Burkinabe Dance Music of the 70's. Amadou Traoré (1944 –2014), better known as Amadou Balaké, was a popular singer from Burkina Fasso. During his career, which lasted over 50 years, Balaké recorded and performed in different parts of West Africa as well as New York and Paris. In the early 21st century, he was a member of Senegalese salsa band Africando. His music combined different traditions from his home country, primarily Dioula (Mandé) and Mossi, as well as Afro-Cuban music.
This album features the work of revolutionary jazz artists who created new radical music infused with the values of Martin Luther King, Malcolm X and the civil rights movement of the 1960s. Self-determination, economic power and musical freedoms explode as the avant-garde collided with Black Power and Afro-centricity.
Dans la série Return Of Jazz Funk, chez P-Vine Records, le volume consacré au label Black Jazz Records.Explored 70's styles such as Funk, Free Jazz & Soul Jazz. Big Up!
Black Jazz Records was a jazz record company & label founded in Oakland by pianist Gene Russell & percussionist Dick Schory. The label was created to promote the talents of young African American jazz musicians and singers and released twenty albums between 1971 and 1975. Black Jazz Records was considered at the time to be one of the first jazz label started by an African American. The legacy of Black Jazz Records has been kept alive by reissues of its albums, remixes and samples by DJ's and hip-hop artists.
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...
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.
Soul Jazz Records latest excursion into the Crescent City vaults delves deep into the roots and history of the Voodoo world of New Orleans Funk. Packed to the brim with serious break-heavy, heavyweight funk tunes from classic New Orleans artists including Eddie Bo, Betty Harris, Dave Bartholomew, Johnny Adams and Eldridge Holmes (with the ever-present Allen Toussaint and The Meters as always behind the scenes). There is also a host of rare cuts from a number of lesser-known second line New Orleans artists, whose fame rarely reached past the walls of the city, including Gus ‘The Groove’ Lewis, James K-Nine, Norma Jean, Bob French, Chuck Colbert, Zilla Mayes and Joe Haywood. In the 1960s the syncopated beat of New Orleans Funk developed out of a gumbo mix of New Orleans local flavours – rhythm and blues, Mardi Gras Indians, the street percussion Second Line of the Jazz Funeral and Marching bands, Caribbean rhumba and mambo rhythms – all of which are in full effect. Even Zydeco, the rhythm and blues offspring of Louisiana Cajun music, had the funk as the King of Zydeco, Clifton Chenier, shows us here. New Orleans music and Voodoo both have their roots in the African-American free black and slave gatherings held at Congo Square from the 18th century onwards. Here Voodoo king Doctor John (the original one!) and Voodoo queen Marie Levaux held court over their followers, and here also could be heard the first sounds of New Orleans jazz music. Soul Jazz Records latest album describes how these two cultural forms are inextricably inter-related.
This new episode of New Orleans Funk subtitled 'Two-Way-Pocky-Way, Gumbo Ya Ya and the Mardi Gras Mambo' features more classic New Orleans funk in all its forms.
The syncopated percussion beat of the second line jazz parade bands, the secret language and dances of the Mardi Gras Indians, the mambo and latin rhythms of Professor Longhair and the city’s many piano players help make New Orleans a unique musical melting pot.
Red Onion : la ligne de Bass la plus Deep de Richard "Groove" Holmes. Samplé Par Jeru The Damaja.
Big Up à Hesope!
LA BASS DANS TA FACE
"...To all my brothers claiming that they‘re Hispanic and Latino You’re African, Aztecs, Indian and Taino Now that I showed you how this nations gained their wealth I hope I keep your interest so check it out for yourself" Jeru The Damaja
Brother Jack McDuff – Oblighetto (Blue Note) Freddy McCoy – Gimme Some (Cobblestone) Vince Guaraldi – The Beat Goes On (WB) Soulful Strings – (I Know) I’m Losing You (Cadet) Hugh Masekela – Bajabula Bonke (Healing Song) (UNI) Gabor Szabo – Gypsy Queen (Impulse) Jeremy Steig – Howling for Judy (Blue Note) Merl Saunders – Julia (Fantasy) Gary McFarland – Fried Bananas (Verve) Sly Stone – Rock Dirge Pt1 (Woodcock) Bob James – Nautilus (CTI) Brian Augers Oblivion Express – Inner City Blues (RCA)
One more time! Funky16 Radio Sound selected by Larry Grogan.
