MOS DEF x Axelrod + Coltrane: LIVE at Cape Town Jazz Fest

Frolab presents:

MOS DEF’s Encore performance at Cape Town Jazz Fest

Mos intros with Coltrane’s “Love Supreme” into an unreleased song “M.D. (Doctor)” featuring David Axelrod’s “Holy Thursday” played live by The RCDC Experiment (Robert Glasper, Chris Dave, Derrick Hodge, Casey Benjamin)

Keeping in line with the effects on Coodie & Chike’s “Flowers” promo, we created a ‘visualizer’ for this unreleased song… for the fans!

Captured by Cognito for Frolab

ExperimEdit by Jelizen for Frolab

another moment brought to you by the Culture Capture Champs™ – http://Frolab.com

The Ecstatic

coming 06/09/09

(Downtown Records)

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OSW: Run To Me

Unemployment is not the move- sorry for the slowness. Here we go….

Old School Wednesday – Run To Me
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Full podcast/mix available here. [Click to play or right click-save as to download.

You Should Be Listening To: RoQ’y TyRaiD

I’m not really into MySpace anymore. I’m more of a Facebook guy now. But the one good thing I can say about MySpace is it’s connected me with some of the hottest underground artists on the planet. It me that with all the garbage we hear on the radio and see in videos, that there is a caliber of artist that record companies mystifies should be clamoring for, yet don’t.

Let me introduce you to the artist formally known as J Roq (now, you can call him RoQ’y TyRaiD). Flowink reps RoQ heavy because he’s one of the first credible lyricists that showed us love in our early days dealing on MySpace. Dropping us exclusive tracks for mixes, drops and keep us on his radar, RoQ has been one of those artists who could flow ontop of test pattern and make it hot. He’s been off the grid for minute, working on his next major project. Be sure to keep your eye out for RoQ’y TyRaiD. The mixtape will be droppin’ real soon.

Todd “The Big La” Kelley

Official Press Release:

The wait’s over, baby! Introducing RoQ’y TyRaiD, a.k.a. ‘Hip-Hop’s Answer’! Twenty-two years of age, RoQ’y, (government name Jacob Raiford), has been striving to achieve a level of artistry many have thought to have faded away in the wake of the new millennium.  While the title of  ‘lyricist’ is often misused in the Hip-Hop industry, anyone who’s ears are blessed with the opportunity to hear this young man’s unique mixture of wordplay; wittiness; originality;  brazen, yet smooth delivery; controversial subject matter, and charisma will proclaim RoQ’y TyRaiD a ‘lyricist’s lyricist’ without a shadow of doubt.

Having grown up across Southern California, and relocating to Phoenix, Ariz at the age of 18, he has used his placement in several vastly different environments to develop a unique outlook on life, which he boldly broadcasts throughout his music he dubs ‘Realirap’, a No-BS, common sense, joe-the-plumber-esque subgenre of Hip-Hop music everyone can and will relate to.  Songs such as  ‘Podium’, ‘Turn That Sh– Off’,  and the awe-inspiring ‘Zeitgeist’ and ‘Addendum’ are all revolutionary in their own right.

Only rapping for five years, RoQ’y TyRaiD under his former moniker J RoQ has already accumulated over 20,000 sales in the Independent Street Market across the South West region of the United States and abroad, using every resource available from his own hands to the United Postal Service. Donning the name RoQ’y TyRaiD in late 2008, he has completed yet another stage in his evolution. Embark with him on the journey to restore Hip-Hop music to it’s former glory!

‘RoQ Is Everywhere!!’

MySpace: www.myspace.com/jroqmusic

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Guest Mix: DarrenKeith’s MyLoveForMusic: Twilight ( May 2009 Extended Edition)

This is a special podcast because this is a special month for me…May. I was born this month and I have been told that it is better to give than receive so this podcast I have put together show about 90 minutes of music from talented artists from seasoned artists and artists which star is on the rise.

The cool thing about loving different genres of music for me is that when I began this podcast in 2007 is that right off the back I began meshing different style of music because I did not want my shows to be painted in a corner. Although I chose that path it took a minute to build a following and at times I found myself wondering if I made the right decision in going this direction but now it seems that I have come to realize that I am who I am when it comes to my taste in music and when you stick to your passion it will work out in the end.

This show is a combination of different genres/different artists that otherwise would never be in the same line up but through the wonderful world of the internet and the open minds of people I can bring this eclectic of music. Enjoy

Be Blessed, Be Safe,
& Have a Wonderful Weekend/Work Week

~DarrenKeith

To Listen[Click Here]right click to download
To Subscribe to my podcast, copy this rss feed…copy and paste into iTunes

Tracks/Artists/Albums(or website)

