Monday, November 29, 2010

Juju & Jordash - Tattoo's Island



More than a decade ago in the seaport city of Haifa, Juju & Jordash met. They had very different lives going on at the time, but found one another through their weekly be-bop jams. Throughout the 1990s, Juju & Jordash each played in and composed for various jazz and experimental combos by day. Meanwhile by cover of night, they were both experimenting with electronic dance music - something they would soon come to do together.

In 2003, Juju & Jordash officially joined forces. Two years later, they started releasing music as a duo starting with 'The Hush' EP on Reggie Dokes’ legendary Detroit label Psychostasia, Followed by a string of EPs and LPs on a myriad of international labels including Real Soon, Aesthetic Audio, Underground Quality, Deep Explorer, Ropeadope, Uzuri, Philpot, and Dekmantel. (full discography: http://www.discogs.com/artist/Juju+%26+Jordash )

Their musical influences range from Thelonius Monk to Ryuichi Sakomoto, from Can to Mr. Fingers and from Cabaret Voltaire to Ornette Coleman. Yet it's hard to describe Juju & Jordash's own sound. One might venture to say a unique fusion of electronic and acoustic, Detroit-flavored techno, Chicago House and free jazz - or, more poetically, music from the future gazing deeply into the past. To hear the music for yourself and for more information, please visit www.jujujordash.com.

Links:

Discogs
RA

The Orb feat. David Gilmour - Metallic Spheres - 2010



The Orb are an English electronic music group known for spawning the genre of ambient house. Founded in 1988 by Alex Paterson and KLF member Jimmy Cauty, The Orb began as ambient and dub DJs in London. Its early performances were inspired by ambient and electronic artists of the 1970s and 1980s, most notably Brian Eno and Kraftwerk. Because of its trippy sound, the Orb developed a cult following among clubbers "coming down" from drug-induced highs. The Orb has maintained its drug-related and science fiction themes despite personnel changes including the departure of Cauty and other Orb members Kris Weston, Andy Falconer, Simon Phillips, and Andy Hughes. Paterson has been the only permanent member, continuing to work as the Orb with the Swiss-German producer Thomas Fehlmann and, later, with Killing Joke's Martin "Youth" Glover and Tim Bran of Dreadzone.

Links:

Discogs
RA

Thursday, November 25, 2010

The Orb - Earth



Adventures Beyond The Ultraworld 9 ( 1991 )

Little Fluffy Clouds / Earth (Gaia) / Supernova at the End of the Universe / Back Side of the Moon / Spanish Castles in Space / Perpetual Dawn / Into the Fourth Dimension / Outlands / Star 6 & 7 8 9 / A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld

It's 1991 and the house boom is in full swing, rave parties up and down the country - 1988, a 'year zero' for the new generation. But, what do you do when the party finishes, or is winding down?? The Orb defined the stuff called chillout or comedown music, 'Ambient House' - they practically invented it. Before Aphex Twin, Orbital. Before anybody else was really spoken of in the music press, there was The Orb. Comprising of Alex Paterson and a changing group of collaborators, 'Adventures Beyond The Ultraworld' does something clever, and it's still clever today, over ten years on. It mixes Pink Floyd, Eno, Ambient, samples - the BBC Radiophonic Workshop. Alex Paterson, a former Killing Joke roadie, a former A and R man for Brian Eno's record label. That last job must have been quite interesting. I mentioned Pink Floyd, and Orb fans at the time were generally 18-24 years of age, so not 'original' Pink Floyd fans, although many of this youthful set did love classic Pink Floyd. The Orb stepped into a place in their hearts, how many of these fans imagined a 21st Century Pink Floyd should sound like. Song titles such as 'Back Side Of The Moon' were a dead giveaway, but the album doesn't need such touches or reminders, the music here is blissful, otherworldly. A masterpiece, basically.

