lunes, 31 de agosto de 2015

Piers Faccini - Little Green

Piers Faccini (born Piers Damian G. Faccini; 1970) is an English singer, painter and songwriter.

Piers Faccini was born in LondonEngland to an Italian father and an English mother. His family moved to France when he was five years old.[1]
Faccini first appeared on the music scene in London in 1997, co-founding Charley Marlowe with performance poet Francesca Beard, percussionist Frank Byng and guitarist Luc Suarez; the band split in 2001 when Faccini decided to pursue a solo career. His first solo album Leave no Trace was released in 2004 by French Independent label Label Bleu.[2] His second album was released by Los Angeles label Everloving Records in 2006; Tearing Sky was produced by JP Plunier, and featured Ben Harper, who Faccini would tour with between 2006 and 2008.[3] His third album released by French Independent 'Tot ou Tard' in 2009 was co-produced by Faccini and Renaud Letang. His fourth album,My Wilderness, was released in late 2011 Six Degrees Records. His upcoming fifth album, Between dogs and wolves, will be released in late 2013 on his own label Beating Drum.
Faccini has collaborated over the years with many musicians and singers including Rokia Traore, Busi Mhlongo, Ben Harper, Ballake Sissoko, Vincent Segal, Camille, Francesca Beard, Luc Suarez, Seb Martel, Patrick Watson and Ibrahim Maalouf amongst others. In March 2011, Faccini contributed to the Patagonia Music Collective, contributing to the UK-based Environmental Justice Foundation.
- Wikipedia

Kerry Livgren - Mask of The Great Deceiver

28 de abril 2014

Una de las colaboraciones más extraordinarias y raras en la historia del rock. En 1980 Kerry Livgren, compositor y multi-instrumentista virtuoso del grupo Kansas, sacó su primer disco como solista, titulado Seeds of Change, en el cual anunciaba y celebraba su conversión al cristianismo. Como "born again Christian", Livgren se convirtió en la década de los 80 en un exponente del rock cristiano.

En esta canción particular "Mask of the Great Deceiver" el cantante es nada menos que ese gran cuco del rock "satánico", Ronnie James Dio. Cosas veredes, ¿eh?

domingo, 30 de agosto de 2015

Noah Gundersen – Jealous Love

photo by Allyce Andrew
Every Monday through Friday, we deliver a different song as part of our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJ’s think you should hear. Today’s song, featured on the Morning Show with John Richards, is “Jealous Love” by Noah Gundersen from the 2015 album Carry The Ghost on Dualtone.

Noah Gundersen – Jealous Love (MP3)
Although Noah Gundersen emerged in Seattle concurrent with a wave of folk musicians, his flair for roots-leaning textures, rough-edged voice, and heavy, direct lyricism set him far apart from many of his contemporaries. Gundersen was born in Olympia, Washington into a musical family (Gundersen’s siblings, particularly his sister Abby, have frequently contributed to his work) and began recording and gigging in his early teens, first as part of The Courage and later as a solo artist. Gundersen’s self-released EPs Saints & Liars (2009) and Family (2011) put him on the radar of Seattle tastemakers before breaking out to a wider audience with his 2014 full-length debut, Ledges, the success of which was confirmed with a hometown stand at The Moore Theatre in November 2014. Gundersen quickly began work on his sophomore effort, this year’s Carry The Ghost, which incorporated both more full-band arrangements and more existential themes than any of his work in years. Gundersen has written about love plenty of times before, but there’s desperate undercurrent to the pining, country-leaning “Jealous Love” that shows Gundersen’s increasing depth as a songwriter. Riding a languid steady beat, Gundersen’s gently strummed guitar floats along while his heartbroken proclaimations circle around his resolve-seeking chorus. Even though it features some of Gundersen’s most compact, efficient songwriting and a typically great cameo from his sister Abby on vocals and violin, what’s most striking about “Jealous Love” is that Gundersen’s weathered voice has never sounded so at home in a song, tapping into the wounded and courages tone that CHVRCHES’s Lauren Mayberry and Jason Isbell use to carry their best songs. If diving headfirst into uncertainty is what allowed Gundersen to take such a leap in his songwriting, it was a risk worth taking because he’s never sounded so confident in his abilities.