1. Capitols – Afro Twist Time (Karen) 2. Slim Harpo – Dynamite (Excello) 3. Bill Cosby – Hikky Burr Pt1 (UNI) 4. Brother Jack McDuff – Hunk of Funk (Blue Note) 5. Donald Height – Life Is Free (Hurdy Gurdy) 6. Stevie Wonder – We Can Work It Out (Tamla) 7. John Phillip Soul & His Stone Marching Band – That Memphis Thing (Pepper) 8. NF Porter – Keep On Keeping On (Lizard) 9. Joe & Everyday People – Sleep Walk (Brooks) 10. Dyke & The Blazers – Funky Walk (Original Sound) 11. Mongo Santamaria – We Got Latin Soul (Columbia) 12. Mickey & the Soul Generation – Football (Maxwell) 13. Johnny Talbot & De Thangs – Pickin’ Cotton (Jasman)
The Hi-Fly Orchestra means all-acoustic jazz with a totally infectious & heavy dancegroove that always gets the crowd on the floor!
The heavy and rough rhythms are played by drums, double-bass, congas and piano, supporting the wonderful horn-lines by sax and trombone. The high musicality of the 6 members of THFO and the original sound of their instruments assure the most authentic perfomance with absolute high-energy playing!
THFO was founded in 2005 by Jerker Kluge and Florian Riedl. Though played by young musicians, who are influenced by all kinds of todays music, the intent was to create music that sounds as hip as the classic jazz records of the blue note era. Music to dance, without DJ´s, electronics or samples, just pure acoustic music!
Spoken Word & Dub Poetry by The Legendary Harlem Trio. Produced by Prince Fatty.
Roots, Rock, Reggae. Une réussite.
"The Last Poets fête ses 50 ans avec un nouveau brûlot militant sur les rythmes reggae de Prince Fatty. Né dans le parc Marcus Garvey d'East Harlem, le 19 mai 1968, en pleine ère Black Power et après l'assassinat de Martin Luther King, The Last Poets est devenu un groupe phare de l'époque avec sa poésie urbaine déclamée sur des percussions africaines. Inspiré par le free jazz, la soul et la politique de la fierté noire, le groupe, à l'instar de Gil Scott Heron, a influencé la planète hip hop (Notorious B.I.G., NWA, A Tribe Called Quest, Dr. Dre…) et continue de rayonner sur la culture urbaine avec ses slam politiquement explosifs dans une Amérique sous tension depuis l'élection de Donald Trump. Les auteurs des fameux When the Revolution Comes ou Niggers Are Scared of Revolution reviennent après un long silence de 20 ans et publient l'album Understand What Black Is. Les pionniers du rap ont aujourd'hui un flow plus posé, mais leurs textes rageurs n'ont en revanche rien perdu de leur intensité. Chacun y va de sa litanie en parlant de ses propres expériences de l'oppression et développant une soif fervente voire révolutionnaire de changement social. Les textes claquent sur les riddims reggae et dub de Prince Fatty auquels vient s'ajouter un groove digne des meilleures productions rocksteady et de blaxploitation apportées par le magicien de Nostalgia 77 Ben Lamdin. L'album, qui sort sur le label Studio Rockers, sera également accompagné d'un single accompagnant les remixes de la chanson titre "Understand What Black Is" de Mala (collectif du sud de Londres Digital Mystikz) et des innovateurs musicaux de Dance UK Dego et Kaidi." par Guillaume Schnee - FIP
"The Matador" est une pure merveille d'afrobeat. "The Lost Moon Of Bellaris" est plus axé sur l'Ethio-Jazz.
Melbourne Afro Power. Big Up.
"Subterranean trance-like movements of afro-funk mashed-up with psychedelic guitar lines and scatterings of broken brass is the order and Papa Chango delivers like no other. Unique in this thriving Melbourne scene they take it to the gritty edge, melding banging technique with playful exuberance. This Melbourne based 8-piece brings audiences to a sweat on packed dance-floors, evoking a hidden spirit within.
2012 saw the release of their breakthrough album, 'The Matador'. Taking the listener on a sonic journey over barren plains and rugged terrain, 'The Matador' is the "soundtrack to the film yet to be filmed."
In 2016, their latest release, 'The Lost Moon of Bellaris' continued the sonic evolution of the band, pushing further out into the vastness of the void, propelling you towards distant, unexplored territories.
Featuring newest member Nat Grant on vibraphone and percussion, along with special guests, the band have let their ethio-jazz influences take hold and delivered an album that explores the darkness of space and the lightness of life. From the luscious horn and vibraphone melodies of the title track, through to the deep, subterranean rhythms of 'Nightmares on Sax' and the straight dance floor swagger of 'The Son and The Snake'. Once again, texture and form are at the forefront of the release with 8 tracks of cinematic, instrumental badness." Papa Chango Presentation
Studio One Funk : "The album is a first for Studio One and Soul Jazz as it is compiled of mainly unreleased material from the vaults of Studio One. This CD shows how American Funk influenced Jamaican artists as heavily as Soul music had been an influence in the Rocksteady era and Rhythm and Blues in the Ska period."