1. The Camera Never Lies - Michael Franks{from “The Camera Never Lies}
2. Another Country - Shadowfax{from “What Goes Around: The Best of Shadowfax“}
3. Back To Life - Corneille{from “The Birth of Cornelius“}
4. Try To Understand - City Rain{from “This I Will Remember“}
5. So Lovely – Amber Ojeda{from “myspace.com/amberojeda“}
6. Shanghi Express - The Shanghai Restoration Project{from”The Shanghai Restoration Project“}
7. Vector Sector - Axiotronic{from “Of Latitude And Longitude“}
8. Saunter – Fave
9. Pudong New District -(feat. Jennifer Kim) The Shanghai Restoration Project{from “Reinterpretations“}
10. Flying Spiders of Bablyon - Atomic Skunk{from “Binary Scenes“}
11. Wide Asleep - Michael Manring{from “Drastic Measures“}
12. When Luvrzs Come (Together) - Fave{Big La remix}
13. Human Nature - Miles Davis{from “You’re Under Arrest“}
14. State of the Heart - Rick Springfield{from “Tao“}

Bonus Track…
Jewel - Musrat Fateh Ali Khan{from compilation LP “World Dance Beat“}
How I Remember You - Michael Franks{from “Dragonfly Summer“}
Just Got off The Phone With You - City Rain{from “This I Will Remember“}
(I Know) I Love You - Fave{Big La remix}
Chance of Rain - T.J. Brown{Big La remix}
Robot Placism - Axiotronic{from “Of Latitude And Longitude“}
Anything But No - Fave{Big La remix}

intro underscore music: todd kelley
outro underscore music: nicolay

“Thank You’s” to these artists & podcasters…
Amber Ojeda
Atomic Skunk(Rich Brodsky)
Nicolay
Mike Spinka
Natlie
My Podcast Brothers and Sisters

follow me: twitter.com/myloveformusic & Facebook(myloveformusic)
email me:myloveformusic08@gmail.com

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Classics: “Stay This Way” – Brand New Heavies

I remember how blown away I was when the Brand New Heavies dropped their first CD in 1992. The fact that this Euro-Soul group was popping up on everyone’s HIp-Hop list was a little confusing but pleasantly surprising. Since then, they’ve become one of my favorite bands. “Stay This Way” is my favorite song off of their self-entitled first CD.

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The Background Flow, Volume 10

An impromptu instrumental Hip-Hop mix, brought on my my man Fave for the Friday Favecast @ fridayfavecast.com. It’s only been a couple months, but these mixes are some of the most popular that I put out.

This month, we got some flowink favorites in Samon Kawamura, Powell, Damu The Fudgemonk and Big La vs. Todd. Along with some Popular beatsmiths like GE-ology, Madlib, Nicolay, AFTA-1 as well as others. I hope you enjoy it.

01. Out-Take (0806-002) – Samon Kawamura
02. Coded Language – Powell
03. Voice Of Autumn – Nujabes
04. Tiden Flyver (Remix) – AFTA-1
05. Full Moon – Blueprint
06. City – Nicolay
07. Holistic (Euphoric Beats) Instrumental – Ge-Ology
08. Who I Be (Rough Cut) – Big La vs. Todd
09. Butta Fat Vibes – Slakah The Beatchild
10. The Sun – Fusion Unltd.
11. Chi Worldwide – SoulStice & SBe
12. Bonita Applebaum – A Tribe Called Quest
13. Yeayeayea – fLako
14. Two For Pay Jay (No Dough, No Show) – Madlib
15. Selective Hearing – Kev Brown
16. Puttin’ In Work – Damu The Fudgemunk
17. Lil Mo Coke – Bulljun
18. Shots – 9th Wonder
19. Don’t Go – The ARE
20. Chance Of Rain – Big La vs. Todd

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Melanie Fiona Says “Give it to Me Right”

It was back in January when yours truly first mentioned Toronto native Melanie Fiona on this site; she was included in the 2009 edition of “Who’s Next: the Future of R&B.” Back…

Top 5: You Can Call Me Steve

During the 1960s, KATZ in St. Louis was one of the top black music stations in the country. Several of its personalities remain legends in St. Louis today among those who remember the era, including Robert B. Q., Donny “Soul Finger” Brooks, and Lou “Fatha” Thimes. During the first part …

Album of the Week: El Viaje, Pedro Giraudo Jazz Orchestra

El Viaje
Pedro Giraudo Jazz Orchestra
Great Latin Jazz composers derive inspiration from a variety of sources, and when it strikes, they rely upon elements from their musical toolbox to clearly express their thoughts and emotions. Strong melodies often form the core of a piece’s mood, expressing the heart of the composer’s inspiration and guiding the piece’s overall structure. A composer’s ability to tap into different types of melodies from classical themes and folk songs, to jazz lines broadens their palette and allows them to develop more powerful themes. When the composer harmonizes the melody, they take large strides towards setting the piece’s mood. A basic set of chords can set a light and fun tone while a distinctly modern harmonic structure, full of complex note clusters, establishes a serious and sometimes dark mood. With these pieces in place, the instrumentalists then serve as paints on a canvas, with different combinations of brass, woodwinds, and rhythm section players shading the pieces with different colors. The integration of solid musical concepts like dynamic contrast, changing timbre, and crisp articulations hone these ideas even further, adding clarity to the piece. Rhythmic structures allow a composer to make both overt and subtle cultural references or simply add intensity and spirit to a piece. When a composer clearly captures their concept and then they choose the right tools to communicate the message, they always create powerfully moving music. Argentinean bassist and composer Pedro Giraudo found a deeply effective inspiration in his personal life, which he beautifully translates into a rich and intriguing large ensemble work on El Viaje.