sábado, 29 de agosto de 2015

Inna Modja

Born on May 19, 1984 in Bamako, Mali, in a Fula family, the sixth of seven children, Inna Bocoum owes her artist name to her mother, who gave her the nickname of Inna Modja, which means "Inna is bad" or "Inna is not good" in Fulfulde. When she was six, her parents enrolled her in a choir. At home, her father encouraged her to progress by playing her some records he liked (artists such as Ray CharlesElla FitzgeraldOtis ReddingSarah Vaughan). She was also influenced by her older siblings, who transitioned into Thrash Punk, 80/90's RapHeavy Metal periods, in addition to BluesSoul andDisco. As a teenager, she still alternated between Hard Rock and love songs. She regularly visited her neighbour, Salif Keita, who invites her to be part of the Rail Band of Bamako, a group of swinging old men (Bossa Nova and Jazz), amongst whom he himself debuted.
She speaks against female genital mutilation, as she herself and her four sisters were circumsized without their parents' approval, an event she sang about in one of her songs. She since had reconstructive surgery done. She's also outspoken against violence against women, which she portrayed in the music video of her song "La Valse de Marylore".
- Wikipedia

jueves, 27 de agosto de 2015

ORIGINS: Hieroglyphic Being | Resident Advisor

Visit the RA feature page:

Club culture might play a large role in your life, but for most people partying is a pastime. For Jamal Moss, nightclubs are his saviour, his surrogate family and his creative fire. He grew up in Chicago in the 1980s amid complicated circumstances. Adoption, bullying, rebellion and, ultimately, homelessness led Moss to find solace in strange places. He was a regular at spots like Medusa's and the Reactor, where he began a musical and social education that continues to this day. House music became a gateway to other worlds and states of mind. These raw experiences eventually shaped Moss's music and DJing, as he made the sort of direct connection between his life and art that very few people are able to achieve. His noisy, abstract transmissions as Hieroglyphic Being speak to the complex yet endlessly creative figure behind them—Moss has released over 30 albums and countless singles in a recording career that stretches back to the mid-'90s. In this latest ORIGINS film, we retrace Moss's steps as an "urban refugee" in Chicago, a story not of a victim but a survivor who thrived.

martes, 25 de agosto de 2015

Sui Zhen - Dear Teri

Jim Pepper

The Jazz Legacy of Jim Pepper: An American Original

“Here was something truly American…”

Jim Pepper (1941-1992)

by Bill Siegel

courtesy of photographer Ron Schwerin

Jim Pepper, the son of a Creek Indian mother and Kaw father, grew up surrounded by the songs and dances of the intertribal powwow circuit. He learned Native American Church peyote chants and other songs from his father, Gilbert Pepper, and grandfather, Ralph Pepper. Originally from Oklahoma, his family moved to Portland, Oregon, where he was born – although he spent many summers back in Oklahoma with his grandfather’s family. 
In the mid-1960s, he left home to make a name for himself in New York – which he did by exploding onto the scene with what may very well have been the first jazz-rock fusion band, Free Spirits. That early, innovative group – with Bob Moses on drums, Larry Coryell and Columbus Baker on guitars, and Chris Hillon vocals and bass, along with Pepper on saxophone – recorded their first album, Out of Sight and Sound, for Rudy Van Gelder at ABC/Paramount in 1967. Following that, in the late 1960s, after Gary Burton“lured” Coryell and Moses into his own band, Pepper and the remaining Free Spirits formed Everything is Everything, and Pepper’s composition, “Witchi Tai To” – eventually his most well known song – soon became the band’s signature piece. Those early bands gained a reputation in the rock-and-roll clubs for starting their sets with 20-minute long, unaccompanied sax solos from Pepper, something rock audiences had never heard before. “Witchi Tai To“, based on a ritual chant he learned from his grandfather, was a major crossover hit on jazz and popular Top 40 lists around the world, and has been covered in nearly 100 recordings by countless pop and “world music” musicians.

