A.V.E THE DRUMMER.

IN 2008 FOUNDED BY BJARNE NOOTER AND TONY DEMOET. TONTEK RECORDS RELEASED IT’S FIRST SINGLE IN JANUARY 2009. IT’S MISSION STATEMENT WAS TO SHOWCASE THE FINEWST ESTABLISHED TECHNO PRODUCERS ALONGSIDE PROMISING AND UPCOMING TECHNO ARTISTS, FROM AROUND THE GLOBE AND FROM THE NETHERLANDS. IT HAS DEVELOPED AN INSTANTLY RECOGNIZABLE ‘SOUND’ AND TONTEK RECORDS WANTS TO DELIVER QUALITY MUSIC. TONTEK RECORDS IS A DIGITAL LABEL WHICH AIMS TO PROMOTE ELECTRONIC MUSIC MUCH FURTHER. 
IN 2005 DJ TEK-NO-BEE MET DJ/PRODUCWE TONY DEMOET. THEY FOUND OUT THAT THEY BOTH SHARED THE LOVE FOR POUNDING OLDSCHOOL TECHNO. SINCE THEN DJ TEK-NO-BEE HAS EVOLVED AS A DJ AND STARTED IN 2008 WITH THE HELP OF TONY DEMOET LEARNING PRODUCING. TONY DEMOET MADE SOME KILLER PRODUCTIONS FOR PROTOCAST, ALGOPHIA RECORDS AND PRAY 4 MORE RECORDS. 
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SUPPORTED BY:: 
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DAVE CLARKE, PATRICK DSP, MATTIAS FRIDELL, VEGIM, ALEXANDER JOHANSSON, GLENN WILSON, DAVE ANGEL, OLIVER KUCERA, RITZI LEE, CARL BATESON, AXEL KARAKASIS, CLAUDIO PONTICELLI, DRUMCOMPLEX, ERROL DIX, ESTROE, JAMIE ANDERSON, LILONEE, MAREK HEMMANN, MIKE HUMPHRIES, OXIA, PAUL MAC, PEDRO DELGARDO, UMEK , G8, i1 AMBIVALENT, K.E.N.Y.U, MARK REY, 

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REFERENCES : 
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SWITCH 
EMMA 
LAZY SUNDAYS 
SPOORLOOS 
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SECRET RAVE SOCIETY 
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SOLID GROOVES 
SLET 
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KRANCK 
INFINITY FESTIVAL 
PIGFEST(CZ) 
LOKOMOTION(SLO) 
BACK 2 THE FUTURE 
PAND14 
NATURE ONE(DE) 
MESS FESTIVAL 
Q-DANCE 
CONDO TECHNO 
TWSTD 
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DJ, Producer and Lange recordings A&R Man Chris Marsh may still only be young but already has bags of experience to his name. Starting DJing at the tender age of 15, he was not content with the idea of staying a bedroom DJ for long and his ambition to play to crowds drove him to try and gain as much experience as he could early on. This led him to DJ at friends 16th & 17th birthday parties in halls and community centres hiring and setting up all the equipment himself. This not only gave him vital first hand experience with crowd interaction, but also with the correct use of club installation style equipment. A few gigs were all it took for Chris to become hooked on DJing for life. Since then his passion for music and clubbing has grown and grown. It was not enough for him to go on doing birthday parties as he knew he had so much more to offer and was destined to move onto bigger and better things. Sure enough when he was just 17 his first taste of club DJing came. He was offered a bank holiday set for Miss Monneypennys at the Parkend nightclub in Oxford. Even though it was his first ever gig in a club there was no sign of nerves as he really took his chance to impress, so much so in fact that he was recalled to do every bank holiday thereafter. Since then Chris has never looked back, in the years to follow he had a string of residencies in various bars and clubs across Oxford playing at some of Oxfords biggest and most prestigious nights at venues such as the Carling Academy playing alongside big name DJ’s such as Marcel Woods, Matt Hardwick, Richard Durrand, Lost Witness, Dave Pearce and Bodyrox before finally settling into his preferred residency in 2007 at the Lava & Ignite nightclub where he plays the latest commercial club tracks and biggest classics every Monday and Wednesday. In 2008 he was spotted by a local radio show for his flair and personality behind the decks accompanied by his impeccable track selection and so was offered a Saturday night weekly show along with a friend called 'Arcane Sessions'. This gave Chris a whole new medium in which to ply his trade and gave him extra valuable experience. In the summer of 2008 Chris decided that he had achieved everything he could in Oxford and so decided it was time to go national. After winning the ‘Im your DJ’ competition he was given the opportunity to play alongside MOS/Hed Kandi DJ Joshua Roberts at the Palace Nightclub in Witney and in 2009 the bookings came thick n fast and he went on to destroy dancefloors at venues all over the UK, playing alongside big names DJ's such as Eddie Halliwell, Judge Jules, Lange and Genix, truly imposing himself as one of the scenes most in demand and rising stars. Chris' passion for quality music has meant that he plays almost all genres of dance music, anything from groovy, sexy, dirty house tracks to massive hands in the air trance tunes, always pioneering the latest and greatest tunes, always bringing fresh new ideas to the table, pushing the crowd to the limits whilst still dropping the biggest classics, which makes him one of the most versatile, adaptable and sort after DJ’s that you are likely to come across. This has seen Chris launched to the forefront of the house, trance and commercial scene’s in a very short space of time! Combine this with his huge energy, Lively attitude and personality, seamless mixing, excellent technical ability, impressive use of accapella's and samples, superb track selection and fantastic crowd interaction and you have a DJ who is always the crowd favourite. With this in mind it’s therefore no wonder that Chris has bookings for clubs, shows and festivals up and down the country for 2011 so book early to avoid disappointment! 