Expressing Emotions In A Rich Four-Movement Suite
The album’s centerpiece, “El Viaje,” a four-movement suite, focuses upon the different feelings and emotions that Giraudo experienced during his wife’s pregnancy and the birth of his first child. Pianist Jess Jurkovic introduces “Tramo I” with a contemplative piano introduction based upon an implied tango feel that grows into a rich wave of sound as the band enters. Giraudo pushes the band into a sense of urgency with a repeated melodic pattern as the brass players force bold rhythmic patterns over racing saxophone lines. Tenor saxophonist Luke Batson captures the song’s underlying tone with a tension filled statement that combines lush melodicism with a driving intensity. Giraudo creates a striking contrast with a brash funk drumbeat, waves of brass, and slippery saxophone melodies as the band explodes into “Tramo II.” Trombonist Mike Fahie leaps into his solo with a funky swagger that matches the rhythm section, developing his improvisation into longer complex lines as the wind players push him with thick background lines. A constant stream of winding saxophone lines support trumpet player Jonathan Powell, who drives his solo into a climax with crackling high notes. Alto saxophonists Todd Bashore and Will Vinson thoughtfully travel through a series of reflective melodies on “Tramo III” that intertwine with a delicate sensitivity, building potent textures. Baritone saxophonist Carl Maraghi enters the mix with a careful walk through his improvisation, letting his deep soulful tone speak volumes about the song’s message. The rhythm section infuses the piece with interactive excitement as the band grows behind Maraghi, encouraging him into a frenzy of wild runs and daring improvisatory choices. The saxophones and brass converse with contrasting lines over a funk drumbeat on “Tramo IV,” starting the piece with a boost of attention-grabbing energy. Vinson jumps into his improvisation with an enthusiastic vigor, winding around the groove until his saxophone explodes into a passionate stream of squelching post-bop intensity. The band transitions from Vinson’s solo into a brash combination of pounding rhythmic figures, tense melodies, and free improvisation, ending the suite on a screaming high. Giraudo creates a deeply effective combination of pieces with El Viaje, fueling the four movements with intricate writing, interesting musical ideas, and outstanding performances.

Transparently Exposing His Musical Personality
Several other compositions emanate from Giraudo’s family life, inspired by his wife and child. Bold brass figures thrash against a bombarding rhythm section attack on “El Bajonazo,” shrinking into a quiet conversation between Jurkovic and the potent sensitivity of Giraudo’s bowed bass. After a quick burst of big band strength, saxophonist Alejandro Aviles engages the band with a meditative statement that quickly grows into an intensive attack of urgency and passion. As the power of the full band returns, Giraudo finds a balance between structure and chaos in his writing with bold, distinct figures and moments of free improvisation that send the piece into an exciting finish. Batson takes center stage on clarinet as he interacts with Jurkovic, Giraudo, and percussionist Tony De Vivo in an intimate and joyful melodic reading on “Yarulina,” a dedication to Giraudo’s wife. The piece moves into a decidedly more serious tone as the brass and saxophones spin long melodic lines, playing together and between phrases, only to fall back into a harmonization of Batson’s original melody. Jurkovic thoughtfully begins his improvisation against a thin texture, developing into fuller ideas as the band interjects short punchy rhythmic figures and quiet chordal patches. Batson weaves a contemplative melody through thick walls of sound on “Nachgeschmack,” finding his way through sometimes dissonant chords or classic jazz voicings. Trumpet player Tatum Greenblatt rises from this moody setting with a confident sense of lyricism, asserting himself with clean and clear melodies that push his sound into the forefront. Giraudo closes his thought on this piece with some engaging writing, combining constant saxophone vamps, rhythmic brass, and dissonant harmonies into a powerful mixture. Trombonist Ryan Keberle, Giraudo, and Bashore each introduce pieces of the melody on “Punto de Partida” until the rhythm section battles against a sea of slurred trombones and rich textural writing. Keberle boldly leaps out of this foundation into an assertive improvisation that drives rapid melodies and repeated figures against a sparse rhythm section. Bashore follows Keberle’s lead with a fiercely strong improvisation that pushes the band into a dramatic climax with streams of outside notes, squelching screams, and quick runs. Giraudo’s writing consistently provides interesting moments and emotional outbursts that transparently expose his musical personality in a highly personal fashion.