lunes, 24 de agosto de 2015

White Market Podcast is back

White Market is a radio show and a podcast about netaudio, Creative Commons-licenced music and free culture. It’s a show by Rute Correia and the natural successor of Programa Marca Branca*. Since netaudio is naturally intertwined with other movements and ideologies such as Demoscene and Open Source, the show will also often feature these and similar forms of activism related to digital rights and freedom.
Our promise to deliver netaudio music and raise free culture awareness is also stated on our collection on Free Music Archive. You canlike us on Facebook, follow us on Twitter, listen to us on Mixcloud and, last but not the least, you can also listen to some of our old podcasts on Internet Archive.
If you’re into radio, you can also listen to us every Sunday at 8pm (UK time) on Spark FM.
White Market is a completely independent, non-profit and volunteer-based project.

White Market Podcast Session 2.08 – Evening Lights23rd August 2015Tonight we wandered through the evening lights that now invade our usual slot at Spark Sunderland, between 8pm and 9pm. With the dusk upon the studio, the songs were quite varied, with enough space for bits of house, dub and acoustic guitars – everything compiled in a wonderful collection you can download by following the links below.Taseh – Birds of Paradise Marching Band [Monster Jinx / FMA]Jasmine Jordan – Best I can (feat. Habit Blcx) [Jamendo]E T I L E – Fourth Delight [Sólo le Pido a Dior]FVLCRVM – That’s the way it is [Gergaz]Stereoshape – Glow [Bandcamp]Astronaut – Nobody knows [Monofonicos]Tracky Birthday – Secretary Love [Upitup Records]Holy Sound Crew – Holy Skunk Dub [Dubophonic]Francisco Pinto – Boo Boo Song [Pueblo Nuevo]Poodleplay Arkestra – Monochrome Birds [BFW Recordings]Nick Rivera – I Try So Hard  [La bèl netlabel]Zipp – Pour Quoi Royale [Mix Galaxy Records]Risch – Driving in Circles [petite & jolie]Lucid Picnic – Sparkling Dust [Tropic Netlabel]View high resolution 

White Market Podcast Session 2.08 – Evening Lights

23rd August 2015
Tonight we wandered through the evening lights that now invade our usual slot at Spark Sunderland, between 8pm and 9pm. With the dusk upon the studio, the songs were quite varied, with enough space for bits of house, dub and acoustic guitars – everything compiled in a wonderful collection you can download by following the links below.

Taseh – Birds of Paradise Marching Band [Monster Jinx / FMA]
Jasmine Jordan – Best I can (feat. Habit Blcx) [Jamendo]
E T I L E – Fourth Delight [Sólo le Pido a Dior]
FVLCRVM – That’s the way it is [Gergaz]
Stereoshape – Glow [Bandcamp]
Astronaut – Nobody knows [Monofonicos]
Tracky Birthday – Secretary Love [Upitup Records]
Holy Sound Crew – Holy Skunk Dub [Dubophonic]
Francisco Pinto – Boo Boo Song [Pueblo Nuevo]
Poodleplay Arkestra – Monochrome Birds [BFW Recordings]
Nick Rivera – I Try So Hard  [La bèl netlabel]
Zipp – Pour Quoi Royale [Mix Galaxy Records]
Risch – Driving in Circles [petite & jolie]
Lucid Picnic – Sparkling Dust [Tropic Netlabel]

GLASS MOON - Solsbury Hill (1980)

El grupo Glass Moon tocó en Puerto Rico en el verano de 1980. Esta canción es de su primer disco, que salió ese mismo año. Yo no sabía que "Solsbury Hill" era una composición de Peter Gabriel. No fue sino hasta años más tarde, cuando estudiaba en Berklee College of Music en Boston, que oí la versión original de Gabriel.

