This EP is a homogeneous and compact analog production, inspired largely by the magnificent naturalistic images taken by photographer Sebastiao Salgado in Genesis (2013). First track is Gallery (A1), featuring Tenderlonious on flute (22a Records founder). Jazzy House with aetherial atmospheres and a bass line with vibes of summer festivals. Second track is Abantu (A2) – tribal choirs samples brilliantly framed on a jazz-funk arrangement. Emotional Crash Test Dummies (B1) opens the B side. A distincitive disco sound which perfectly suits with Lorenzo’s guitar style, a psychedelic touch and a sure grip on sweaty dancefloors. Deep Down (B2) closes the EP on hyperspace directions. Abstract hip hip, soul, jazz, funk, all wisely mixed by Lorenzo. Delight for contemporary warm enveloping west coast sound lovers

Pre-order now. Out on 24.04.20

Cet article Lorenzo Morresi – Abantu [Roots Underground Records] est apparu en premier sur Bolting Bits.

Cet article Underdog Edits – In Need Of That Phone [Razor-N-Tape] est apparu en premier sur Bolting Bits.

Cet article Saul – Earth & Rain (feat. Poppy Ajudha) [Rhythm Section INTL] est apparu en premier sur Bolting Bits.

Nowadays, the word movement is overused to describe many static, 2-dimensional uncreative projects, but thank the musical universe for the ambitious and refreshing INI Movement. The coming together of two soulful places: a studio in Haarlem and an Amsterdam-based record label have made it possible for the likes of Henry Wu, K15, Jarreau Vandal, Umoja, Sofa Talk, SoulParlour, Ugly Drums and more, to experiment with their skill sets and explore their genius.

A group of passionate musicians connecting in a recording studio is often rewarding and what has resulted on this occasion, is the creation of the magnetic Birdhouse Vol 1 soundtrack. The independent music platform invited a varied group of artists along, to make use of the special ‘Birdhouse’ studio in Haarlem… which makes for a compelling start right? Several members of brass band Gallowstreet, Rilan & The Bombardiers, Umoja & Pitch Controller Mitch, Freshy Jazz and members of The Mauskovic Dance Band, came together to craft Birdhouse Vol 1, in a musical nest where imagination and reality are blended to create masterpieces outside the complex mind of the musician.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-birdhouse-my-dove” /]

The record features the premier track “My Dove,” it’s technically inventive, compiled of layers of emotionally charged collaborative intelligence. Drifting vocals combined with delicate yet powerful Latin-inspired percussion (listen to ‘Berimbao’ and ‘Late Inflate’ for your Latino fix), perfectly placed horns and the sprinkling of twinkling notes, fill each bar with feeling. You can hear each contributor equally in this track, multiple souls, visions and perspectives, tapped into in each segment.

Brief chaotic periods of crackling news broadcasts samples, slow alluring keys and soft drums play with your affections. Sadness, confusion, joy, hope, liberation, it is a poignant and wistful 3 minutes and 40 seconds. You might think you’ve heard something like it before but I would advise you not to try and dissect the genres which make up the track but instead, invite you to embrace the masterful original yet familiar fusion. My Dove is a new classic that you will enjoy several joints to, a romantic heartache that you can’t leave alone. I wonder if they knew what they were really creating? This track is important because it helps us to define what it really means to honestly and unashamedly, collaborate.

To get your hands on “My Dove” and the rest of the Birdhouse Sessions Vol. 1, make sure to pre-order your copy by following this link right here! It’s out this Friday!

Cet article Birdhouse – My Dove [INI Movement] est apparu en premier sur Bolting Bits.

Yadava is a Manchester-based producer and DJ known for his releases on local staple Ad Hoc Records and for his debut album, “It Rains Here”, that was released last year by London outfit Church. Catching our ears from day one, we’ve happily premiered a couple of his tunes in the past (and future) and now we’ve also invited the rising star to record a mix and answer some questions for us. We ask him about his influences, the city of Manchester, his album as well as his forthcoming EP, among other things. Find out more about Yadava and read the full interview while listening to this perfectly curated Monday morning soundtrack.

