http://www.kilimanjaro.jp
Country : Jamaica
Genre : Soul Funk
Style : Acid Jazz , Instrumental , Jam Band
Label : P-Vine/Backfire Records
Tracklist :
01 Power Of Soul
02 Get Your Point Over
03 Exodus
04 Too High
05 Mean Street
06 Tell Me A Bedtime Story
07 Space Dust
08 Immigrant Song
09 Blackbyrds' Theme
10 The Long And Winding Road
11 K.I.T.T. Knight Rider Main Title (DJ Uppercut Remix)
http://www.jamendo.com
http://promodj.com/santah
Origine du Groupe : Russia
Style : Dub , Acid Jazz, Chillout , Alternative Fusion
Sortie : 2009
From http://www.jamendo.com We represent to your attention an album of Russian chillout project "Santah". It is a new masterly mix of the most actual chillout sound, densely seasoned with perfect east spices. Special Spices are the fresh, sharp compositions which have absorbed the hot sun of India and spirituality of vedic culture. It is a set of special impressions for musical gourmets! All tracks are original compositions. If you have an offer, concerning the edition of this material, Tracklist :01. Krishna (6:13) 02. Special spice (5:01) 03. Summer sunshine (5:06) 04. Way to the Highland (5:00) 05. Yuga Dharma (feat. Gaurangi DD) (5:33) 06. Sudama song (6:00) 07. Premadhavani Dub (5:43)
http://www.jamendo.com
http://promodj.com/santah
Origine du Groupe : Russia
Style : Dub , Acid Jazz, Chillout , Alternative Fusion
Sortie : 2009
From http://www.jamendo.com We represent to your attention an album of Russian chillout project "Santah". It is a new masterly mix of the most actual chillout sound, densely seasoned with perfect east spices. Special Spices are the fresh, sharp compositions which have absorbed the hot sun of India and spirituality of vedic culture. It is a set of special impressions for musical gourmets! All tracks are original compositions. If you have an offer, concerning the edition of this material, Tracklist :01. Krishna (6:13) 02. Special spice (5:01) 03. Summer sunshine (5:06) 04. Way to the Highland (5:00) 05. Yuga Dharma (feat. Gaurangi DD) (5:33) 06. Sudama song (6:00) 07. Premadhavani Dub (5:43)
http://mrmoods.bandcamp.com
http://www.vickyflint.co.uk
Origine du Groupe : Canada , U.K
Style : Abstract Hip Hop Jazz , Acid Jazz
Sortie : 2011
From http://mrmoods.bandcamp.com
Collaboration with trumpetist Vicky Flint and beatmaker Mr. Moods.
Credits
Lyrics and cuts by Jesse Warner
Trumpet on all selections, Vicky Flint
Music background and twisted rhythms by Christian Denis (Mr. Moods).
Produced, mixed, mastered and arranged by Mr. Moods.
Tracklist :
1.The one and only (With Cheese) 03:43
2.The end of the affair 04:21
3.You got the feeling 04:05
4.Subterranean horn 05:10
5.My love for you 04:20
6.Love is a prelude (With Skence) 04:42
7.The one and only (Instrumental) 03:47
http://mrmoods.bandcamp.com
http://www.vickyflint.co.uk
Origine du Groupe : Canada , U.K
Style : Abstract Hip Hop Jazz , Acid Jazz
Sortie : 2011
From http://mrmoods.bandcamp.com
Collaboration with trumpetist Vicky Flint and beatmaker Mr. Moods.
Credits
Lyrics and cuts by Jesse Warner
Trumpet on all selections, Vicky Flint
Music background and twisted rhythms by Christian Denis (Mr. Moods).
Produced, mixed, mastered and arranged by Mr. Moods.
Tracklist :
1.The one and only (With Cheese) 03:43
2.The end of the affair 04:21
3.You got the feeling 04:05
4.Subterranean horn 05:10
5.My love for you 04:20
6.Love is a prelude (With Skence) 04:42
7.The one and only (Instrumental) 03:47
http://www.micatone.de
https://www.myspace.com/micatone06
Origine du Groupe : Germany
Style : Indie , Nu-Jazz , Alternative Fusion , Acid Jazz
Sortie : 2012
From http://www.todayszaman.com
Berlin-based nu-jazz ensemble Micatone is set to present its anticipated new studio album “Wish I Was Here” to their fans in İstanbul this weekend when they take to the stage for a live
performance Saturday night at Garajistanbul.