A cock crows to start this double CD album. The nineteen minute long closing track mixes in this cock crowing, 'loving you' by Minnie Ripperton and lots else besides. For these two tracks alone, this album is stunning and I shall explain. 'Little Fluffy Clouds'? "Over the past few years, to the traditional sounds of an english summer.... What were the skies like when you were young.... the skies were always like little fluffy clouds..." etc, etc. The beats come in and 'Little Fluffy Clouds' is perfect. The 'Flash Gordon' movie is sampled for the beginning of 'Earth', the beats are cool and... I don't know. How do you describe 'beats' anyway?? The mixing in of samples, not just Flash Gordon, but birdsong, various other noises - throughout the track?? It really adds to it. The use of samples, new-age samples alongside various trivia and real life voices - is masterful, across the album as a whole. "And the mountains shall drop sweet wine and the hills shall melt", repeated and repeated, onwards and onwards - then funk over the ambient, noises and spookiness and glorious, fantastic music. The entire album is a trip. I don't want to sound like some drooling old hippie, but Al Brooks should love this stuff. Hiya Al. Don't know who Al Brooks is?? Read some pages on the site apart from this one, his name will pop up in places. But seriously, yeah, this album is a trip.

The thing that gets me, that really gets me, is that every single track here is strong. It's not just about 'Little Fluffy Clouds' and 'Huge Ever Growing Brain', although those two are clear highpoints. The bits inbetween are just as fine, and how many ambient/dance/house records can you say that about?? The songs/tracks weave together, flow into one another, each one usually begun with samples or spooky atmospherics. It works. A wash of sea opens the closing track. Spooky sounds and heavenly vocal noises, an atmosphere is built up. When the 'loving you' vocal comes in, it just sends shivers all over me. When the cock crows you're winded right back to the beginning, to the opening of 'Little Fluffy Clouds' and it plays with your mind. You don't even need drugs, this is music for people that don't want to take drugs, music enabling them to experience the same pyschedelic acid-dream thrills. Floating beautifully - listen to this, it will take you somewhere.

Links:

Discogs
RA

Friday, November 19, 2010

The Cinematic Orchestra - All That You Give



The Cinematic Orchestra is a British jazz and electronic outfit, created in the late 1990s by Jason Swinscoe. The band is signed to Ninja Tune independent record label. In addition to Swinscoe, the band includes PC (former DJ Food member Patrick Carpenter) on turntables, Luke Flowers (drums), Tom Chant (Saxophone), Nick Ramm (piano), Stuart McCallum (guitar) and Phil France (double bass). Former members include Jamie Coleman (trumpet), T. Daniel Howard (drums), Federico Ughi (drums) and Alex James (piano). The most recent addition to the band is Mancunian guitarist Stuart McCallum.

The Cinematic Orchestra's sound, in both live and studio contexts, employs a live band which improvises along with a turntablist and electronic elements such as samples provided by Swinscoe. In their studio releases Swinscoe will often remix the live source material to produce a combination of live jazz improvisation with electronica, such that it is difficult to tell where the improvisation ends and the production begins.

Links:

Discogs
RA

Danny Howells Landing on Planets



There are very few DJs who stand out in the world of dance music today, but Danny Howells is without doubt one of them. From his early years of DJing at Bedrock nights in his home town of Hastings, to the 10+ hour sets in New York today, one thing remains the same - a complete love of all music. It's this passion and plenty of hard work that has helped Danny to get where he is today. It's no coincidence that he's been placed in DJ Magazine's top 20 DJs in the world for the last 3 years. Danny has a unique, eclectic sound which as been described as "deepsexyfuturistictechfunkhouse" and it's this sound which which is shaking floors worldwide. With over 12 years of experience, Danny has become truly international. His hectic schedule regularly takes him all over Europe, North and South America, Asia and Australia. He's DJed in the world's coolest clubs and held residencies at Renaissance, Twilo and Home. With 2002 came the announcement of an exciting monthly residency at Vinyl in New York, where Danny's 10 hour marathon sets are fast becoming legendary.