[soundcloud url=”https://soundcloud.com/boltingbits/mixed-by-yadava” /]

INTERVIEW

How would you characterize the sound of Yadava?

Hard question! Think I’m still figuring that out myself and I’d hope it would keep evolving as I develop anyway. A lot of the time it’s heavily influenced by what I’m currently listening to which can change pretty often. I guess jazz-influenced sounds are a common theme, whether it’s the samples I’m using or the sounds I’m creating myself. I like to incorporate percussive elements into the mix too, I’m always aiming to bring some richness to the rhythms. I think I also tend to gravitate towards slightly more laid-back sounds, even if I set out to up the tempo.

Your debut album on Church, “It Rains Here”, has been rinsed by us at BB HQ quite a bit since its release. Can you tell us a little about the background of the double LP? What were some of the inspirations behind it and is the name a tribute to your home base of Manchester?

Yeah the name is a reference to Manchester for sure, but it also has a double meaning. I wrote a lot of the LP whilst I was going through a bit of a difficult time so it’s a reflection of that too, even though that probably wasn’t a wholly conscious and explicit process. For me, there’s melancholy tones throughout but also some warm and soothing sounds in there. I can definitely recall the process of creating the music feeling like it was serving a therapeutic purpose, and when I listen back to it now it’s like a document of my emotions at that time packaged up for me to go back to and make sense of. I don’t think I’ve ever actually played the record out in a bar or club. At the same time, it’s cool that other people are going to engage with the music in a completely different way to how I do. In terms of the sound palette I was definitely inspired by the sounds of labels like 22a records and 2000 Black, as well as Manchester-based friends exploring similar musical territory like Contours.

Tell us about your forthcoming EP for Ad Hoc Records – any particular inspirations behind it?

Yeah the tracks on that EP are some of the first ones that I’d recorded and decided to send out to labels. I’d just picked up most of the gear I made the Church LP with so was getting my head round using the MPC and recording live bass/keys so it’s a bit fuzzy round the edges. But yeah it was just experimenting really with mixing live instrumentation and samples from records I was listening to a lot at the time, mainly bossa nova and some jazz-funk sounds. One track actually had a digital release last year but it’s going to be nice for that to be pressed up to vinyl with some other sounds I’d made at the same time!

How is the scene in Manchester right now? There certainly seems to be a sound that’s hot there right now with producers and DJs such as Contours, Cervo and the like championing it. Would you say Manchester is carving out a bit of a niche for itself?

I’ve been in Manchester for about 10 years now and what I’ve always noticed is the breadth of music coming from the city – I don’t think it would be fair to put Manchester in a particular box musically because there’s so much music to engage with, and too much to try and make reference to here. I think there’s a lot of really nice jazz and soul infused hip-hop coming from the city at the moment, obviously championed by artists like Children of Zeus who’ve had a big impact and been doing their thing for a while; as well as younger artists like KSR and Blind Mic. I think because there’s such an eclectic music scene in Manchester, that gets reflected in sounds that straddle lots of different styles. For example, the Kawuku sound project that Tom (Contours) and Chris (Cervo) worked on, or what Tom (Werkha) is doing at the moment, occupying that space in between more electronic sounds and live jazz.

We know Manchester is full of talent. Is there anybody there that’s currently flying under the radar that we need to check out? Any special shout outs?

Taurtollo who released a really nice EP on Ad Hoc records last year is someone to keep an eye on for sure. Also Garth BE, who’s probably not so under the radar but if you aren’t familiar with his stuff then I’d go check that… and keep an eye out for more sounds in the near future. There’s loads more, too much to list here but a good starting point would be to check out the archived shows from local DJs on NTS Manchester, Reform Radio, MCR live etc.

Can you talk a little about So Flute, the event series you help with? What’s your role? Tell us how it started, the ethos behind it and if you see it expanding into something else in the future?