Featuring Lisa Bassenge on vocals, the five-piece band again uses its unique fusion of jazz sounds with electronic tunes on the new album, released March 2 on the Sonar Kollektiv label. Micatone
will take to the stage at 11 p.m. for the gig. Doors open at 10 p.m. Tickets can be purchased at Biletix.
Tracklist :
01 – Handbrake
02 – Asian Man
03 – Souvenir
04 – Save Me
05 – Break My Heart
06 – Micatone – Dizzy Day
07 – Pearl Diving
08 – Sweet Pain
09 – Just A Boy
10 – Wish I Didn’t Miss You
11 – Gun Dog
12 – Dirty Town
http://www.micatone.de
https://www.myspace.com/micatone06
Origine du Groupe : Germany
Style : Indie , Nu-Jazz , Alternative Fusion , Acid Jazz
Sortie : 2012
From http://www.todayszaman.com
Berlin-based nu-jazz ensemble Micatone is set to present its anticipated new studio album “Wish I Was Here” to their fans in İstanbul this weekend when they take to the stage for a live
performance Saturday night at Garajistanbul.
Featuring Lisa Bassenge on vocals, the five-piece band again uses its unique fusion of jazz sounds with electronic tunes on the new album, released March 2 on the Sonar Kollektiv label. Micatone
will take to the stage at 11 p.m. for the gig. Doors open at 10 p.m. Tickets can be purchased at Biletix.
Tracklist :
01 – Handbrake
02 – Asian Man
03 – Souvenir
04 – Save Me
05 – Break My Heart
06 – Micatone – Dizzy Day
07 – Pearl Diving
08 – Sweet Pain
09 – Just A Boy
10 – Wish I Didn’t Miss You
11 – Gun Dog
12 – Dirty Town
http://www.galacticfunk.com
Origine du Groupe : North America
Style : Funk Jazz , Jazz Fusion , Acid Jazz
Sortie : 1996
From Official Site :
It's incredible that GALACTIC has never made a carnival album yet, but now it’s here.
To make CARNIVALE ELECTRICOS, the members of GALACTIC (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on
the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.
GALACTIC was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. CARNIVALE
ELECTRICOS is beyond a party record. It’s a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New
Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests from high-school students to 72-year-old AL “CARNIVAL TIME” JOHNSON (who remakes
his all-time hit), GALACTIC whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.
CARNIVALE ELECTRICOS begins on a spiritual note, the way Mardi Gras does in the black community of New Orleans. On that morning, the most exciting experience you can have is to be present when
the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants
provide the fundament of New Orleans carnival music. These “gangs,” as they call them, organize around and protect the figure of their chief. The album’s keynote singer, WAR CHIEF JUAN PARDO, is,
says Robert Mercurio, “one of the younger Chiefs out there, and he’s become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs,
points out Ben Ellman, and “he’s got a little Monk [Boudreaux], a little Bo Dollis, he’s neither uptown nor downtown.”
On “Karate,” says Ellman, the band was aiming to “capture the power” of one of the fundamental musical experiences of Mardi Gras: “a marching band passing by you.” The 40-piece KIPP RENAISSANCE
HIGH SCHOOL MARCHING BAND’s director arranged up GALACTIC’s demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says
Mercurio, “I think they were surprised” to hear how good they sounded on the playback.
Musical energy is everywhere at carnival time. “You hear the marching bands go by,” says Mercurio, moving us through a Mardi Gras day, “and then you hear a lot of hiphop.” There hasn’t been a
Mardi Gras for twenty years that hasn’t had a banging track by beatmaker / rapper MANNIE FRESH sounding wherever you go. “You can’t talk about New Orleans hiphop without talking about MANNIE
FRESH,” says Ellman. His beats have powered literally tens of millions of records, and he and GALACTIC have been talking for years about doing something together. On “Move Fast,” he’s together
with multiplatinum gravel-voiced rapper MYSTIKAL, who is, says Ellman, “somebody we’ve wanted to collaborate with forever. It was a coup for us.”
Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years
been a smoking Brazilian drum troupe in town: CASA SAMBA, formed at Mardi Gras in 1986. They’re old friends of GALACTIC’s from their early days at Frenchmen Street’s Café Brasil, and the two
groups joined forces for a new version of Carlinhos Brown’s “Magalenha,” previously a hit for Sérgio Mendes.