domingo, 23 de agosto de 2015

Torres: NPR Music Tiny Desk Concert

August 10, 2015
by BOB BOILEN • Mackenzie Scott's quiet early music gave hints that she could get loud, but I still wasn't prepared for the ferocity of her new work. Recording as Torres, she spends her new album Sprinter unleashing as-yet-unheard intensity and power, all while performing with incredible prowess.
Sprinter is the album that taught me to love Torres' music: It channels clear influences like Patti Smith and PJ Harvey, while still hinting at further growth. (She's only 24.)
Her band is extraordinary, too. Guitarist Cameron Kapoor provides a perfect level of controlled noise under Scott's alternately melodic and aggressive playing, while Erin Manning contributes haunting harmonies and drummer Dominic Cipolla provides spacious punctuation. All of which made for a perfect storm, right in NPR's offices.

sábado, 22 de agosto de 2015


Gwenno – Patriarchaeth

by Casey Dunau and Jacob Webb
Every Monday through Friday, we deliver a different song as part of our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJ’s think you should hear. Today’s song, featured on the Midday Show with Cheryl Waters, is “Patriarchaeth” by Gwenno from the 2015 album Y Dydd Olaf on Heavenly Recordings.

Gwenno – Patriarchaeth (MP3)
Don’t understand the name of Gwenno’s fantastic new album? That’s probably because you don’t speak Welsh. Although, you may have a better time working out the translation for one of the album’s stand out tracks and today’s featured song, “Patriarchaeth”. And if there’s one connection between the name of the song and the language of the album, it’s that solo artist Gwenno Saunders isn’t afraid to subvert systems of power. By recording the majority of Y Dydd Olaf in her native Welsh, she spreads the language to corners of the world, or at least the internet, where English dominates most cultural exchanges.
Gwenno Saunders’ resume confirms her pop bona fides, and on her full-length solo debut, the Welsh musician sounds more colorful and expansive than ever. Born in Cardiff, Saunders was primarily a dancer for many years (at one point, she was a member of a Michael Flatley company in Las Vegas) before focusing on music in the early 2000s. A pair of EPs sung in Welsh served as her first works, but her solo career was put on hold as she joined The Pippettes in 2005. Although critical acclaim and moderate commercial success met the band’s first album, the band’s lineup frequently shifted, and by the time their second album arrived in 2010, the band was comprised of Gwenno and her sister Ani, who dissolved the band not long after. Saunders was soon recruited to play keyboards for Pnau on their joint tour with Elton John, but after that gig ended, Saunders returned to her solo work, teaming with producer Rhys Edwards for sessions that would eventually produce her first proper solo album, 2014’s Y Dydd Olaf (“The Last Day”), which was given a wide release by Heavenly the following year. Named for the Welsh author Owain Owain’s dystopian novel, Y Dydd Olaf sounds appropriately otherworldly, albeit with a strong pop current running through its alien tones.
As far as dystopian four-on-the-floor bangers go, “Patriarchaeth” pretty much tops the short list, but even in a bigger context. kicks off with two harmonizing synths, one of the more jagged saw variety, and the other belonging to the smoother sine family. There’s tension in the contrast, and the two tones emit a melancholy sigh as they bounce off notes dissonant to one another. The whole intro feels and sounds a bit like the melodic version of waiting for dial-up internet to get going on an old 90s PC. That is until joyous chime sounds start to climb exultant scales with unbridled speed and enthusiasm, and then digitized kicks and snares build a familiar but undeniable groove. Before long, you’re having so much fun that, much like in the old days of the internet, you forget you had to wait at all. In fact, the Gwenno revolution may already be upon us, and the magnificentally singular and catchy “Patriarchaeth” could be one of her greatest triumphs to date.

viernes, 21 de agosto de 2015

Artists United Against Apartheid - Sun City (Official Video)

April 5 2014

It was the mid-1980's and helping Africa was "in". Bob Geldof's Band Aid project and Quincy Jones' USA For Africa had called attention to famine in the continent, and pretty soon everyone in the rock and pop scene had "conciencia social". Then came Little Steven Van Zandt, guitarist with Bruce Springsteen's E Street Band (who would later play a major character in HBO's The Sopranos), who decided to use his art to help the struggle against South Africa's racist apartheid regime. This video and song are the result.

"We are rockers and rappers, united and strong. We're here to talk about South Africa. We don't like what's going on."