I started So Flute with my pals Dan and Billy when we were still students over 6 years ago now. Our friends Luke and Tom came on board pretty early on too and we used to do monthly parties at the Roadhouse (RIP) before it closed down. Music-wise I think we were influenced a lot by DJs and parties we had been going to with an eclectic music policy like Mr Scruff’s Keep It Unreal nights and Hoya:Hoya. We also wanted to put on nights that felt like a house party, where there was a laid-back feel and more of a connection between the people in the crowd. I think over the years So Flute definitely developed in that way. You’d see the same people coming each month and it feels like there’s a strong core community of people who we’d consider part of the So Flute family. I think doing parties in that way also meant that although we were booking some bigger artists like Floating Points or Sadar Bahar we could also put on a residents party and the vibe would be the same. At the moment we’re still doing parties every few months in Manchester, as well as one off parties in other cities. There’s been talk of a label in the pipeline for ages given the amount of people we’re connected with that are making great music so watch this space on that one…

You’re clearly a big fan of jazz. Was it always that way? Could you give us some musical influences you listened to growing up and a few that are currently inspiring you?

My dad is a jazz musician so although I can’t say I was actively engaging with the music, I was definitely exposed to a lot of those sounds when I was younger. I remember borrowing some Joe Henderson and John Coltrane LPs to use for an art project in college. Being drawn to them visually I naturally ended up engaging with the music too; although I think I did some blasphemous damage to the sleeves in the process. I also used to listen to a lot of pretty questionable hip-hop in my teenage years but then became interested in the source material so that was another route into those sounds. At the moment I’m digesting a lot more ambient and DIY synth stuff which isn’t something I’ve dug very deep into before. There’s so much great music being reissued by labels like Music From Memory and We Release Whatever The Fuck We Want (great label name) so I’m really enjoying that right now. Also the constant stream of really great contemporary jazz stuff from labels like Gondwana, Brownswood and Black Focus. The Mansur Brown LP has been on heavy rotation.

What instruments do you play? How much do you tend to sample and how much do you usually play yourself? 

I wouldn’t claim to be technically proficient but I can fumble around a bit on bass, guitar and keys so I tend to incorporate live recordings into my music. Although saying that, the balance of samples and live recordings can really vary from track to track. So tracks like Rebecca’s Jam and Weightless off the Church LP are all live recordings I played, apart from the drum samples that were programmed with the MPC; but then “Hiromasa’s Interlude’ is pretty much all sample-based except some chords and percussion really low in the mix. If I can get the sound I want by recording something in then I’ll definitely go for that because you have so much more control in manipulating the sound, but I also really enjoy working with samples. I see sampling as just as valid a method of making music as creating original sounds, but I do think it’s important to try and make sure you’re adding something new if you’re using sampling as a creative process in which you’re taking some credit as the artist. Whether that’s pulling samples from a range of different sources, layering samples with your own sounds or whatever your approach might be. Otherwise from my perspective what are you adding to the source material?! There’s blurred lines I guess, but yeah in terms of my own process I’m happy moving up and down that scale of sampling vs. playing in live recordings.

Are you an avid record collector? Do you remember the first record you bought? How about the last one?

I do tend to buy a lot of records, but I buy and play loads of digital stuff too. I definitely like having things in physical format and generally feel a stronger connection with the music if it’s something I can hold in my hand and engage with the artwork and inner notes etc. One of the first records I bought that I’d really wanted for a while was a copy of this amazing gospel record, Spirit of Love – The Power of Your Love. It’s been reissued now but at the time there was no other way for me to engage with the music other than listening to a pretty low-quality video on YouTube so it was really exciting to have a physical copy with all this extra information about the recording and artists.
I remember buying a CD single of Eddie Grant – Electric Avenue on a school trip when I was about 11 but I think the first record I bought was a copy of the Velvet Underground – Loaded in a tourist trap record shop in New York. The last one I bought was a reissue of the Mkwaju LP by Mkwaju Ensemble.

What are some of the must do’s/eats/sees in Manchester?