It's not just in the club where Danny has made a name for himself, he's also been busy in the studio. Albums for Global Underground, Renaissance and his own Nocturnal Frequencies series have been the highlights in a continually growing back catalogue of acclaimed mixes. As a producer his main focus is with co-producer Dick Trevor and vocalist Erire as "Science Dept.". Last year they released the highly successful single "Breathe" and fans can expect more to follow in 2002. Danny's infectious personality and individual style is what really puts him a cut above the rest though. You can really sense his connection with the crowd wherever he plays, and he has fully earned the label "the clubbers DJ".

Links:

Discogs
RA

Tuesday, November 16, 2010

Glenn Underground - Teck-na-logie (DJAX Chicago Techno)



Glenn Crocker, born in 1971, Chicago, USA. Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced some of the most well respected deep house music of the past five years. His releases for Cajual, Prescription Guidance and Peacefrog have set the standard for sophisticated dance music. He is one of the few DJ's who can walk the line between deep jazz house, disco influenced house, and the kind of classics featured at the legendary parties of late 70's Chicago.

Links:

Discogs
RA

Juju & Jordash - African Flower (A Tribute To The Duke)



More than a decade ago in the seaport city of Haifa, Juju & Jordash met. They had very different lives going on at the time, but found one another through their weekly be-bop jams. Throughout the 1990s, Juju & Jordash each played in and composed for various jazz and experimental combos by day. Meanwhile by cover of night, they were both experimenting with electronic dance music - something they would soon come to do together.

In 2003, Juju & Jordash officially joined forces. Two years later, they started releasing music as a duo starting with 'The Hush' EP on Reggie Dokes’ legendary Detroit label Psychostasia, Followed by a string of EPs and LPs on a myriad of international labels including Real Soon, Aesthetic Audio, Underground Quality, Deep Explorer, Ropeadope, Uzuri, Philpot, and Dekmantel. (full discography: http://www.discogs.com/artist/Juju+%26+Jordash )

Their musical influences range from Thelonius Monk to Ryuichi Sakomoto, from Can to Mr. Fingers and from Cabaret Voltaire to Ornette Coleman. Yet it's hard to describe Juju & Jordash's own sound. One might venture to say a unique fusion of electronic and acoustic, Detroit-flavored techno, Chicago House and free jazz - or, more poetically, music from the future gazing deeply into the past. To hear the music for yourself and for more information, please visit www.jujujordash.com.

Links:

Discogs
RA

Friday, November 12, 2010

Kuniyuki Takahashi feat. Josée Hurlock - Storm



Let’s just pause for one second; now, think about all that music that has so
enriched your life down the years. All of it, without fault, and regardless of any
strict genre definitions, is soul music. If it flicks a switch deep inside you, speaks to you, comforts you and makes you feel good about yourself, then that, my friend, is soul music. German DJ and producer Henrik Schwarz understands this musical truth more than most.A long-time aficionado of those musical forms that are commonly rooted in some appreciation of this sonic legacy - funk, house, disco, jazz, techno, and yes, the dictionary definition of soul (James Brown, Marvin Gaye, Motown etc, etc) - his adventures into hi-fi are testament to such a fact.And nowhere is this more readily apparent than on Schwarz’s latest venture: a much-deserved foray into that Holy Grail of DJ mix albums, !K7’s acclaimed DJ Kicks series. Across 23 tracks, Schwarz enthusiastically takes us on a musical journey that without wanting to get too chin-strokery about it, manages to entertain, enthral and educate all at once. And that he achieves this without losing sight of the style and sophistication that are the hallmarks of his unique DJ sets and his much praised productions and remixes is only added grist to his musical mill.

