L'ENTOURLOOP - John Holt (edit) Men Next Door Petite mixtape qui m'a bien fait triper, vu qu'elle mixe pas mal de nos références hip-hop et reggae, et qu'en plus y'a des petites touches d'humour bien placées...Bless.
Excellente compile de cet ancien membre d'Antibalas, dont voici une petite bio trouvée sur streetnsports.fr :
Chico Mann est un multi-instrumentiste-producteur-voyageur dans le temps, qui à l’aide de boîtes à rythmes, synthétiseurs et guitares a rempli à lui seul le trou béant de plus de 30 ans entre l’afrobeat, l’afrocuban, le freestyle et la musique électronique.
Chico Mann a grandi dans une famille musicale de New York et dans le New Jersey. Son père était le propriétaire d’un label de musique latine basé à Hell’s Kitchen, à New York, où le jeune Chico a pu observer les tenants et aboutissants de l’industrie, tout en travaillant sa guitare et son piano. C’est à ce moment-là qu’il commença à explorer ses racines musicales, avec des influences telles qu’Afrika Bambaata, Lisa Lisa, Willie Colon, Celia Cruz ou Fela Kuti. Ignorant son père, qui lui conseillait de se tenir éloigné du business, il trouva pourtant sa voie à l’âge de 12 ans.
C’est à l’hiver 2004 que Chico commence à assembler des morceaux pendant son temps libre sur la tournée avec Antibalas. Ce qui commença comme du beat making lo-fi devint rapidement « Manifest Tone Volume 1 », une leçon musicale qui démontrait tout ce qu’était la musique de New York City, Miami, Cuba et l’Afrique. Classique immédiat, il représente les premiers pas d’une carrière incroyale.
Chico Mann a créé une machine à voyager dans le temps qui mêle à la fois les sons de l’Afrobeat des 70’s et du Freestyle et de l’Afro Cuban des 80’s, comme si Chico reprenait tous ces styles là où Stevie B, TKA, George Lamond, Sa-Fire, Information Society, Noel, Cult Jam ou Exposé les avaient laissés.
A Stunning ‘Melting Pot’ Mix Of Underground Rock, Synthetic Electronics, Funk, Jazz And Latin American Rhythms
Soul Jazz Records’ new Venezuela 70 is the first-ever album of its kind to take a look at the groundbreaking experimental rock music made in Venezuela and created in the 1970s – during a time when the country was both a modern cultural and economic powerhouse in Latin America on account of wealth from its vast oil supplies. Venezuela lies at the northern part of South America, with neighbouring Colombia to its west and Brazil to its south. The north coast borders the Caribbean. Whilst much of 1960s Venezuelan rock music emulated British and USA styles, the 1970s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan. These Venezuelan artists looked to the future while exploring their country’s own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, Secos e Molhados (all of which feature on Soul Jazz Records’ earlier Brazil 70). A similar parallel can be made in Europe with the experimental German groups of the 1970s (Can, Amon Duul, Harmonia, Neu all featured on Soul Jazz Records’ Deutsche Electronische Musik) who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity. Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.
Premier et unique album pour ce groupe , dont voici la chronique qu'a sorti Numero Group lors de la réedition de l'opus sur leur label en 2014 :
Funk’s answer to the Five Blind Boys of Alabama, Florida’s Montgomery Express stood at the crossroads of politically conscious soul and mystically awakened dance music. Comprised of two blind musicians in their twenties and a teenage rhythm section, their lone LP was cut in 1972 for Orlando’s Dove label, then reissued on Folkways two years later. Although the label usually steered clear of soul music and anything remotely commercial sounding, Montgomery Express tapped into Folkways’ Guthrie-cum-Chambers Brothers nerve.
The Sorcerers - Suur Tõll On reste sur le même label que le précédent post, avec quelques musiciens qui font partie des deux projets, avec cet album paru en 2015, dans un esprit afrobeat/ethio-jazz très lent mais tout de même groovy, du meilleur effet. Bless.
A 9-member funk group from Detroit, Michigan, who only released 3 singles on the small Movement label before breaking up. The group was noted for the young age of the members, the oldest member was 17 year-old bandleader Clarence Bennett while guitarist Mark Justice was just 15. Luv N' Haight released a compilation of all of their recordings: "Funky Disposition" - The Complete Propositions Collection!
Prelude is the eighth studio album by Brazilian keyboardist with the signature track « Also Sprach Zarathustra » an arrangement of the theme from « 2001: A Space Odyssey ». Prelude would become the most successful recording for Deodato and CTI Records.
Recorded September 1972 at Van Gelder Studios. Engineer by Rudy Van Gelder.
Eumir Deodato. Born the 22nd of June 1942 (or June 21, 1943) in Rio de Janeiro, Brazil and by 1967 moved to the USA. Musician, composer, arranger & producer. Known for his 1979-1982 production work for Kool & the Gang & composing TV & film scores. Primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music. Mainly, his records can be categorized as pop/jazz or crossover jazz. His successes as an original artist (keyboards) occurred mainly in the 1970s...
Nigeria in the 1970s had one of the biggest recording industries on the continent as well as one of the most diverse. The fusion of African rhythms and culture with jazz, funk, soul and rock was an Africa wide phenomenon but nowhere was it more prolific and active than the cities and dance floors of Nigeria. These twelve rarities highlight how the Afro – Sound influenced all areas of the music scene and how it progressed throughout a very creative and energetic decade. From Funky Afro-Jazz, Soul & Afro-Highlife to big, Dance Floor Afro-Beat Nigeria led the way in West Africa at the time.
Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.
This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.
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Des nouveautés, des classiques, des raretés, un seul mot d'ordre : du groove ! Liens dans les commentaires, tout en mp3 320, ou en FLAC. Si un lien est mort, dites-le moi !
Novelties, classics, rarities, a single word: groove!Links in the comments, mp3 320 or FLAC. If a link is dead, let me know !
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