If you’re looking for dancing into the early hours then I’d be heading to venues like The White Hotel and Partisan where there’s some really interesting programming and nice crowds by virtue of being that little bit further out of the city centre. There’s plenty of wicked record shops to check out too; Piccadilly Records, Eastern Bloc, Vinyl Exchange and King Bee in Chorlton is definitely worth a dig. There’s a really good Ethiopian restaurant called Habesha, hidden above a takeaway in the Village just off Canal street. Also I could eat pizza all day every day so Rudy’s Pizza in Ancoats is another one of my favourite spots for food.

How much can you divulge about what’s coming up in Yadava’s near future, music-wise.

After the Ad Hoc release I’ve got another record coming out on a Swedish label and I’m also working on finishing another EP for a new Canadian label too. There’s a few more bits in the pipeline including some edits and a collaborative live project I recorded with another Manchester producer, but I’m having to focus my energy on other responsibilities for the next few months so I’m taking a bit of a break from any major new recording projects at the moment. There’s also the monthly ‘Expansions’ show I host with Contours on NTS Manchester where you might hear some forthcoming/unreleased sounds from ourselves and close pals!

Between running an event night, gigging, producing a whole bunch of music and trying to finish a PhD, how are you managing to balance your time?

This is something that has been really hard for me, it all kind of fell apart at one point and I had to take a bit of time out from everything last year. Trying to find a balance between so many different competing interests is really difficult and something I’m still working on. It’s even harder when there’s something you want to focus more of your energy on; for me that was music, but I had other responsibilities and so I’ve had to learn to put things on hold to make life manageable. Finding that right balance of things isn’t something I’ve been able to do on my own and I’ve really benefitted from the support of people around me, that’s probably been the most useful resource in terms of coping with things. By virtue of studying a psychology-based course I think I had access to people who were well placed to provide support as well as having some close friends who really helped me out in my hour of need! Also being self-aware and taking care of your basic needs you know, getting enough sleep, eating well, all those things contribute massively to your ability to manage pressure and they have to come first.

Interview by Igor

Cet article MIXED BY/ Yadava est apparu en premier sur Bolting Bits.

Next month, new reissue label, Major Keys, will be releasing a series of audiophile quality pressings of jazz-funk and soul classics via Prime Direct Distribution. Featuring tracks from Herbie Hancock, Esther Phillips, George Duke and more, the reissues prove that quality music not only can stand the test of time, but it can also be re-mastered to meet the high expectations set by modern audio standards. We’ve taken an in depth look into the tracks and genres of these classic jams and how they fit into the contemporary movement of reissues.

Jazz-funk got a lot of stick during its emergence. It was dubbed as selling out, and “jazz for the dancehalls.” In many ways it was. Abandoning the swing of jazz while combining it’s traditional melodic motifs with the straightforward groove of funk brought the genre into the mainstream. The structured songwriting and inclusion of electronic instruments made the fusion more danceable and attractive to a wide range of audiences, specifically moving into the late 1970s and 1980s.

The genre would, of course, go on to yield tremendous success while its influence is incalculable. From early electronic music to modern producers and musicians such as Thundercat, jazz-funk has touched countless genres. The accessible grooves provided the groundwork for the sampling of early hip-hop producers and even jam bands such as Phish have attributed their daring fusion of genres to the groove-oriented combination of jazz and funk. But at its origins, it was rejected by jazz musicians who saw it as a betrayal of the genre.

Herbie Hancock (picture by Paris Global Forum)

Reissues oftentimes befall the same fate. With the re-emergence of vinyl, both in the collections of DJs and casual listeners, there has also been a spike in classic hits getting the remaster and reissue treatment. Purists will reject them, preferring the warmth and nostalgia of original pressings and masters. But why can’t we learn from the experimentations of the jazz-funk pioneers and embrace the combination of modern mastering with the brilliance of classic pieces?

Major Keys has expertly executed this combination with its line of audiophile quality jazz-funk reissues coming out in December. Split between 12” and 7” pressings, these classics have been remastered for a fuller, louder sound, consistent with modern mastering and pressing techniques. Good for DJ play and domestic listening, the tracks not only sound better but also now have the ability to generate a wider release to younger contemporary audiences.