Jamaica Funk : "The music on this album contains original Jamaican funk and soul mainly released on 45s released in the years 1972-78. These cross-cultural musical gems exist on account of the hidden triangle of communication between 3 countries: America, Jamaica and Britain.
The first link is the influence of American music on that of Jamaica from the late-1950s onwards; the second is the way in which, from the 1960s onwards, the new emerging market for Jamaican music in the UK influenced the styles of reggae coming out of Kingston.
As a phase in the history of black American music, funk and soul spans from the mid-1960s to the mid-1970s (roughly between rhythm and blues and disco); but throughout the world, funk and soul was also absorbed into the musical melting pot of many different countries: from the afro-beat of Fela Kuti, the boogaloo of Tito Puente to the diverse sounds emanating from Kingston in the late-1960s and early-1970s.
The connection between funk, soul and reggae is one of the strongest, all three containing a certain rawness and concentration on rhythm. Everyone knows the influence of rhythm and blues on ska and of soul music on rocksteady - both fostered by the powerful US radio stations in New York, Miami and New Orleans beaming the music across the Atlantic..." Soul Jazz Records
On reste au Nigeria et en 1973, peut-être l'année la plus funky!
Dans la série "album qui déboite", la saga continue...
Marrying traditional African rhythms with the bold arrangements and highly melodic sounds of American pop, soul, funk and R&B. Orlando Julius and the Afro Sounders, recorded between 1970 and 1973 in Ginger Baker's studio in Lagos, represents Julius working as a composer and producer with more creative freedom than his earlier recordings, recording 24 tracks with a close-knit group of musicians. The result is an album that stands as a testament to Julius' genius, and one that sounds just as good as the day it was recorded.
Blue Note Classic Records: Funky Jazz Series Part. 4
Richard Grooves Holme - Comin' On Home - 1971 Grant Green - The Final Comedown - 1972 Horace Silver - Total Response (The United States Of Mind / Phase 2) - 1972 Donald Byrd - Street Lady - 1973 Eddie Henderson - Heritage - 1976
One Of The Best Producer with the Greatest Reggae Singers. Pure Roots Reggae. Love It!
A Place Called Jamaïca Part.2 nous offre une sélection très pointue de 17 titres reggae roots enregistrés entre 1967 et 1979 aux studios WIRL, Dynamic, Treasure Isle, Joe Gibbs et Channel One. Tout commence par l’hallucinant Great Musical Battle sur le riddim Take Five, Derrick Morgan y commente un match de boxe virtuel entre Clement ‘’Coxsone’’ Dodd et Bunny Lee (déclaré vainqueur par KO). S’ensuivent des reprises surprenantes tel que le classique des Beatles I Wanna Hold Your Hand interprété par Glen Adams, mais aussi le langoureux Gypsy Woman de Curtis Mayfield repris par Slim Smith and the Uniques. Lloyd Clarke, quant à lui, offre une interprétation personnelle et réussie du Summertime de Gerschwin. A Place Called Jamaïca Part.2 propose également d’autres pépites, telles que le classique Wreck Up My Life de Leroy Smart, la version de No Woman No Cry de Taper Zukie, ou encore The Village, un des seuls morceaux que Gregory Isaacs ait enregistré pour Bunny Lee. Sans oublier quelques belles productions réalisées pour d’autres artistes populaires de l’époque : Barry Brown, Max Romeo, Cornell Campbell, Horace Andy, Dillinger et Big Joe! Ainsi, cette compilation est une excellente démonstration des nombreux talents de producteur de Bunny ‘’Striker’’ Lee, qui ne l’oublions pas est également à l’origine du morceau Better must come de Delroy Wilson, devenu l’hymne de la campagne électorale pour le PNP (People’s National Party) de Michaël Manley en 1972. Annietha Gastard (Campus FM, 2006)
Heavy Funk, Afro & Soulful beats. High Quality Work.
Comme on aime chez FunkyGrooves.
Since forming as a quartet 15 years ago, Speedometer has been at the forefront of the funk and soul scene. Their music has been on the playlist of every funk and soul DJ dropping their heavy funk, latin or soulful beats on dancefloors around the world. Their music has also been the backdrop for countless TV shows and even Hollywood film trailers and has inspired a new a generation of funk bands too.
The early days were small gigs, playing Meters covers and Meters-inspired originals (hence the name). As the attention grew, so did the band, from a quartet up to the 10-piece outfit seen today. On the way, there have been countless singles, a load of albums, collaborations with some of legendary names in soul and funk, and toured all over Europe and Japan.