Delivering An Emotionally Charged Masterpiece
Giraudo crafts a beautiful statement on El Viaje, building music that screams with passion, excitement, fear, joy, contemplation, serenity, and so much more in a deeply moving expression of humanity. Memorable melodies and rich harmonies anchor the foundation of Giraudo’s compositions, but there’s a deeper thoughtfulness that flows throughout the work. Each note and every chordal relationship relates directly back to Giraudo’s main concept, and regardless of each piece’s complexity, Giraudo holds onto the basic simplicity of his primary idea. He holds a firm grasp upon the idea of texture, and manipulates the color in his band with precision and skill. He understands how racing saxophones or harsh brass cluster effect our emotions and he insightfully twists these musical pieces into dramatic statements. Giraudo touches upon Argentinean music forms, but never lets them drive the work; they remain a support mechanism in the background, constantly riding through the music as a reminder of Giraudo’s cultural background. The band attacks the music with the same conviction that Giraudo applied to the writing, resulting in a bold and confident performance that bursts with integrity. They tear through the music’s complex technical demands, but they stay closely aligned with Giraudo’s emotional expression. Giraudo allows them to take part in his idea, allowing ample room for improvisation, both on an individual and group level. Giraudo creates a fitting tribute to his inspiration on El Viaje, delivering an emotionally charged masterpiece that establishes him as a skilled composer with the insight, integrity, and artistry to contribute significant works to the Latin Jazz world.

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Check Out These Related Posts:
Album of the Week: Ven Baila Conmigo (Come Dance With Me), The Latin Giants of Jazz
Album of the Week: Midnight Jazz Affair, Edy Martinez & His Jazz Orchestra
Album of the Week: Áurea, Geoffrey Keezer
Album of the Week: Roots Propaganda, The Paul Carlon Octet

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Guest Mix: KB Burke’s Quickmix: Back In The Game

RIBS TPTD: ‘Sax Appeal’ 5 – Great Sax 2…

Wow, here we are at the end of April already. This month sure went fast. Well, that means that today the RIBS kitchen is serving up the last of it’s ‘Sax Appeal’ entrees that we’ve been cooking up all month long. We hope that you have enjoyed this look at the many different players of this instrument both past and present.

Since most of the sax-a-teers we’ve heard from this month have been culled from the 50s, 60s and 70s, I thought this time around I’d feature some of the "newer" sax players on the scene today. That means that today’s mix will feature:

Eric Marienthal
George Howard
Dave Koz
Kirk Whalum
Kim Waters
Najee
Pamela Williams
Euge Groove
Richard Elliot
Kenny G
Ronnie Laws
Maceo Parker

I have to admit, I’ve really enjoyed focusing on a particular instrument like this and exploring the various artists who play it. I think there will be more explorations like this in the months ahead here on RIBS.

OK! Another round of "great sax" for ya to close out ‘Sax Appeal’ month as we present to you…

"Sax Appeal 5 – Great Sax 2"

RIBS TPTD: ‘Sax Appeal’ 5 – Great Sax 2

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Right-click here to download .MP3 file (111Mb, 1:19:25)

Download playlist .PDF file here (right-click)

Playlist: (song – artist – album [time])

1. Compared To What – Eric Marienthal – Got You Covered [3:42]
2. Grazin’ In The Grass – George Howard – When Summer Comes [4:45]
3. Do You Know The Way To San Jose? – Pamela Williams – The Look Of Love [4:48]
4. All I Do – Kirk Whalum – For You [5:02]
5. (Sittin’ On) The Dock Of The Bay – Kim Waters – All Because Of You [4:12]
6. Can’t Hide Love – Najee – Najee’s Theme [5:09]
7. Going In Circles – Maceo Parker – Funkoverload [6:55]
8. Pink Panther Theme – Dave Koz – At The Movies [3:38]
9. Sax Attack – Kenny G – Gravity [5:02]
10. New Jack Saturday – Eric Marienthal – Easy Street [5:09]
11. Get ‘em Goin’ – Euge Groove – Just Feels Right [5:44]
12. That’s The Way Love Goes – Kirk Whalum – For You [4:41]
13. In The Groove – Richard Elliot – Jumpin’ Off [4:16]
14. Just Be My Lady – Kim Waters – All Because Of You [4:49]
15. Chillaxin – Euge Groove – Just Feels Right [6:06]
16. You Don’t Know – Pamela Williams – Sweet Saxsations [4:56]
17. Why Do You Laugh At Me – Ronnie Laws – Pressure Sensitive [3:59]

Have you missed any of the RIBS mixes we’ve posted? If you have there is now an easy way to catch up on what we’ve been up to. Just go check out the new RIBS Archives Page to see a very easy to read listing of every post (and music mix) we’ve uploaded to the site.

Enjoy!

Technorati Tags: soul, RIBS, TPTD, Rhythms In Black Satin, playlist, mp3, mp3blog, soul music, jazz, Eric Marienthal, Dave Koz, Pamela Williams, Euge Groove, George Howard, Kenny G, Kim Waters, Kirk Whalum, Maceo Parker, Najee, Richard Elliot, Ronnie Laws