And what a lineup! Hall & Oates, Pat Benatar, Fat Boys, Peter Wolf, Bono, Lou Reed, Run DMC, David Ruffin and Eddie Kendricks of The Temptations, Bonnie Raitt, Ruben Blades, Nona Hendryx, Bruce Springsteen, Ray Barretto, Joey Ramone, and many more. The LP also features contributions from Peter Gabriel and Gil Scott Heron. As a matter of fact, that was the first time I heard Heron.

"Sun City" is a very political song. Unlike USA for Africa's sappy "We Are The World", "Sun City"'s lyrics denounce and accuse. US foreign policy is not spared: "Constructive engagement is Ronald Reagan's plan / This quiet diplomacy is nothing but a joke". These are direct references to US president Reagan's policy of appeasing South Africa's government. You don't hear music this political in the hit parade anymore.

jueves, 20 de agosto de 2015

Promise Land - Joan Armatrading

I had not heard this awesome song for years, probably not since the 20th century. Thanks very much to the kindly soul that uploaded this.

miércoles, 19 de agosto de 2015

Blitz the Ambassador - Full Performance (Live on KEXP)

With a vision that embraces his personal West African past and a revolutionary future of Afropolitan cross-pollination, Blitz the Ambassador meshes African popular sounds, American vintage soul, and hard-hitting beats and lyrics with the help of an international cast of collaborators, including the elegant Angelique Kidjo and Afrobeat firebrand Seun Kuti.
But as always with Blitz, the album is about far more than the music. It’s about the Immigrants who made America, who shaped and molded it. Each person, each generation, each bearer of culture arriving on a boat or airplane has made an impression. Immigration is the chain that links the past to the present, the near to the seemingly far.
Afropolitan Dreams tells a story of disruption and connection that Blitz the Ambassador knows very well. He’s lived it.
“I told some of the story on my last album, Native Sun,” he explains. “That was the journey to America in search of a dream. This is a sort of continuation, but with more detail about what it’s like to start at the bottom and work up. Afropolitan Dreams was inspired by meeting peers in different disciplines. What we had in common was that we were all immigrants.”
Blitz himself arrived in the US in 2001, fresh from Ghana, where he’d grown up listening to American soul, the highlife of his homeland, the Afrobeat of Fela Kuti, and the old-school hip-hop of Public Enemy, Rakim, and KRS-One. He was ready to make his own dream real.
And on Blitz’s tracks, everything is culled from and shaped by intense experience. He remembers his first day in America, taking the A train in New York out to Bedford-Stuyvesant, the cacophony, languages, dreams and aspirations that filled the subway car, and that became the opening cut, “Arrival.”

martes, 18 de agosto de 2015

Masters at Work

Quite possibly. Since the end of the 1980s, Kenny Dope and Louie Vega – given the Masters at Work name, so the story goes, by Todd Terry – have been releasing house and garage anthems with unbelievable regularity. There’s ‘The Ha Dance’ – the track that gave ballroom its trademark Ha crash. There’s ‘Work’, one of the most remixed and sampled tracks in dance music history. There’s ‘To Be In Love’, one of the most perfect synergies of dance music and pop music ever made – and these are just the tip of the MAW iceberg, we’ve not even started on solo hits like Kenny Dope’s ‘The Bomb! (These Sounds Fall Into My Mind)’ and ‘No Hook’, and side gigs like Kenlou.

You get the picture: these two could play nothing but their own material for two hours and still not even scratch the surface of their vast, influential and – most importantly – ridiculously fun discography. But ahead of a rare London show at Found’s 51st State Festival (where they’ll be joined by fellow vets Derrick Carter, Dennis Ferrer, David Morales and many more), we asked them to try. This is Masters at Work in the mix for FACT – sometimes all you need is what it says on the tin.

- FACT Team

lunes, 17 de agosto de 2015

The Do-Over
KEXP Presents Midnight In A Perfect World with The Do-Over

KEXP Presents Midnight In A Perfect World with The Do-Over


The Do-Over is a world renowned party and DJ crew based in Los Angeles, California that regularly brings their feel-good vibes and super fresh sounds to block parties in their home city in addition to one-off parties in metropolises all over the world. Their exclusive mix for Midnight In A Perfect World showcases their tropical summertime style in fun and funky fashion.