A story written by daily life, co-authored by the human mind. Directed by imagination twists. Starring illusions. Or facts? Where is the truth? Does it matter? Will you ever know? Do you want to know? Did you hear what I heard? Did you see what I saw? A soundtrack to your own consciousness.
 
Shawn and the Zebra, the brainchild of Claudia Hansen and Julia Oschewsky, is an experimental voice/percussion duo, which encompasses the common ground of music and movement theater. In combining these disciplines they go on a continuous quest to explore the movement in the music and the music in the movement. The incorporation of the visual and physical aspects associated with their music has been the core motivation to this ensemble. Both musicians compose the original music and the socially critical storyboards for the Shawn and the Zebra productions. Also the stage and light design is created by the ensemble itself. The music is a combination of the human voice and percussion instruments such as marimba and kalimba, which are enhanced by effects and loopstations. Shawn and the Zebra is music theater which makes the music - the main story telling device -  move around the theater's stage. In 2011 their debut show De</pending> will be premiered.
 
De</pending> is the debut show of Shawn and the Zebra. It is starring a person searching for inner peace and happiness, having an odd relation with its inner voice. It is about a person going through an important personal development in today's fast-beating and success-hunting society. It is about finding the balance between your inner self and your outer self. About being controlled by your inner world. About releasing yourself from yourself, about being controlled by the outer world. About depending, pending, depending, pending and the urge to find your own balance.
 
Claudia Hansen
(1984) was born in Luxembourg. She studied classical percussion at the Conservatoire de Luxembourg with Paul Mootz and Emmanuel Séjourné where she received her diploma in 2004. She continued her studies at the Conservatorium van Amsterdam earning a Bachelor of Music in 2009 as a student of Peter Prommel, Nick Woud, Jan Pustjens, Victor Oskam, Mark Braafhart, Lorenzo Ferrandiz and Arnold Marinissen.
Claudia has performed in a variety of orchestras including the European Union Youth Wind Orchestra, Orchestre de Chambre du Festival d'Echternach, Amsterdam Jazz Philharmonic Orchestra, Nederlands Studenten Orkest, Nationaal Jeugd Orkest and Het Promenade Orkest, as well as music theatre and opera productions such as Joe-De Hemel kan wachten (2008, Koen van Dijk, M-Lab, Amsterdam), Medea (2007, AHK, Amsterdam), Een Konijn van Porselein (2010, Ad de Bont, Toneelmakerij, Amsterdam) and Juffrouw Julie (2011/ Koen de Sutter/ Theater Artemis, 's Hertogenbosch). 
Claudia was a member of the percussion quartet DAMP from 2002 until 2005. In 2007 she became artistic director the electro/acoustic/visual project AGAYA-SHI. A DVD was realized in 2008 about the jazz/visual project SENSING CITY where she has been a member.
At the moment Claudia is a member of the free jazz band BRAM STADHOUDERS KORPS, the recorder/percussion/theatre duo MISS LOBSTER and the percussion group NORTH SEA PERCUSSION COLLECTIVE. Her solo repertoire emphasizes the theatrical elements of percussion. Claudia teaches percussion in Amsterdam and is also a professional photographer.
www.claudiahansen.com
 