6 Latin Jazz Tracks That Feature Guitarist Edgardo Miranda

Guitarists are few and far between in the Latin Jazz world, but Edgardo Miranda used his vast array of skills to make a career as a guitar player in the genre. His mastery of both Afro-Cuban and Puerto Rican rhythms formed the foundation of his playing, helping him spin authentic phrases in improvisations and beyond. His knowledge went beyond common salsa forms though; Miranda dug deeply into Cuban folklore and Puerto Rican jibaro music. Miranda knew the songs, traditional licks, and standard guajeos that shaped the style, and he integrated all of that into his guitar playing. He played the Puerto Rican cuatro at an equally high level, finding a place in traditional bomba and plena performances. Miranda fluently worked through jazz changes, integrating bebop lines, complex harmony, and thematic development with an equal artistry. Rock and funk rhythms played a significant role in Miranda’s voice as well, allowing him to walk into the contemporary music world at any moment. He expertly shaped his tone to fit the context of his performance, moving from clean, jazz inflected tones to dirty and loud distortion. Taste and keen artistic judgment always drove Miranda’s work – although he felt comfortable in many worlds, he never forced conflicting aesthetics upon a musical setting. These are the signs of an outstanding musician, regardless of instrument, and as a result, Miranda found a regular spot in many pieces of New York’s Latin Jazz world.

Despite his acceptance in New York’s Latin Jazz circles, Miranda appeared sporadically on Latin Jazz albums, mostly playing a supporting role. In many cases, musicians would form a more traditional ensemble including a rhythm section and wind players for their albums; Miranda would enter the mix for one or two tunes. Some artists would integrate Miranda to add a modern edge to their sound, referencing rock energy or electric textures with the guitar. Miranda could play with a fusion intensity or a jazz subtlety, so his guitar playing could add several different layers of color to a recording. Artists often included Miranda’s cuatro skill into their pieces that drew upon Puerto Rican bomba or plena. Very few guitarists played cuatro skillfully, and even fewer musicians could play the instrument with an authentic feel and approach; Miranda covered all these bases, so he was a perfect choice for any recording with a traditional Puerto Rican feel. Still other times, musicians would choose to use Miranda simply because he was an outstanding soloist, knowing that he would add a meaningful statement to his work. He found an abundance of work for many reasons; he simply acted as a guest in most cases rather than a regular band member.

I’ve collected several examples of Miranda’s work across a wide spectrum of Latin Jazz albums. Each recording demonstrates a different strength inherent in Miranda’s playing and showcases his versatility as a musician. Individually, each track stands as a prime example of his artistry, musical taste, and individual voice. As a collection, these tracks paint a more complete picture of Miranda the guitarist and Latin Jazz giant. Take a minute to check them out and remember this important figure in Latin Jazz.

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1. “Gumbo” – Cortijo & His Time Machine, Rafael Cortijo
Miranda took a major role in the production of Cortijo & His Time Machine, and his unique skills allowed him to build a modern sound upon Cortijo’s authentic blend of jazz, bomba, and plena. “Gumbo,” a piece co-written by Miranda, illustrates this point strongly, with a contemporary funky sound built upon a standard percussive foundation. As a fat electric bass sound rides a solid backbeat, Miranda’s funky strumming offsets the bold Fender Rhodes sound. Miranda spontaneously bursts into extended single note lines that race in unison alongside the wind players, pushing the arrangement into a powerful momentum. There’s a healthy helping of jazz improvisation with solos from most musicians, including Miranda. His heavily distorted tone cuts through the ensemble with running lines and melodic ingenuity. Miranda continues to fill around melodies and other soloists, providing a consistent interactive voice throughout the track. The song evolves through a series of tempo and feel changes, walking the line between funk and traditional Puerto Rican styles. Miranda holds down the foundation throughout the song, allowing some deep insight into the fusion of modernity and tradition that made Cortijo & His Time Machine such as classic album.

2. “Evidence” – Ya Yo Me Cure, Jerry Gonzalez
When Jerry Gonzalez recorded Ya Yo Me Cure in 1979, he was still refining the concept of the Fort Apache Band, using a larger ensemble, which frequently used Miranda on guitar. Even at this point, Gonzalez walked the tightrope between jazz and Afro-Cuban music with a rare fearlessness – here, he combines the melodic shape of Thelonious Monk’s “Evidence” with the rhythmic structure of the classic Frank Emilio Flynn descarga “Gadinga, Modongo Y Sandunga” over a ferocious rumba. The group strolls through the melody with a confident looseness, moving into passionately wild improvisations from Gonzalez on trumpet and pianist Hilton Ruiz. Miranda hangs in the back throughout this piece of the song, cleverly comping unobtrusively around Ruiz’s active chordal work. After Ruiz storms through a bebop infused solo, Miranda enters his improvisation with long interesting lines that reference Charlie Christian more than Arsenio Rodriguez. Miranda smartly plays with a dry acoustic tone, outlining the changes with a knowledgeable approach that comfortably fits into Afro-Cuban rhythmic structures. “Evidence” displays another side to Miranda’s musicianship that finds him easily playing in a more traditional jazz context.