Schwarz’s background is jazz: free-flowing, improvisational and inspirational jazz,
the likes of which set the pre-rock’n’roll years alight. And it’s this mindset that
initially informs his well-chosen mix. Rather than go for the latest bunch of tunes that are burning a hole on dancefloors across the globe, Henrik has paid homage to the music that he has loved down the years. Consequently, Moondog’s jazz classic ‘Bird’s Lament’ sets the scene for the journey we are about to undertake.When this segues into Double’s blissful slice of Balearica, ‘Woman Of The World’, it’s clear that we are in the hands of a rare talent. For Henrik Schwarz is a DJ who utilises all the tools of the modern sound sculptor - his usual sets are comprised of him jamming live via his trusty laptop - with a reverence for what has gone before. It’s no wonder that Gilles Peterson is such a fan of his productions ‘Supravision’, ‘Chicago’, ‘Jon’ (which is featured here) and ‘Leave My Head Alone Brain’, nor that his music is lapped up by Manchester’s hugely influential Electric Chair coterie.
Henrik himself admits that he didn’t want to think too much about his mix, rather he
let the music dictate what direction he went in.”I just selected the tracks and then
played them,” he admits. “It was more about the feeling of the mix, creating those
emotions and combining extremes.”Such a case comes when he mixes the minimal techno of Robert Hood’s ‘The Core’ with an African field recording.

It’s about creating layers and textures and in doing so it gives his mix a depth that is truly awe-inspiring.But this isn’t all about intellectual grandstanding. Good times are audible at every turn: James Brown encourages us to get on the good foot with his dancefloor shimmy, ‘Since You’ve Been Gone’, and the psychedelic free jazz of Schwarz’s own ‘Jon’ is both vibrant and hypnotic.Elsewhere, the stirring strut of Jae Mason’s ‘Let It Out’ and the irresistible Afro-beat of Cymande’s ‘Anthracite’ both compel you to fish out those dancing trousers. Undoubtedly though, the blue touchpaper is well and truly lit by Schwarz’s ‘Imagination Limitation’, a track written especially for this mix. Placed next to Detroit legends Drexciya’s ‘Black Sea’ - all crisp and muscular Motor City futurism - it ticks Schwarz’s techno fetish with aplomb. Other dancefloor delights come courtesy of avant-garde nut job Arthur Russell’s trippy cosmic disco ‘Get Around To It’. Being a mix of untold seams, the funk flavours at the business end speak of Schwarz’s cerebral qualities. Womack & Womack’s ‘Conscious Of My Conscience’, Rhythm & Sound and Sugar Minott’s ‘Let Jah Love Come’, Doug Hammond’s ‘Wake Up Brothers’ and the incomparable Marvin Gaye’s ‘You’re The Man’ are all moving and literate pleas for a better world.

Links:

Discogs
RA

Thursday, November 11, 2010

Moodymann - I Can't Kick This Feeling When It Hits



Kenny Dixon Jr also known as Moodymann is a techno/house musician based in Detroit, Michigan. He creates a thoroughly hybrid form of techno/house dance music, jazz, soul, disco and funk via his innovative use of reworked riffs, samples (including old movie soundtrack samples mainly culled from the old blaxploitation and b-movie genres), and grooves taken from Detroit's historically influential jazz, R&B, soul, funk, and disco scene. He is outspoken on the current state of dance music, decrying the lack of black techno and the white domination of the genre.

His sets often feature him playing hidden from the crowd, the dj booth covered in white sheets. He is also known to stop records while they are playing to talk to the crowd.

Moodymann is a strong supporter of the vinyl preservation society, in most his gigs he would stop the music, scratch the vinyl on the decks then lift the record and refer to the crowd informing them how his women prefer 12".

Links:

Discogs
RA

Mudd & Pollard - Vincent



Mudd's impecable Claremont 56 imprint, follows the pretty much essential "Originals 3" compilation with possibly their best 12" to date. The original of "Vincent" is a laidback balearic groover, real sunny, with guitar noodling and a bassline to die for. On the flip Mark E steps up and delivers his best remix of recent times. A slowly building slo-house bomb that'll (hopefully) be one of the summer anthems.

Links:

Vincent @ Discogs
Mudd @ Discogs
Pollard @ Discogs
Mudd @ RA
Pollard @ RA

Friday, November 5, 2010

Roni Nachum - Guest Service Shalom



Label: Fine Art Recordings

Format: Vinyl, 10"

Country: UK

Style: House, Deep House, Tech House

A sophisticated slow-burner from newcomer Roni Nachum that, while doing nothing too surprising, effortlessly straddles the sometimes gaping chasm between the deep and the dance thanks to an ear for layered melody and atmospheric chords.