Julia Oschewsky
(1981) was born in Mainz/Germany. After highschool graduation she spends one year as a guest student at the Conservatory of Cologne where her curiosity on Jazz related music finds its origin in lessons of Anne Hartkamp.
In 2003 she is accepted at the Conservatorium van Amsterdam.
There she studies with Ge Titulaer, Eileen Fiss, Lydia van Dam, Deborah Brown, Annett Andriesen, Edwin Rutten andRonald Douglas and graduates in 2007 with the Bachelor of Arts (Jazz Voice). During her following Master study also at the Amsterdam Conservatory (graduation in 2009) she gets the opportunity to study at the Manhattan School of Music in New York where she works with Theo Bleckmann, Kate McGarry, Peter Eldridge and Dave Liebman.
Julia also acquires certificates in the Estill Voice Training System: Level1 and 2 with Anne-Marie Speed (2006/07) and Advanced with Dorte Hyldstrup and Helga Westmark (2009).
She played in the musical "The Who's Tommy" playing the part of Sally Simpson. She also performed with orchestras such as the Orchestra of the Dutch Royal Airforce (conducted by Arjan Tien) and the BuJazzO 2007-2009 (Bundesjugengjazzorchester Deutschland) where she worked with Marco Lackner, Bill Dobbins, Ed Partyka, Efrat Alony, Dena De Rose, Ramamani, T.A.S. Mani, Mike Herting and Ramesh Shotam.
Since Julia has also always been interested in combining both her love for theater and that for Jazz, she creates a musical theater production in 2006 called "The Fringe - A Jazz Musical" with music by her her band playing her own compositions.
With her band Julia performed on festivals such as New Generation Contest, Jazz an der Donau, Amersfoort Jazz Festival, Bingen Swingt and IJazz Festival.
Her debut album "Inner Game" was released on May 29th on the German label Neuklang.
www.julia-oschewsky.de

Charles Foskett 

Charles is an immensely talented, very active and inspirational veteran record producer. He is an intuitive musical director and composer who will always succeed in lifting the creative game plan of the artist he is developing and helps to broaden the scope of the client’s marketplace. Charles’ wealth of experience comes from having worked in many areas of the music industry - As a “hands-on” record producer he has worked with a host of different artists throughout his career including two Beatles, Sir Paul McCartney and Ringo Starr.

Charles was responsible for putting together THE ANTI HEROIN PROJECT, a Band Aid for the anti drug campaign, which not only resulted in a double album entitled "Its a Live in World" but also the offer of a top position at the home office in London, working as David Mellor's right hand man. Charles declined the offer with preferences to pop music over politics! The album, which featured a huge number of famous names from the world of rock and pop, consisted of thirty tracks, twelve of which Charles wrote and co-wrote and fifteen of which he produced. The album was released by EMI and Charles was responsible not only for the original idea, the writing and production, but also for bringing together hundreds of big names for a worthy cause.

Charles Foskett is a full Member of "The Music Producers Guild" (MPG) 
Charles Foskett is a member of "The Music Managers Forum" (MMF). 