But the Brazilian influence on CARNIVALE ELECTRICOS goes beyond one song. “When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls,” says Mercurio.
The group contributed three Brazilian-flavored instrumentals, including “JuLou,” which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the “walking krewe”
that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became “O Côco da Galinha,” they decided it would be right for MOYSÉS MÁRQUEZ, from the São
Paulo underground samba scene, who collaborated with them and composed the lyric.
If you were GALACTIC and you were making a carnival album, wouldn’t you want to play “Carnival Time,” the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in
New Orleans doesn’t know this song. The remake features a new performance in the unmistakable voice of the original singer, AL “CARNIVAL TIME” JOHNSON, who’s still active around town more than
fifty years after he first gained Mardi Gras immortality.
The closing instrumental, “Ash Wednesday Sunrise,” evokes the edginess of the post-party feeling. The group writes, “There is the tension you feel on that morning -- one of being worn out from
all of the festivities and one of elation that you made it through another year.”
But, as New Orleanians know, there’s always another carnival to look forward to, and GALACTIC will be there, playing till dawn and then going to breakfast before parading.
***
GALACTIC is a collaborative band with a unique format. It’s a stable quintet that plays together with high musicianship. They’ve been together so long they’re telepathic. But though the band
hasn’t had a lead singer for years, neither is it purely an instrumental group. GALACTIC is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing,
they have the luxury of experimenting. So on their albums, they do something that’s unusual in rock but not so controversial an idea in, say, hiphop: they create something that’s a little like a
revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the GALACTIC sound universe.
Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on GALACTIC albums, they
especially like to work with artists who are still underground. If you listen to CARNIVALE ELECTRICOS together with the two previous studio albums (YA-KA-MAY and FROM THE CORNER TO THE BLOCK),
you’ll hear the most complete cross-section of what’s happening in contemporary New Orleans anywhere – all of it tight and radio-ready.
Despite the electronics and studio technology, GALACTIC’s albums are very much band records. Mercurio explained the GALACTIC process, which starts out with the beat: “The way we write music,” he
says, “we come up with a demo, or a basic track, and then we collectively decide how we’re gonna finish it.” The result is a hard-grooving sequence of tight beats across a range of styles that
glides from one surprise to the next.
What pulls all the diverse artists on CARNIVALE ELECTRICOS together into a coherent album is that one way or another, it’s all funk. GALACTIC is, always was, and always will be a funk band.
Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, it’s all funk at the bottom, because funk is the common musical language, the
lingua franca of New Orleans music. Even zydeco can be funky -- and if you don’t believe it, check out “Voyage Ton Flag,” the album’s evocation of Cajun Mardi Gras, in which Mamou Playboy STEVE
RILEY meets up with a sampled Clifton Chenier inside the GALACTIC funk machine.
Theryl DeClouet - vocals
Erik Jekabson - trumpet
Robert Mercurio - bass, photography
Stanton Moore - drums
Mark Mullins - trombone
Jeff Raines - guitar
Eric Traub - tenor saxophone
Dan Prothero - programming, producer, engineer, editing, design, mixing
Raymond Pumilia - photography
Tracklist :
1. Go Go
2. Welcome To New Orleans
3. Something's Wrong With This Picture
4. Funky Bird
5. Stax
6. Church
7. On The One
8. Mystery Tube
9. Doo Rag
10. Percussion Interlude
11. Everybody Wants Some (Part 1)
12. Everybody Wants Some (Part 2)
13. Everybody Wants Some (Part 3)
14. Goodnight
http://www.galacticfunk.com
Origine du Groupe : North America
Style : Funk Jazz , Jazz Fusion , Acid Jazz
Sortie : 1996
From Official Site :
It's incredible that GALACTIC has never made a carnival album yet, but now it’s here.
To make CARNIVALE ELECTRICOS, the members of GALACTIC (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on
the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.
GALACTIC was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. CARNIVALE
ELECTRICOS is beyond a party record. It’s a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New
Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests from high-school students to 72-year-old AL “CARNIVAL TIME” JOHNSON (who remakes
his all-time hit), GALACTIC whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.