It's a testament to Nachum's skill that he manages to sound so mature so early in his career, and makes a simple progression sound so elegantly complex. Anticipation grows upon listening to "Guest Service Shalom" as the melody entwines itself around a nucleus of rhythm that never gets out of control. There's a real groove to be dug too, which is kept in check by a deft use of percussion. To say that this is a tune that draws you in is an understatement. Its delicate balance of the fragile and the muscular make it a persuasive piece of dance floor tackle which would sound great at peak time, but also subtle enough in the build-up. Mark E slows things down to such a languid pace that the tune pads around in a dream world until it opens up and, thanks to filigrees of unwinding synths, pollinates itself. A lovely and lazy remix.

Great stuff that sounds so quintessentially made for the summer months that I feel odd writing about it in the depths of winter. Skillfully executed and saturated with bliss.

Links:

Discogs
RA

Wednesday, November 3, 2010

Herbie Hancock - The Bomb



Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is an American pianist, bandleader and composer. As part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.

Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album "River: The Joni Letters" won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965.

As a member of Soka Gakkai, Hancock is an adherent of the Nichiren school of Mahayana Buddhism.

Links:

Discogs
Wikipedia

Alex agore - A Blues Tale



Genre: House

Location East Berlin, Berlin, DE

Links:

Discogs
RA
Soundcloud

Mike Huckaby - The Jazz Republic



Mike Huckaby has become the busiest remixer from Detroit in the past few years.

Mike has been busy producing music on his 2 labels, Deep Transportation and S Y N T H, which are well known amongst underground djs worldwide.

With highly acclaimed deep house productions and remixes for Deepchord, Juan Atkins, Vladislav Delay, Pole, Loco Dice, and Pacou,
(just to name a few ) Mike sees no end in the near future. Furthermore, Mike Huckaby has been touring, djing, and teaching music production around the globe extensively.

Mike brings the Detroit sound of deep house and techno with him. He knows the balance between deep house and techno like no other.
Promoters know that they can put Mike Huckaby in any room !

Links:

Discogs
Myspace

Aybee - You In Love



Real Name: Armon Bazile. Since man’s earliest moments he has shared his space with rhythm, and dance. It is this pursuit along with a deeper understanding of the divine nature of rhythm that serves as the modus operandi for Label Owner/Producer/and DJ AYBEE.

Writings on label:

deepest respect to: My Mother who taught me the power of music & dance,
Ron Trent (your music is elevation), Patrick Wilson (you are truly God's
Child), The Nulife SF Family, Jabari, Marv, John Paul Shiver, Frankie
Feliciano, Karriem, Stacy and Angela. To my ancestors from which whose
spirit I draw strength, and to all my brothas that the streets of Oakland
have taken away from us...I wish you could see what i see...

"What is gained from inner nature is
exact knowledge, which gives us a far-reaching outlook over the earth.
The many powers of inner nature are hidden in everyone and these are
identified with Wakan-Tanka. [The Great Spirit]."


Links:

Discogs
RA

Alton Miller - Can't Hide It (Matthias Vogt Remix)



Growing up in the 1970s, Miller soaked up the musical environment surrounding him in the Motor City, taking a particular interest in the sounds of Motown, Philadelphia, Parliament-Funkadelic, and Santana. It was during the early '80s once the "dance music crazed" Alton became friends with a young Derrick May that he decided to start spinning records, citing Chicago DJs such as Ron Hardy and Frankie Knuckles as prime influences. By the latter part of the same decade, Miller joined forces with George Baker and Chez Damier to start the Music Institute, a short-lived but legendary Detroit club that has since become near-mythical, thanks to the pioneering techno efforts of figures such as May. Following the demise of The Music Institute, Miller took an interest in Conga drumming in addition to DJing, which led to a period between 1989 and 1991 where he toured the world with his music. He then joined forces once again with May, first as an employee of the artist's Transmat Records label, then as Aphrodisiac, the title under which he would begin releasing his music. Besides his EP on Transmat's sublabel Fragile, he also released his music on Kevin Saunderson's KMS and a series of EPs on Serious Grooves. By the mid to late '90s, he had increased his presence in the Detroit area through a number of DJ performances and a stream of stunning twelves. His debut album for Distance has been highly acclaimed as all things house. His current peacefrog album 'Stories Of Bohemia' is a powerful, moving collection of mature jazz tinged, soulful house grooves with flavours of African and roots music.