Des Hits Soul, Funk à la sauce Jamaicaine. Furieusement FunkyGroove.
Un régal / delightful!
"The influence of black American music on the development of Jamaican music over the past fifty years has been nothing short of profound, but while the significance of fifties R&B and sixties and seventies soul has been regularly highlighted, the the impact of funk was largely overlooked until the release of this long over-due collection
Featuring some of the funkiest sounds laid down in Kinston during the late sixties and early seventies, the compilation highlights a mixture of original and cover versions by some of the reggaes greatest musical talents.
Among those gettin it on down on this celebration of Jamaican funk are such luminaries as Bob Marley, Lee Perry, Toots & the Maytals and Ken Boothe a varied cast that reflects the far-reaching influence of hard-hitting American R&B on the islands music industry." Trojan Records
New Thing! tells the story of Deep Jazz in the USA. Jazz Up!
Post-Civil Rights, Post- Martin Luther King and Malcolm X, Post-John Coltrane, this album shows how radical musicians developed musically, politically and spiritually at this time.
New Thing! shows how these musicians redefined themselves and their music to present a new Black American music that encompassed Jazz with Eastern music and philosophies, space travel, classical music, ballet and African music alongside other American musics such as Gospel, Funk, Soul and Blues. The period of music covered on New Thing is from 1970-1985. (One exception and a forerunner to much of this music, the Sun Ra track "Angels and Demons at Play" is from 1957! and clearly shows a man ahead of his time in his music and ideas). New Thing! features heavyweight Jazz artists such as Alice Coltrane, Art Ensemble of Chicago, Sun Ra and Archie Shepp alongside many other less-well known, but equally important artists such as Rashied Ali (who played alongside John Coltrane) and Stanley Cowell (who started one of the first independent labels for this music, Strata-East Records, along with Charles Tolliver).
The Best & Most Exciting Jazz Label : The Finest in Jazz since 1939. Alfred Lion & Francis Wolf. The Greatest Sound Engineer / Rudy Van Gelder The Most Beautiful Jazz Covers / Francis Wolf & Reid Miles
Totally Addictive!
Voici une série (en 4 parties) d’album originaux sur la période la plus Funky du Label : Lou Donaldson - Alligator Bogaloo 1967 Lou Donaldson - Mr Shing A Ling - 1967 John Patton - Accent On The Blues 1969 Lou Donaldson - Hot Dog - 1969 Reuben Wilson Love Bug - 1969
Petite presentation de ce groupe croate, en anglais, trouvée sur leur bandcamp :
Psychedelic sounds of eastern funk mixed with esoteric teachings of Tarot!
"Tarot funk" is an album that blends symbolism of Tarot with the musical heritage of '70s Anatolian rock, Thai funk, Cambodian psych-rock of the ‘60s, Dub and Afro-funk in one eclectic new genre called - Tarot Funk!
Each song on “Tarot Funk” is written for one specific card, thus combining music with Tarot's symbolism throughout the tracklist, with a purpose of creating a narrative which every listener must interpret for himself (download includes a special text guide to help you navigate).
nemanja decided to tell his story by using nine Tarot cards and compose music that is tied to the symbolism and meaning of each card. Set together, music, cards and text guide are referring to the full series of events that had occurred last year in his life. While he is recounting his tale, nemanja needs you to help him make sense of it all. While listening to the music and studying the cards, he is hoping that you will be able to transform his story; create your own meaning of these events, find patterns in your life, and by the end, your own story. If, for some reason, you are not successful in finding meaning in all of this, just let the grooves free your ass and your mind will follow! I wish you all a pleasant journey!
Far East Suite est l’une des pièces les plus singulières et passionnante de l’œuvre d’Ellington. Elle fut écrite par le Duke et Billy Strayhorn à la suite d’une longue tournée en 1963 et 1964 qui emmena le groupe en Syrie, Jordanie, Inde, Sri Lanka, Pakistan, Iran, Liban, Turquie et Japon. Cette suite est construite comme un voyage qui guide l’auditeur dans divers paysages urbains et ruraux. Loin des clichés orientalistes, la musique se veut évocatrice plutôt qu’illustrative. Peu d’exotisme donc mais une partition nourrie d’impressions et de sentiments longuement infusés avant composition. Au final, une œuvre dans laquelle l’influence orientale se fond avec délicatesse dans l’écrin ellingtonien. Bon voyage !
Raphael Saadiq - Good Man ('Luke Cage' official soundtrack) Superbe OST, pour la série je ne me prononce pas, mais pour la bande son : wow ! Adrian Younge, j'en ai déjà parlé, mais pas Ali Shaheed Muhammad, qui n'est autre que l'un des membres fondateurs d'A Tribe Called Quest...
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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