Listed below are those artists for whom CHARLES FOSKETT has written and produced: 
•	BONNIE TYLER (CBS), 
•	CHRIS SUTTON (POLYDOR), 
•	PRECIOUS WILSON (JIVE/KICKIN), 
•	KIM WILDE (MCA), 
•	BOBBY WHITLOCK (Derek and the Dominoes), 
•	ELKIE BROOKES (LEGEND), 
•	DARYL PANDY, 
•	RINGO STARR, 
•	CLIFF RICHARD (EMI), 
•	HOLLY JOHNSON (ZTT), 
•	JIM DIAMOND, 
•	SHEILA FERGUSON (Three Degrees), 
•	ROBIN GIBB (Bee Gees), 
•	NICK KERSHAW(MCA), 
•	HAZEL DEAN (EMI), 
•	ZAK STARKEY, 
•	HAZEL O'CONNOR, 
•	BOBBY TENCH, 
•	JOHNNY LEYTON, 
•	SARAH JORY, 
•	PENA (MBM/BMG ARIOLA GERMANY), 
•	ROCH VOISINE (BMG INTERNATIONAL) 
•	EDYTA (ORCA), 
•	BIG JIM SULLIVAN,
•	TOMMY EYRE.
•	DONS (PLATFORMA RECORDS)
Produced 
•	SINITTA, 
•	EDWIN STARR, 
•	PHIL FEARON, 
•	JOHN PARR, 
•	MIKE PETERS/EDDIE Mc DONALD (THE ALARM), 
•	STEVE HARLEY, 
•	SUGGS (MADNESS), 
•	BUCKS FIZZ, 
•	CHAS & DAVE, 
•	HELENA, 
•	LAUREN FIELD ( SHMUSICMUSIC / ZYX RECORDS)
•	ELVIS COSTELLO, 
•	NICK HEYWOOD, 
•	THOMPSON TWINS, 
•	THE ICICLE WORKS, 
•	KATE ROBBINS, 
•	ASWAD, 
•	THE ANTI SMACK BAND. 
•	MICK TAYLOR (THE ROLLING STONES /LITTLE FEAT /BOB DYLAN),
•	RANDY BACHMAN (BACHMAN TURNER OVERDRIVE / THE GUESS WHO),
•	HAMISH STUART (THE AVERAGE WHITE BAND/ PAUL McCARTNEY BAND),
•	PAUL YOUNG,
•	KELLY LEE (HALO RECORDS),
•	FUTURE NATIVE (REVELATION/AUSTRALIA)
•	WATERHORSE,
•	DONS (PLATFORMA RECORDS),
•	ART GREEN “Clear White Light”  (PLATFORMA MUSIC)
•	BEN WILLIAMS, BRIAN “ROBBO” ROBERTSON (THIN LIZZY),
•	ABZ (BREEN) LOVE, “5IVE”.
•	MUNGO JERRY
•	ALVIN STARDUST
•	VOICES WITH SOUL
•	TIGHT FIT
•	OSIBIA
ALSO WRITTEN/PRODUCED 
•	BILL ODDIE, 
•	JOHN CLEESE, 
•	SARAH MILES, 
•	CHRISTOPHER RYAN, 
•	HAYLEY MILLS. 
FILM & TV THEME MUSIC 
•	PRUDENTIAL "I WANNA BE THERE" MEXICO 
•	VAUXHALL VECTRA LAUNCH (TV and SHOWROOM) 
•	"STRIKE COMMAND" 1 (1/2) HOUR FILM DOCUMENTARY FOR ITN ON RAF 
•	ITN SIX PART SERIES "MAN ON A BICYCLE" 
•	HIGH 5 (CHANNEL 4) 
•	"NEW AGE JAZZ" AMBIENT THEME FOR MIDNIGHT MUSIC TV FILM IN LOS ANGELES - CALIFORNIA USA. 
•	FIVE INSTRUMENTAL THEMES FOR SONY RADIO AWARDS 
•	“WALTER” BBC 
•	“I WANT” Nell Dunn and Adrian Henry
•	“THREE PRIESTS” New Hollywood movie 2008.
Songs and instrumentals have been used in commercials for:
•	NAT WEST, 
•	CADBURY'S, 
•	GUINNESS, 
•	VAUXHALL MOTORS, 
•	FORD MOTORS, 
•	VISA, 
•	HAWAIIAN TROPIC, 
•	B&Q, 
•	TYNE TEES TV, 
•	COCA-COLA, 
•	MISS WARNER, 
•	And many, many more. 
RECENT GIGS 