CARNIVALE ELECTRICOS begins on a spiritual note, the way Mardi Gras does in the black community of New Orleans. On that morning, the most exciting experience you can have is to be present when
the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants
provide the fundament of New Orleans carnival music. These “gangs,” as they call them, organize around and protect the figure of their chief. The album’s keynote singer, WAR CHIEF JUAN PARDO, is,
says Robert Mercurio, “one of the younger Chiefs out there, and he’s become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs,
points out Ben Ellman, and “he’s got a little Monk [Boudreaux], a little Bo Dollis, he’s neither uptown nor downtown.”
On “Karate,” says Ellman, the band was aiming to “capture the power” of one of the fundamental musical experiences of Mardi Gras: “a marching band passing by you.” The 40-piece KIPP RENAISSANCE
HIGH SCHOOL MARCHING BAND’s director arranged up GALACTIC’s demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says
Mercurio, “I think they were surprised” to hear how good they sounded on the playback.
Musical energy is everywhere at carnival time. “You hear the marching bands go by,” says Mercurio, moving us through a Mardi Gras day, “and then you hear a lot of hiphop.” There hasn’t been a
Mardi Gras for twenty years that hasn’t had a banging track by beatmaker / rapper MANNIE FRESH sounding wherever you go. “You can’t talk about New Orleans hiphop without talking about MANNIE
FRESH,” says Ellman. His beats have powered literally tens of millions of records, and he and GALACTIC have been talking for years about doing something together. On “Move Fast,” he’s together
with multiplatinum gravel-voiced rapper MYSTIKAL, who is, says Ellman, “somebody we’ve wanted to collaborate with forever. It was a coup for us.”
Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years
been a smoking Brazilian drum troupe in town: CASA SAMBA, formed at Mardi Gras in 1986. They’re old friends of GALACTIC’s from their early days at Frenchmen Street’s Café Brasil, and the two
groups joined forces for a new version of Carlinhos Brown’s “Magalenha,” previously a hit for Sérgio Mendes.
But the Brazilian influence on CARNIVALE ELECTRICOS goes beyond one song. “When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls,” says Mercurio.
The group contributed three Brazilian-flavored instrumentals, including “JuLou,” which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the “walking krewe”
that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became “O Côco da Galinha,” they decided it would be right for MOYSÉS MÁRQUEZ, from the São
Paulo underground samba scene, who collaborated with them and composed the lyric.
If you were GALACTIC and you were making a carnival album, wouldn’t you want to play “Carnival Time,” the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in
New Orleans doesn’t know this song. The remake features a new performance in the unmistakable voice of the original singer, AL “CARNIVAL TIME” JOHNSON, who’s still active around town more than
fifty years after he first gained Mardi Gras immortality.
The closing instrumental, “Ash Wednesday Sunrise,” evokes the edginess of the post-party feeling. The group writes, “There is the tension you feel on that morning -- one of being worn out from
all of the festivities and one of elation that you made it through another year.”
But, as New Orleanians know, there’s always another carnival to look forward to, and GALACTIC will be there, playing till dawn and then going to breakfast before parading.
***
GALACTIC is a collaborative band with a unique format. It’s a stable quintet that plays together with high musicianship. They’ve been together so long they’re telepathic. But though the band
hasn’t had a lead singer for years, neither is it purely an instrumental group. GALACTIC is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing,
they have the luxury of experimenting. So on their albums, they do something that’s unusual in rock but not so controversial an idea in, say, hiphop: they create something that’s a little like a
revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the GALACTIC sound universe.
Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on GALACTIC albums, they
especially like to work with artists who are still underground. If you listen to CARNIVALE ELECTRICOS together with the two previous studio albums (YA-KA-MAY and FROM THE CORNER TO THE BLOCK),
you’ll hear the most complete cross-section of what’s happening in contemporary New Orleans anywhere – all of it tight and radio-ready.
Despite the electronics and studio technology, GALACTIC’s albums are very much band records. Mercurio explained the GALACTIC process, which starts out with the beat: “The way we write music,” he
says, “we come up with a demo, or a basic track, and then we collectively decide how we’re gonna finish it.” The result is a hard-grooving sequence of tight beats across a range of styles that
glides from one surprise to the next.
What pulls all the diverse artists on CARNIVALE ELECTRICOS together into a coherent album is that one way or another, it’s all funk. GALACTIC is, always was, and always will be a funk band.
Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, it’s all funk at the bottom, because funk is the common musical language, the
lingua franca of New Orleans music. Even zydeco can be funky -- and if you don’t believe it, check out “Voyage Ton Flag,” the album’s evocation of Cajun Mardi Gras, in which Mamou Playboy STEVE
RILEY meets up with a sampled Clifton Chenier inside the GALACTIC funk machine.
Theryl DeClouet - vocals
Erik Jekabson - trumpet
Robert Mercurio - bass, photography
Stanton Moore - drums
Mark Mullins - trombone
Jeff Raines - guitar
Eric Traub - tenor saxophone
Dan Prothero - programming, producer, engineer, editing, design, mixing
Raymond Pumilia - photography
Tracklist :
1. Go Go
2. Welcome To New Orleans
3. Something's Wrong With This Picture
4. Funky Bird
5. Stax
6. Church
7. On The One
8. Mystery Tube
9. Doo Rag
10. Percussion Interlude
11. Everybody Wants Some (Part 1)
12. Everybody Wants Some (Part 2)
13. Everybody Wants Some (Part 3)
14. Goodnight
http://www.markdeclivelowe.net
http://www.myspace.com/markdeclivelowe
http://mashibeats.blogspot.com
Origine du Groupe : North America
Style : Alternative , Acid Jazz
Sortie : 2011
By Fusicologist from http://fusicology.com
‘Renegades’ is the highly anticipated new LP from Mark de Clive-Lowe (MdCL), out on November 15th on Tru Thoughts. Recently unveiled in a special feature on long-time supporter Gilles Peterson’s
BBC Radio 1 show, the impressive album is also gaining early props from KCRW’s Jason Bentley and other international tastemakers.
MdCL’s ninth solo long player under his own name, ‘Renegades’ finds the prolific producer and musician bridging a transition between two continents, and mining a rich seam of personal creativity
and inspiration, having recently relocated to Los Angeles after ten years in London.
Alongside his own impeccable skills on beats, basslines, synths and more, the record features a cast of guest performers from both sides of the Atlantic, including vocalists nia andrews (Common,
Janelle Monae), Tawiah (Warners) and Bembe Segue; percussionist extraordinaire Sheila E (Prince); bassist Pino Palladino (D’Angelo/The Who); strings virtuoso and Flying Lotus collaborator Miguel
Atwood-Ferguson; drummers Lil’ John Roberts (US), with whom MdCL describes having a musical ‘telepathy’, and Richard Spaven (UK); guitarist to the stars Mike Feingold; and new label-mate Omar,
the king of UK soul. Working with the cream of international musicians is something MdCL relishes: “Everyone that’s been brought in on this record is free to be themselves. I love hearing people
come together and bring their own vibe to something.”
The overall sound of the album hinges on MdCL’s energetic, pristine production – club cuts flavoured with soul, funk, tech-Afrobeat and Latin twists topped with fine, organic songwriting;
all orchestrated by MdCL showcasing his ability to meld the science of beat-making with musicianship. He sums up the approach: “My whole thing with this kind of production is balancing
electronics and programming with organic and live musicianship. I love for that line to be blurred almost to the point where you don’t know which is which.”
Having long been a first-call collaborator for a wide range of artists, MdCL has lent his skills as producer, performer, composer and more, to over 250 records by Jill Scott, Jody Watley, Leon
Ware (Marvin Gaye/Michael Jackson), Dame Shirley Bassey, Sandra St. Victor (The Family Stand/Chaka Khan), and a host of others. He recently collaborated on the “Fairplay” single by Zed Bias,
which is all over BBC R1 and 1Xtra. Current extra-curricular projects include monthly LA residencies such as Church, a jazz night he runs at Angel’s in Santa Monica featuring surprise guests;
Scored, in which he directs an improvised soundtrack project to classic films; and the house music party Body Rock, with Sole Channel’s Alix Alvarez and Nef Nunez. Studio projects include the
Rotterdam Jazz Orchestra Big Band Project; album production for Sy Smith and Sandra St Victor; and collaborating on Jody Watley’s new LP. He is also going back to his roots, playing jazz piano
for the celebrated Dwight Trible (former singer with Pharoah Sanders).