Links:

Discogs
RA

Tuesday, November 2, 2010

Kevin Yost - If She Only Knew



Kevin Yost was a musical child, who at a very early age demonstrated a keen sense of rhythm. This quickly grew into a love of playing drums and soon after keys. Listening to his father's Chuck Mangione records, his love of music continued to grow throughout his youth. Yet his small rural farm town in Waynesboro, PA USA had no outlets to develop a child’s skill thus he turned to self-instruction over formal education.

The spark of jazz music was lit inside Kevin at this young age; however growing up in the early 80's, he soon gathered an affinity for the burgeoning electronic music scene. At age eleven Kevin started DJing with a cheap set of turntables and a mixer he got for Christmas. His skills quickly refined as he met an older friend who introduced him to beat mixing. He began to play school dances and other partie. He saved money from his gigs and slowly put together a home studio. By the time he was fourteen years old he purchased a drum machine, a keyboard, and sequencer.

Propelled by this new ability to create, at the age of seventeen Kevin decided to attend Berkley College of Music. He later went on to Shenandoah Conservatory. His main areas of study were music composition and percussion. As a result of this formal training, his early childhood bonds with jazz were reaffirmed, but his love of DJing and electronic music still remained. By the time he left school he had all the tools needed to work in many different genres. His first concept was to combine all of his interests and create a jazz/electronic fusion that could be played by a DJ.

At age 23 he took this on as his initial solo project and in 1995 eager to let others hear his first creations he sent out demo tapes to various independent labels. Out of this grew an affiliation with New Jersey's i! Records. This new team effort between the label and Kevin developed into many releases including his groundbreaking album "One Starry Night". Unlike anything ever done before it's percussive jazz electronic fusion was met with open arms as it went on to sell over 50,000 units worldwide.

Links:

Discogs
RA

BLM & Pawas - Waiting Game (Original Mix)



What kind of track inspires Patrice Scott to release his first remix outside of his own Sistrum label and Jus-Ed to proclaim in the first months of the year that it will be in his "Top 20 tracks for 2010"? "Waiting Game" apparently. It's the first record on the new Sudden Drop imprint, a label that promises future work from the young Iron Curtis and the old(er) Tripmastaz. As you can tell by the names swirling around Sudden Drop, things are on the boil, and that's mostly thanks to its initial offering.

"Waiting Game" fulfills the advance promise not because it's the sort of deep house track that leaves you using cringe-inducing words like "timeless." (Although it's been known to do that.) Instead, it's the bewitching way in which the sampled vocal's poetry ("Black coat / cold skin") matches with BLM & Pawas' three note melody and the laidback percussion. Simply, but deadly effective. Scott's aforementioned remix adds more liquid to the equation, pushing where the original pulled. The energy is infectious. So is the additional synth work that acts as counterpoint to the original's melody. Both offer reason to keep an eye on this label as it progresses.

Links:

Discogs
RA

Zev - Don't Break It (Kenny Glasgow And Jonny White Remix)



Zev – Don’t Break It (Kenny Glasgow and Johnny White Remix) [Wolf + Lamb]

One part Wolf and Lamb teams up with the Art Department for one of my current favorite tunes. Love the vocals on this along with the throbbing sleazy bass line. AP and Wolf + Lamb have been killing it lately. I’m buying up all their releases instantly.

Links:


Discogs
Jonny White @ Discogs
Zev @ Discogs