3. “On Broadway” – On Broadway, Tito Puente
Puente rarely used guitar on his Latin Jazz recordings, so the inclusion of Miranda served as a major complement to the guitarist’s skills. Pianist Jorge Dalto establishes the familiar vamp from the 1960s hit, giving Miranda a chance to engage in a brief improvisation. Puente’s rhythm section maintains an authentic cha cha cha while Miranda infuses the melody with all the funky grease of the original recording. The rhythm section starts pushing the groove slightly as Miranda improvises carefully around the melody. After a break, Miranda switches to cuatro for a traditional montuno and then a guitar solo that walks the line between contemporary licks and the cha cha cha’s rhythmic language. As Miranda falls more deeply into Afro-Cuban phrasing, the rhythm section explodes into double time for an exciting flute improvisation from Mario Rivera. The band returns to the original feel, giving Miranda an opportunity to restate the main theme. The overall track shines as a feature for Miranda, who plays with a refined ability to work authentically among one of the music’s best rhythm sections while referencing popular music.

4. “Patato’s Night Dance” – El Hombre, Carlos “Patato” Valdes
Miranda had the ability to take even a short appearance and make it into a memorable event, as evidenced in this track from conguero Carlos “Patato” Valdes’ album El Hombre. Pianist Edsel Gomez leaps into a slightly askew groove that adds tension into the underlying intensity of the rumba. The wind players create a contrast with a flowing melody over the driving percussion, led by the soft sound of Dave Valentin’s flute. It’s a delicate balance that the band firmly holds in place with skillful musical control. Once the band does explode into a frenzied solo section, it’s Miranda who leads the charge with an authoritative series of improvisational runs. His voice quickly jumps above the mix, cutting through the band’s thick sound with a biting tone and quick runs. The wind players return after only a short spot for Miranda, moving into a unison winding line and an extended solo for Valentin. Miranda sits out most of the song, but this track shows his keen musical sensibility leading him towards a short but impactful appearance.

5. “Ponte Pa’l Monte” – My Roots & Beyond, William Cepeda
Miranda spent years exploring traditional Puerto Rican music with Los Pleneros De 21 (and beyond), so his cuatro playing fit perfectly into trombonist William Cepeda’s concept of Afro-Rican Jazz. As “Ponte Pa’l Monte” opens, Miranda improvises tipico lines around an explosive trumpet before falling into a unison melodic line with pianist Eric Figueroa. Miranda’s cuatro trades places in the forefront with the jazz tinged horn section, the churning percussion, and Cepeda’s trombone, creating an interesting textural mix. While bassist Ruben Rodriguez takes a solo, Miranda wisely disappears into the background, allowing Rodriguez to take center stage. After an explosive percussion break, Miranda assertively states his territory with rapid runs that quickly demonstrate his chops. The onslaught of notes continues throughout the solo, yet Miranda never falls into the trap of virtuosity. He creates jagged rhythmic emphasis with the beginning and ends of his phrases that wrap tightly around the bomba sica foundation. This track finds Miranda in a combination of traditional Puerto Rican music and jazz, another context where his broad skills become just the right tool for the job.

6. “Oferere” – Chango Te Llama, Daniel Ponce
Throughout Chango Te Llama, Ponce maintains a traditional connection to Afro-Cuban rhythms and jazz harmony, but there’s a distinctly modern sensibility due to the inclusion of synthesized sounds and guitar textures. Ponce creates an ominous soundscape against the consistent pulse of bata drums on “Oferere,” transitioning into an edgy rumba with jazz changes and a memorable melody. The rhythm section establishes a driving vamp that serves as the foundation for several soloists, including trumpet player Michael Mossman. Tenor saxophonist David Sanchez tears through an intensive solo, transitioning into Miranda’s improvisation that wisely builds contrasts with a subdued entrance. Miranda takes his time developing his idea, playing melodically around the changes with a clean, reverb-drenched tone. A tasteful display of chops leads Miranda smoothly back into the bata drums and the main melody. Miranda displays artistic taste throughout the track, showing his ability to contribute to a Latin Jazz setting with a smart finesse.

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Check Out These Related Posts:
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
8 Latin Jazz Tracks Featuring Manny Oquendo
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
Orlando Lopez (1933 – 2009): 5 Albums To Help Remember Cachaito

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Quiktraks (60 sec audio) – Day 2

Hey crew….

Here’s a lil sumthin’ I was messin’ around with this evening. No loops this time. This track was originally composed in an old Mac sequencer called Master Tracks Pro. I programmed the drums using my Yamaha RY30 drum machine. I also used a Yamaha TX-81Z for the bass synth, and Yamaha TG-55 for the synth pad. I took the MIDI sequence and imported it in to Logic Express 7.2 and used all EXS24P sampler voices. The track name, No Need For Clocks, was for an artist I was working on a demo for (this is what I came up with, though she eventually did something different with the song).

I seem to be into producing chilled beats lately… I wonder why…

The bounce audio came out real rough, and I dont know why. There are no plugins at all on the tracks, but I did say I will post whatever I come up with, good and not so good. Note to self: find out why the bounce is bad.

Background Notes:

-Recorded with: Logic Express 7.2.2
-Computer: Mac Powerbook G4 Aluminum
-Drums: EXS24P Sampler Hip Hop Kit
-Bass Synth: EXS24P Sampler Analog Bass
-Synth Pad: EXS24P Sampler Filtered Dark Analog Pad

My personal tracks are on my Myspace page
The Lab is here.