SALES from 12 to 12 Pt. 1 - "vow"

domingo, 16 de agosto de 2015

Entrevista a David Morales

David Morales is one of the most storied and successful DJs in dance music history. He cut his teeth during New York's disco era, graduating from playing local house parties to manning the decks at The Paradise Garage and, later, the influential club Red Zone. During the '90s, alongside Frankie Knuckles and the Def Mix crew, he redefined the remix by radically reworking pop music records into house music anthems. Mariah Carey, De La Soul, Jamiroquai, Aretha Franklin and Alison Limerick were just some of the artists who received the Morales remix treatment. These mixes were not only some of the biggest dance tracks of their day but routinely crossed over to become pop hits in their own right and helped to take dance music to a previously unimaginably wide audience. This ability to blend club music and populist tastes have kept Morales in-demand globally for an unprecedented number of years. In this far-ranging and occasionally emotional Exchange, Stephen Titmus discussed over 40 years of house music history with one of the genre's pioneers.

Thievery Corporation - Radio Retaliation

According to the Wikipedia:

Thievery Corporation is a Washington, D.C. based recording artist and DJ collective consisting of Rob Garza, Eric Hilton, and their supporting artists Rob Myers, Loulou Ghelichkhani, Natalia Clavier, Frank 'Booty Lock' Mitchell, Mr. Lif, Jeff Franca and Ashish Vyas. Their music style mixes elements of dubacid jazzreggaeIndian classicalMiddle Easternhip hopelectronica and Brazilian (such as bossa nova).
Thievery Corporation has taken progressive political stances on various issues, opposing war and exploitative trade agreements, while supporting human rights and food programs. Tracks such as "Amerimacka" and "Revolution Solution" from their albums The Cosmic Game and Richest Man in Babylon, along with the title tracks from those albums, reveal the group's opposition to the positions and initiatives of former president George W. Bush's administration.
In September 2005, the group participated in the Operation Ceasefire concert, with the objective of ending the Iraq War.
From their press release regarding their album Radio Retaliation, Garza said:

sábado, 15 de agosto de 2015

George Winston: "Colors/Dance"

Esta es la primera pieza del primer disco que George Winston grabó para la discográfica Windham Hill en 1980. Este disco fue el que dio comienzo al sub-género musical conocido como "new age piano". Winston es de los pianistas más geniales y originales que he oído en mi vida, y "Colors/Dance" es mi canción favorita de él.

George Winston grew up mainly in Montana, and also spent his later formative years in Mississippi and Florida. During this time, his favorite music was instrumental rock and instrumental R&B, including Floyd Cramer, the Ventures, Booker T & The MG’s, Jimmy Smith, and many more. Inspired by R&B, jazz, Blues and rock (especially the Doors), George began playing organ in 1967. In 1971 he switched to the acoustic piano after hearing recordings from the 1920s and the 1930s by the legendary stride pianists Thomas “Fats” Waller and the late Teddy Wilson. In addition to working on stride piano, he also at this time came up with this own style of melodic instrumental music on solo piano, called folk piano. In 1972, he recorded his first solo piano album, BALLADS AND BLUES 1972, for the late guitarist John Fahey’s Takoma label.

His latest solo piano release is LOVE WILL COME – THE MUSIC OF VINCE GUARALDI, VOL. 2 (released 2/2/10), which features compositions by the late jazz pianist, including pieces from the Peanuts® TV specials.

