Eliphino makes a triumphant return after three years out the game. Picked by Jackmaster for his new DJ Kicks mix, ‘Isabella Road’ takes things peak time foreboding synths and heavyweight drums. Released on his new label Joy In Repetition, co-run with Andy Lemay (Dimensions).
Caribbean boogie classics from the godfather of Cadence-Lypso.
With his group Exile One, Gordon Henderson was instrumental in creating the Cadence-Lypso style. Fast forward a few years and he was in Air studios in Montserrat, where – along with new group the U-Convention – he recorded the sessions that would make up this release. ‘The Highest Bidder’ is a long-time rare groove classic, a no-messing-about slice of early 80s funky boogie. On the B-side “Hard World” ups the tempo for an over-looked slice of modern soul.
On first listen you’d be forgiven in thinking that go-it-alone producer GUTS‘ forthcoming album Eternal is one of those magic represses collating a bunch of 1970s diamond-in-the-ruff tracks you knew nothing about. The textures are beautifully rich, bringing in elements of funk, soul, hip-hop, Cuban, African and Russian sounds; but rather than stick to GUTS’ usual method of pitting five-second samples against his own beats machine production, the upcoming album showcases tracks that unite around a common theme of live instrumentation from a superstar collective of musicians and singers.
Recorded via intense studio sessions whilst GUTS was on tour around France and Europe, the album darts between strong melodies and hybrid blends of genre, with each track forming a different universe to step into and let the groove wash over you.
Today we’re premiering our favourite track off the LP; a wild soul-jazz gem that pulls on the ears instantly with voluptuous saxophonist trills and a disco-inclined female choir melody line that seems to have fallen right off of a dusty 1970s rare vinyl. The summer-morning horn lines ring out with bold distinction, the sweet bassline purrs in the background and live rhythm sends ripples of groove in every direction. With Fender Rhodes keys dancing amongst anthemic vocals that trickle through and ring out like a dusty disco classic, ‘Eternal’ seems a very fitting album title.
GUTS’ Eternal is available in the UK on July 29th via Heavenly Sweetness.
Lehman’s music has always drawn from disparate sources in distinctive ways, but with Sélébéyone, he takes an unexpected turn: drawing, from modern jazz, Senegalese rap, live electronics, and underground hip-hop, to create a unique form of urban experimentalism. The project stands apart from almost every other jazz/hip-hop collaboration that has preceded it: this is not an album where live musicians imitate repetitive samples in 4/4 time. Instead, the musical elements – shifting rhythms, electro-acoustic harmonies, and contemporary sound design – are wholly integrated with the lyrical content. Add to that the unique juxtaposition of English and Wolof that permeates the record, and one gets the sense of the development of a whole new musical universe.
And though the music on Sélébéyone may seem like a radical departure from Lehman’s more recent ensemble work, it is actually the product of his long-standing engagement with experimental hip-hop and its surrounding community. Lehman’s critically-acclaimed octet has released arrangements of seminal hip-hop tracks, like Wu-Tang Clan’s “Living In the World Today” and Camp Lo’s “Luchini.” And his professional ties with Meshell Ndegeocello and other pioneering members of the contemporary R&B community date back to 2004: most recently Lehman was a featured soloist on Ndegeocello and Jason Moran’s 2014 Blue Note release All Rise.
Production. Kaytranada and BADBADNOTGOOD
The wait is finally over. For De La Soul fans, especially those that have been there since the trio’s seminal album, 1989’s 3 Feet High and Rising, the news of De La Soul’s ninth studio album coming to fruition was like a dream come true. After raising over $600,000 through a Kickstarter campaign, they had more money to make an album than they’ve ever had before. The question is: Did it help or hinder?
In many ways, De La Soul’s long-awaited and the Anonymous Nobody is not really a De La Soul album. The classic trio take centerstage on their own on only five of the album’s 18 tracks. Granted, it was produced by the New Yorkers, but with over 10 features crowding the booth, the voices of Dave Jolicoeur, Kelvin “Posdnous” Mercer, and Vincent “Maseo” Mason often drown in the deluge. On “Drawn”, for example, Swedish dream pop groupLittle Dragon overpower, the vocal contributions from De La Soul confined to a 30-second window.
Tam Tam Tam Reimagined is the second album to come from Gilles Peterson’s Sonzeira project. Overseen by the legendary DJ and record collector, this second album picks up where the first one left off. Where Brasil Bam Bam Bam brought together the all-stars of Brazilian music, this album focuses on a key moment in the country’s history; a record made at a crucial moment serves as the jumping off point for an open-ended project of musical reimagining.
Peterson’s fascination with Brazilian music goes way back. Since his early days as a club DJ and pirate radio host, records from Brazil have taken prime position in his record bag. Be it the endless rhythmic possibilities – from batacuda to samba and bossa nova – or simply the sheer excitement channelled through much of it, the music has always spoken to him.
Of all those records released in Brazil, however, the search for one in particular has taken on a real significance over the past couple of years: José Prates’ Tam Tam Tam. An accompaniment to a stage production financed by the Brazil Culture Ministry, it was created to promote the country’s culture to the world. Hearing the album – including its prototype of ‘Mas Que Nada’ that became a Sergio Mendes mega anthem – through Ed Motta during the making of the last Sonzeira album, it sparked a long hunt to get his hands on a copy (including a plea live on Channel 4 news).
With a mint copy successfully procured – not long after Jonny Trunk’s re-issue championed by Record Collector mag – it was taken as a starting point for creating something new. Working with production associates Will Horrocks from UK bass-meddling duo LV and Rob Gallagher from 2 Banks of 4 – along with appearances from drumming prodigy Moses Boyd and Kassin from Rio’s Orquestra Imperial – they picked out phrases and snippets to build songs and tracks around.
Released in 1957, Tam Tam Tam celebrates a distinctly Afro-Brazilian culture that was later suppressed following a coup in the early 1960s that led to a military dictatorship. From sparkling recreations of the atmospheric original to reverb-laden dub, the album takes a magpie-like approach to re-interpreting the most exciting aspects of Prates’ postcard of Brazil to the world. Tam Tam Tam Reimagined forms another part of the Sonzeira project’s aim to take apart and reassemble the pieces of what makes Brazil’s music so unique.
Check out ‘Nós Precisamos de Você’ below. The album is released on CD, vinyl and digital on July 15th.