Tracklist :
01. Alabi (Prelude) 0:35
02. Get Started feat. Omar & Sheila E 4:37
03. The Why feat. Nia Andrews 04. (Just Wanna) 0:24
05. Under Orders feat. Tawiah 4:23
06. We Renegades feat. Nia Andrews 3:28
07. Interlude I 1:13
08. Hooligan feat. Nia Andrews 4:54
09. Just Wanna Lil’ More 0:37
10. Push feat. Bembe’ Segue’ & Nia Andrews 4:03
11. Emergency feat. Nia Andrews 4:11
12. Everything feat. Oversoul7 3:01
13. Interlude ll 1:22
14. Alabi feat. Sandra Nkake 4:12
http://www.markdeclivelowe.net
http://www.myspace.com/markdeclivelowe
http://mashibeats.blogspot.com
Origine du Groupe : North America
Style : Alternative , Acid Jazz
Sortie : 2011
By Fusicologist from http://fusicology.com
‘Renegades’ is the highly anticipated new LP from Mark de Clive-Lowe (MdCL), out on November 15th on Tru Thoughts. Recently unveiled in a special feature on long-time supporter Gilles Peterson’s
BBC Radio 1 show, the impressive album is also gaining early props from KCRW’s Jason Bentley and other international tastemakers.
MdCL’s ninth solo long player under his own name, ‘Renegades’ finds the prolific producer and musician bridging a transition between two continents, and mining a rich seam of personal creativity
and inspiration, having recently relocated to Los Angeles after ten years in London.
Alongside his own impeccable skills on beats, basslines, synths and more, the record features a cast of guest performers from both sides of the Atlantic, including vocalists nia andrews (Common,
Janelle Monae), Tawiah (Warners) and Bembe Segue; percussionist extraordinaire Sheila E (Prince); bassist Pino Palladino (D’Angelo/The Who); strings virtuoso and Flying Lotus collaborator Miguel
Atwood-Ferguson; drummers Lil’ John Roberts (US), with whom MdCL describes having a musical ‘telepathy’, and Richard Spaven (UK); guitarist to the stars Mike Feingold; and new label-mate Omar,
the king of UK soul. Working with the cream of international musicians is something MdCL relishes: “Everyone that’s been brought in on this record is free to be themselves. I love hearing people
come together and bring their own vibe to something.”
The overall sound of the album hinges on MdCL’s energetic, pristine production – club cuts flavoured with soul, funk, tech-Afrobeat and Latin twists topped with fine, organic songwriting;
all orchestrated by MdCL showcasing his ability to meld the science of beat-making with musicianship. He sums up the approach: “My whole thing with this kind of production is balancing
electronics and programming with organic and live musicianship. I love for that line to be blurred almost to the point where you don’t know which is which.”
Having long been a first-call collaborator for a wide range of artists, MdCL has lent his skills as producer, performer, composer and more, to over 250 records by Jill Scott, Jody Watley, Leon
Ware (Marvin Gaye/Michael Jackson), Dame Shirley Bassey, Sandra St. Victor (The Family Stand/Chaka Khan), and a host of others. He recently collaborated on the “Fairplay” single by Zed Bias,
which is all over BBC R1 and 1Xtra. Current extra-curricular projects include monthly LA residencies such as Church, a jazz night he runs at Angel’s in Santa Monica featuring surprise guests;
Scored, in which he directs an improvised soundtrack project to classic films; and the house music party Body Rock, with Sole Channel’s Alix Alvarez and Nef Nunez. Studio projects include the
Rotterdam Jazz Orchestra Big Band Project; album production for Sy Smith and Sandra St Victor; and collaborating on Jody Watley’s new LP. He is also going back to his roots, playing jazz piano
for the celebrated Dwight Trible (former singer with Pharoah Sanders).
Tracklist :
01. Alabi (Prelude) 0:35
02. Get Started feat. Omar & Sheila E 4:37
03. The Why feat. Nia Andrews 04. (Just Wanna) 0:24
05. Under Orders feat. Tawiah 4:23
06. We Renegades feat. Nia Andrews 3:28
07. Interlude I 1:13
08. Hooligan feat. Nia Andrews 4:54
09. Just Wanna Lil’ More 0:37
10. Push feat. Bembe’ Segue’ & Nia Andrews 4:03
11. Emergency feat. Nia Andrews 4:11
12. Everything feat. Oversoul7 3:01
13. Interlude ll 1:22
14. Alabi feat. Sandra Nkake 4:12