Thanks!
F!

If You Missed It: SoulPersona Interview at soulinterviews.com

Morgan “SoulPersona” Howell is one of my favorite producers out there. You may not have his name in your mouth yet, but it’s only a matter of time. Found and operator of DigiSoul Recordings, he’s worked with the likes of R.A.M.P. (Roy Ayers Music Project), Jocelyn Brown, Replife, Peachy Salthouse, and well as others.

http://www.digisoul.co.uk
http://www.myspace.com/digisoulmusic

[ blog post from soulinterviews.com ] Soulpersona’s debut LP “Soulacoaster” is a reassuringly heroic reflection of the multi-faceted soul behind the persona. Born in Cardiff, Wales, Soulpersona began his relationship with music in a farmhouse attic with a record player, listening to everything in his parents record collection, playing along with an improvised drumkit made of cardboard boxes and ice cream tubs. As years progressed, soulpersona became infatuated by 70’s Soul, Raregroove, Funk and Jazz recordings, his own brand of musical expression was soon to follow, culminating in the outstanding debut that is “Soulacoaster”.

Soulpersona has dedicated his life to soul music, a decision that paid off in 2001, when he caught the attention of Jocelyn Brown, who at the time was auditioning producers. Playing his trademark Raregroove sound in a room full of House Music producers, Soulpersona went on to work for Jocelyn as her Creative A&R and as personal assistant to Oliver Cheatham.

Six years on, Soulpersonas work has been both complimented and complemented by his peers, which include Jocelyn Brown, RAMP, Harvey Fuqua (of Motown), Patti Austin, Leon Ware, Oliver Cheatham and Bluey (Incognito) to name a handful . This recognition is well deserved, for there is a control demonstrated in Soulpersona’s music, particularly in the production that implies a far deeper understanding of music than he lets on. The music has a directness that is both disarming and uplifting at the same time, presenting a stark reality that laces the flawless grooves with an edge that can only be described as raregroove soul.

At present Soulpersona is working on producing RAMPs new LP as well as recording with Jocelyn Brown, Darien (Reel People) Punk Pappa, Nude Continuum, Princess Freesia and many, many more. He hopes to take his live raregroove show on the road this summer and is currently taking deejay and performance bookings.

For interview/Promo requests, bookings and any other info: email:digisoulmusic@gmail.com

The Digisoul Band:
Keys: Michael Rendall aka Jackanory
Bass: Punk Pappa
Guitar: Richard Molyneux
Drums: SoulP
Percussion: Gabriel Nuzzoli

Playlist:

01 – Soulpersona feat. Darien -  Can’t Hide (Soulacoaster 2009, promo)
02 – Soulpersona feat. Replife – Memory Lane (Soul P’s Original Mix) (Digisoul Pres. Soulpersona & Jackanory 2009, promo)
03 – Tashan – Read My Mind (Soulpersona Remix feat. Punk Pappa 2008, promo)
04 – Soulpersona feat. Princess Freesia – Candy Wrapper (Soulacoaster 2009, promo)
05 – Soulpersona – Love Is In Your Eyes (The Lapdancer 2009, promo)

Soul Unsigned Commercial

Background music during interview:

Soulpersona – Doin’ It (The Lapdancer 2009, promo), MFSB – My Mood, Dre Rock – Escapism (Soulpersona Remix), Big Daddy Kane – Smooth Operator, Peachy Salthouse – Back & Forth (Soulpersona Remix), Soulpersona feat. Jocelyn Brown (Remix), Cool Million feat. Nathalie Dorra – Going Out Tonight (Digisoul’s Underground Dub Mix), Ramp – Daylight, Ramp – Daylight (SoulP Remix)

More information:
Soulpersona on MySpace
Digisoul Recordings
Digisoul on MySpace
Soulpersona on Facebook
Contact Soulpersona

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OSW- Do It Any Way You Wanna

Work’s been crazy, but here we go…finally

Song Stuck In My Head: I’m Decending From Heaven Above

In honesty, this is one of my favorite pop songs of all-time. Yes, I’m a sucker for a random electric guitar solo and some cutesy lyrics about being in love. Sue me. Even after not hearing it for years and re-discovering it about a week ago, I still can’t help but think this is pop perfection.

Looking Back Upon The Latin Jazz World’s Losses In 2009

2009 is still young, but already it has been a memorable year. We’ve some outstanding music from established Latin Jazz artists, who continue to take Latin Jazz and push it into the future. Marlon Simon’s Afrocuban & Live, Wayne Wallace’s Infinity, and Claudio Roditi’s Brazilliance x4 are just a few of the albums from familiar faces that jump to the forefront of 2009’s Latin Jazz world. Younger artists created engaging pieces of art with Latin Jazz albums that honored tradition and explored their personal identities. Scott Oakley’s Canción Para Mi Amor, Grupo Falso Baiano’s Viajando: Choro e Jazz, and Yuri Juarez’s Afroperuano all stand as creative statements from newer voices on the Latin Jazz scene that need to be heard. Fresh faces entered the world of Afro-Peruvian Jazz, giving us some incredible albums, such as jazz pianist Geoffrey Keezer’s Áurea and Manante’s Para Los Engreidos. With eight months left in the year, we can anticipate a wealth of great music; yet, as we look back upon the first piece of 2009, there’s a sobering reality that needs to be recognized.