Co/write songs for Randy Bachman's new album "Jazz Thing" - released on Maximum Jazz/Canada.
…………………………………………………………………………
2006 Recent production sessions with legendary guitarist Mick Taylor of The Rolling Stones / Bob Dylan / John Mayall etc -
…………………………………………………………………………
2006 – Producing new album by Multi Awarded Australian Folk Rock band “FUTURE NATIVE”.
2007 - Following the success of LAUREN FIELD’S debut album “Modern Woman” - Charles is now producing her second studio album and just completed mixing her Live Double album/DVD “From Berlin to Brooklyn” recorded in both the UK and Europe and is available on www.shmusicmusic.com  - this great package includes duets with number 1 hit artist Gordon Haskell (Harry’s Bar)
Collaborating with and directing top name players and co/writers who are lined up to work alongside Lauren Field - Amy Powers (Sunset Boulevard/Barbra Streisand) -  Hamish Stuart (The Average White Band/Paul McCartney)  -  Roxanne Seeman (Shawn Colvin/Earth Wind and Fire/The Four Tops/ The Jacksons / Chet Baker and many more) – Tina Arena, Paul Young and others.
………………………………………………………………………………….
“TACOS AND TWANGS”

Charles worked on developing a (6) six part music television series with top BBC music television producer Chris Cowey (BBC / Top of The Pops) - The series, in the style of a quest road movie will highlight multiple genres of music in today’s marketplace (starting with Tex Mex) and also the lifestyle and history of it’s creators, the artists that perform it, both famous and unknown, the managers, the promoters and spin doctors and the people who know the people to know.

Featuring multiple hit singer Paul Young (“Every Time You Go Away”  “Where Ever I Lay My Hat”) to co/present with Charles in this extremely entertaining and very fascinating quest to discover the roots of Tex Mex music in Mexico, Texas, LA and San Francisco - Two Brits with an almost “Selling Coals to Newcastle” approach, on a quest to discover the roots of what Paul does best here in the UK with his Tex Mex band Los Pacaminos. 

Autumn 2007 - Charles writes for and produces the international debut album for Baltic States artist “Art Green” (aka Dons) Platforma Records www.Platformamusic.lv – As Dons, Art has had several number one hits in The Baltic states, Italy and other territories too! He has been the best selling artist out of the Baltic States in 2005/6/7 – The album also features Scarlet Rivera (Bob Dylan / Joni Mitchell) 

Spring 2008 – Charles starts work developing tracks with The Venice Light Orchestra www.venicelightorchestra.com for their new album which will also feature many high profile international guest artists.  

Summer 2008 – Charles starts producing tracks with singer songwriter Ben Williams along with veteran rockers Bill Legend (T Rex) and Brian “Robbo” Robertson (Thin Lizzy).

January 2009 – sees Charles back in the studio writing songs and producing new tracks for the comeback album of multi million selling urban bad boy 
Abz Love (formerly Abz Breen of the band “5ive

2009 – Establishing the community choir ROCK CHORUS with wife Lauren Field 
www.rock-chorus.com
.................................................................................
2009/2010 – Charles starts production work on Americana styled album for Canadian artist Kate Ashby Craft. This project also features LA based guitar virtuoso Jerry Donahue of The Gathering and Fotheringay (www.jerrydonahue.com) – LA based Scarlet Rivera (ex Bob Dylan / Tracy Chapman / Indigo Girls) – British legendary blues harmonica player/singer (ex Manfred Mann / Blues Band and BBC radio 2 host) Paul Jones – also Clive Bunker (ex Jethro Tull / The Gathering) on drums – The songs of awarded singer /songwriter Lauren Field and Malcolm Creese (ex Cleo Laine and Jonny Dankworth) on upright bass. 


2011 – ROCK CHORUS – SINGIT BACK
www.rock-chorus.com  www.singitback.net 

After winning a battle with bowel cancer, Charles with his own choir “Rock Chorus” creates the on-line platform “SINGIT BACK” to help raise much needed funds and promote the fantastic improvements in cancer diagnosis and treatments that have taken place at the Macmillan Cancer Support Unit at the Luton and Dunstable Hospital - without which he would not be here today to keep this project running. 
Charles also brought in TV's Nick Knowles and good friend Nicky Campbell, Graham Gouldman of 10CC, Ruby Turner and Marillion to film especially for the event. 
      A true one-off entertainment special raising Thousands of £££’s for charity
                                             …………………………………………………………………..
        2012/13 - Charles takes on new exciting studio production projects – ‘The Browns’’ – 
      A classical/pop/opera project with opera singing family The Browns – Mum, Dad and the kids – 
      All classical singers – All immensely talented – A Brand all out there on its own - A marketing 
      And sponsorship dream!