Since 1980 George has released ten other solo piano albums: AUTUMN (1980), WINTER INTO SPRING (1982), DECEMBER (1982), SUMMER (1991), FOREST (1994), LINUS & LUCY-THE MUSIC OF VINCE GUARALDI (1996), which features compositions by the late jazz pianist, including Cast Your Fate to the Wind and pieces from the Peanuts® TV specials; PLAINS (1999), which was inspired by his Eastern Montana upbringing, NIGHT DIVIDES THE DAY - THE MUSIC OF THE DOORS (2002), and MONTANA - A LOVE STORY (2004) and GULF COAST BLUES & IMPRESSIONS – A HURRICANE RELIEF BENEFIT (2006). 


viernes, 14 de agosto de 2015

Terence Blanchard: NPR Music Tiny Desk Concert

When he started to make the music that appears on his new album, trumpeter Terence Blanchard wasn't thinking of Eric Garner, Michael Brown or any of the other recent high-profile police killings of African-Americans. He was thinking of desired collaborators: Donald Ramsey, a bassist and high-school classmate; Oscar Seaton, a drummer with whom he'd worked on film projects; Fabian Almazan, the pianist of his other band; and Charles Altura, a guitarist he'd encountered online. And he was thinking about a sound different from the left-center jazz quintet he leads: something overtly funky, with electric bass and guitar and processing and human voices and dance grooves.

As the E-Collective came together — both as a band and in terms of its repertoire — it took on another guiding light. Blanchard, no stranger to political statements, saw the music as an opportunity to speak out on current events he was unable to ignore, especially as a black man. The eventual recording came to be a commentary on the treatment of minorities by American law enforcement, in the vein of the #blacklivesmatter movement. The album's title references Eric Garner's last words, "I can't breathe"; it's called Breathless.

The heavy and the party recently came together for a week-long run at a jazz club in D.C., though the mood was much more on the party side when the E-Collective stopped at NPR headquarters. The mood was relaxed and jovial from the time the group stepped into the lobby, with Englishman Chris Bailey supplying plenty of backbeats on our house drum set — though there was a moment toward the end of the set when Blanchard casually explained the project, setting up a lyrical, almost elegiac solo. This music was a modern update on jazz fusion, sure, but also one where we dance to ward off despair.

Set List
"Confident Selflessness"

Producers: Patrick Jarenwattananon, Morgan Walker; Audio Engineer: Brian Jarboe; Videographers: Morgan Walker, Adam Wolffbrandt, Lani Milton; Assistant Producer: Elena Saavedra Buckley; photo by Lani Milton/NPR

Lila - Strobo - Audio Oficial

Lila is the stage name of Eliza Lacerda, an artist who has played and sang in carnival blocks and vocal groups. She also released a few albums in Bossa Nova style for the Japanese market.

Currently she still sings in the Fogo e Paixão carnival block and in the group Quarteto Primo. But only now, in 2015, she released her first solo work as Lila.
The work in question is an EP of six tracks that bears her name, and was recorded in a house on the coast of Rio de Janeiro. The album has a beach-like atmosphere, mixing MPB (Brazilian popular music) with electronic beats and experimental touches.

Make it Easy - Yes, Cinema, Trevor Rabin

En 1981 la banda Yes había dejado de existir. El bajista Chris Squire y el baterista Allan White seguían trabajando juntos y buscaban formar una banda nueva, y encontraron en el talentoso surafricano Trevor Rabin un colaborador ideal. Con Rabin, quien toca guitarra y teclados, canta y compone, formaron el grupo Cinema y grabaron la canción "Make It Easy". Cinema duró poco y no lanzó ningún disco debido a que para 1983 Jon Anderson y Tony Kaye, cantante y tecladista originales de Yes respectivamente, se integraron al proyecto y Squire y White decidieron hacer de éste una reunión de Yes. Inicialmente Rabin se opuso a la idea, pero acabó aceptándola. Con el lanzamiento del disco 90125 ese mismo año comenzó entonces el periodo más comercialmente exitoso de la banda. Yes llegó a ser uno de los grupos musicales más conocidos de la década de los 80.

No fue sino hasta 1991 que "Make it Easy" vio la luz del día, cuando la canción fue incluida como parte de una compilación boxed-set llamada Yes Years. Fue lanzada entonces como sencillo y llegó a número 36 en la lista de Billboard.

jueves, 13 de agosto de 2015

Beehype, the best of July 2015

"We’re music journalists, bloggers and DJ’s from around the world. We collect and carefully select what’s best in our local scenes to present it to the global audience."