The Latin Jazz world felt the sorrow of loosing several major figures, who effected broad aspects of the music world from coast to coast. Timbalero Manny Oquendo passed away, leaving behind a massive legacy of recorded works that touch large parts of the jazz and salsa worlds. His work with Eddie Palmieri’s La Perfecta, Grupo Folklorico Y Experimental, and Conjunto Libre stands as some of the best Latin Jazz and salsa in the music’s history. Promoter Ralph Mercado died in March, after spending a lifetime spreading the word about New York’s vibrant Latin Jazz and salsa scene. He ensured the recording of important albums from Eddie Palmieri, Tito Puente, Juan Pablo Torres, Michel Camilo, and more, as well as forming an all-star group that created two memorable albums. Bay Area Saxophonist Ron Stallings died recently, after following his passion for Latin music into a variety of influential San Francisco-based groups. His performances with John Santos and the Machete Ensemble, Que Calor, Wayne Wallace, and John Calloway helped fill several recordings with a substantial voice. New York guitarist and cuatro player Edgardo Miranda passed away after years of high quality musical service alongside some of New York’s finest musicians. Always a reliable sideman, Miranda performed on important albums from Jerry Gonzalez, Cortijo, Tito Puente, William Cepeda, and more. It’s a long list considering we’ve only experienced four months of 2009, and let’s hope that it ends here.

With so many artists leaving us in such a short time, I thought that we should look back upon some of their contributions and remember these artists in a thoughtful light. LJC has covered many aspects of the lives and music attached to these figures, and we’ll continue to honor their memories. As we look into the future, it’s important to remember our past and stand upon our roots as we allow the music to grow. With this in mind, I’ve added some tracked down some videos related to each of these artists and provided links to earlier LJC coverage of their lives. As we enjoy all the new music around us, let’s take a minute to reflect upon all the important work done by our predecessors!

———-
Manny Oquendo Performing With Conjunto Libre

News Clip On The Machete Ensemble, Including Footage of Saxophonist Ron Stallings

Guitarist Edgardo Miranda Performing With Tito Puente

Ralph Mercado’s Tropijazz All-Stars Performing “Bembe”

———-
Links to LJC Articles On Oquendo, Mercado, and Stallings:
Manny Oquendo (1931 – 2009): A Career Based On Tradition And Innovation
8 Latin Jazz Tracks Featuring Manny Oquendo
Manny Oquendo’s Influence: Libre Members Working As Bandleaders
Remembering Ralph Mercado (1941 – 2009): Tropijazz All-Stars On Video
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)

———-
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RGMS (28th April 2009)

MP3 Download (Right click, Save Target As…) 280409-RGMS
(117 mins, 96 Mb, 112 kbps)

• PLAYLIST
• Heaven & Earth – I Really Love You (1981) That’s Love]
• Funk Deluxe – Tender Lovin’ (1984) [Funk Deluxe]
• Billy Boomer – I Like What She ’s Doin (1982)
• Norman Connors – She’s Gone (1981) [Mr. C]
• Evelyn King – What Are You Waiting For (1981) [I'm In Love]
• Lakeside – It’s Got To Be Love (1981) [Keep On Moving Straight Ahead]
• Jocelyn Brown – If I Can’t Have Your Love (1981)
• Kwick – Let This Moment Be Forever (1980) [Kwick]
• Cecil Parker – Really Really Love You (1980)
• Patterson Twins – They’re Playing Our Song In The Radio (1984)
• Phil Flowers – Stay A While (1984)
• Marvin Sims – Love Is On The Way (1980)
• Convertion – All I Want Is You (1980)
• Larry Whittington – You Can Always Count On Me
• Arthur Adams – I Can’t Believe My Eyes (1973) [Private Tonight]
• Doris Duke – The Feeling Is Right (1969) [I'm A Loser]
• Janet Lawson – Dindi (1977)
• Charles Earland – Drifting (1976) [The Great Pyramid]
• J B Bingham – All Alone By The Telephone (1976)
• Milton Parker – Women Like It Harder (1970)
• Natural Four – I Thought You Were Mine (1969) [Good Vibes!]
• Lee Williams And The Cymbals – Lost Love
• The Originals – I’m Someone Who Cares
• Eugene Smiley & The Essence Of Love – Yes It’s You (1978)
• Lamont Dozier – Groovin On A Natural High (1976) [Right There]
• Jerry Butler – Let’s Make Love (1978) [Nothing Says I Love You Like I Love You]
• Lee Oskar – Feelin’ Happy (1978) [Before The Rain]
• Sharon Ridley – Where Did You Learn To Make Love The Way You Do (1975) [Stay A While With Me]
• Sharon Ridley – Changin’ (1978) [Full Moon]
• The Tams – This Precious Moment (1978)

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