2013 – Charles is also lined up to write for and produce Italian icon Patty Pravo – Patty Pravo is Italy’s biggest selling artist of all time with over 100 million record sales to her name. www.pattypravo.it 




.Philosopher,dj,electronic musician and producer,also known like ¨Kyreo¨. http://www.facebook.com/jesus.estevill
http://www.myspace.com/jesusestevill
This artist of great international projection is one of djs but versatile of the Spanish electronic scene.
Great lover and connoisseur of music, to base his sets on styles that go from the minimal techno to techno but underground. Always taking care of much the technique and the musical quality of its sessions.
He is one of djs of ambient and chillout but respected of Spain, his sets of this style of music to be full of beauty and good taste in the musical selection. This artist is able to create atmospheres transport that you to a magical space of music.
. It has participated in festivals like Festimad (Madrid) 2001, Independent Festival of music city of Almeria, Astronet.Live Festival Covered with Leganes(Madrid), Astronet.Live Festival Fuerteventura. It has shared national and international scene with groups of the stature of Orbital, Sof Cell, The Orb, Utah Saints and artists like Joe Claussell, Pascal Feos, Ben Sims, Mix Maxter Morris, Morpheus,Oscar Masala, Luke Slater, Dave Clarke, Miss Jools, Cristian Varela. In 1997 I create next to Oscar Masala the group Internal Expression Project then, where they fused different styles but vanguardist, being pioneers in its city. At the moment this trim in the musical production, preparing new projects with the AKA of KYREO.


Qui est-il ?

Fred-D est né le 04 janvier 1977 à Fort de France, à la Martinique (pour les paumés, c’est le pays du rhum !).

Depuis sa plus petite enfance il a baigné dans des ambiances « tribal » et à forte présence rythmique, pas étonnant qu’il se soit orienté vers les musiques qu’il a chevillées au corps.

Que ce soit la musique classique, les célèbres collections « Synthétiseurs » puis la « dance » dans ses heures de gloire ou encore la techno dite « progressive » découverte grâce à ses amis (celle-la même qui vous met en trance absolue et vous conduit au pur bonheur), toutes ces musiques ont toujours résonné en lui comme un appel de ses lointains ancêtres.

Cherchant à aller toujours plus loin, il se mit pour la première fois aux platines en 1997. Amateur de musiques au rythme bien présent et non complexé, il orienta ses choix en conséquence et rejoignit naturellement le courant de la Techno rythmée.

Considérant la Techno comme tout autre chose qu’un simple phénomène de mode, il ne passe que ce qui le fait vraiment vibrer, que ce soit du « Low tempo » ou du « High tempo ».

Influences : UMEK, DJ RUSH, ADAM BAYER, MARCO BAILEY, MARCO REMUS, Miss Djax, TORSTEN KANZLER, ROBERT NATUS, DAVE CLARKE, TECHNASIA, MICHAEL BURKAT, TOMASH GEE, DJ OGI, MISSTRESS BARBARA, Etc.

@mail: contact@dj-fred-d.com
Who’s this guy ?

Fred-D was born on January 4th, 1977 in Fort de France, Martinique (for those who don’t know, that’s where rum comes from !).

He was immersed in « tribal » and heavy beat atmospheres from his early childhood, so no surprise he turned to those kinds of music he could feel with his stomach.

Be it classical music, the most famous electronic music collections, dance music or the so-called « progressive » techno sound he came across thanks to friends — that unique sound which takes you to pure trance and absolute bliss —, all those sounded to him like a faraway call from his ancestors.

Hungry for more than mere listening, he started as a DJ in 1997. Being a heavy beat enthusiast, he always went for rhythm pervaded recordings and naturally joined the rhythmical techno music mouvement.

Since Techno music is or should be much more than a simple fashion trend, he exclusively plays those sounds which truly thrill him, whether « low tempo » or « high tempo » style.

Influences: UMEK, DJ RUSH, ADAM BAYER, MARCO BAILEY, MARCO REMUS, Miss Djax, TORSTEN KANZLER, ROBERT NATUS, DAVE CLARKE, TECHNASIA, MICHAEL BURKAT, TOMASH GEE, DJ OGI, MISSTRESS BARBARA and much more…

@mail: contact@dj-fred-d.com

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