Most notable of the releases is of course Herbie Hancock’s “Chameleon.” The original, nearly 16 minute version is housed opposite “Watermelon Man” on a 12” pressing. Combined, these two tracks have been sampled in over 120 songs, most notably by Beck, 2-Pac, Massive Attack and even Shaquille O’Neal. More interesting, however, is the recording of a sample at the beginning of “Watermelon Man.” Using a beer bottle, percussionist Bill Summers covered a rhythmic whistle melody from the 1966 track “Hindewhu (Whistle Solo)” by The Ba-Benzélé Pygmies. Hancock’s use of the “sample” at the beginning of “Watermelon Man” would then be re-sampled by later artists such as J Dilla, Madonna and Digable Planets.

This experimentation with using other source material in original songs would likely push Hancock towards newer sampling technologies as they emerged in the late 70s. While sampling in music had been around since as early as the 1940s, Hancock was one of the first to introduce the concept into the mainstream. In line with his experimentations with the fusion of jazz and funk, he was one of the first musicians to use the Fairlight CMI synthesizer. A precursor to the more acclaimed Emu and Akai MPC samplers which followed, the CMI’s on-board sequencer made it more accessible than previous sampling techniques and therefore became “the first truly world-changing sampler.” He would even go on to demo the CMI on Sesame Street.

Another highlight from the reissue series is the 12” combination of George Duke’s 1979 hits “I Want You For Myself” and “Brazilian Love Affair.” The A side features a new, extended mix by Tom Moulton perfect for the dancefloor. Stretching out over 10 minutes compared to the original 6:38 version, Moulton’s mix adds additional stretches of funk between Lynn Davis’ beautiful vocals in the verses. “Brazilian Love Affair” features more of the same jazz-funk stylings while also appropriately adding more of a Brazilian percussive feel from Airto Guimorvan Moreira.

The two tracks come from a period in which Duke released four albums in two years between 1978 and 1980. Prior to his shift to purely producing records in the 80s, Duke would begin to experiment with a variety of fusion sounds in the mid to late 70s. This experimentation was likely inspired from his years playing and working with Frank Zappa in the early part of the decade. During their time working together, Zappa had told Duke he was, “too stiff,” and that he, “needed to open up his mind to other types of music… and inject more of [his] own personality into [his] music to make it more accessible.”

By 1975 he was mixing his jazz background with pop, funk and soul on his album From Me to You. In 1978 this experimentation began to pay off with his record Reach For It entering the charts to a much wider audience. It wasn’t until Brazilian Love Affair that he reached his first big success though. With sessions split between studios in Los Angeles and Rio de Janeiro, Duke embraced Brazilian styles, creating a beautiful combination of South American rhythms and classic jazz, funk and soul structures. While his early fans had hoped for a return to his origins in instrumental jazz recordings, Duke opted instead to incorporate classic synthesizers such as the Prophet-5, ARP Odyssey and Minimoog into his repertoire. This landed the single and title track in the charts both in the US and UK.

You can hear the influence of Duke’s sound in many artists today, both in jazz-funk as well as house and techno music. Most notably, you can hear much of his sound in Ron Trent and Theo Parrish’s recordings and DJ sets. The flowing keyboards and groove oriented rhythms of Duke’s releases are also signatures of their modern sounds. Trent’s Afro Nova EP, a collaboration with Anthony Nicholson, is especially reminiscent of Duke’s experimentation with foreign percussive elements on Brazilian Love Affair. Parrish even closed his Live In Tokyo (Part 1) DJ mix from 2004 with “I Want You For Myself.”

With even more classics such as “Touch Me in the Morning” and “Home is Where the Hatred Is” set for reissue, Major Keys clearly values the importance of these tracks both in the past and present. While their departure from the norms of jazz at the time was treated with a sense of ambivalence by many within the genre, today we can take the chance to celebrate and reinvigorate the spirit behind such influential hits. With louder, fuller remastered versions set for release, they are sure to reach a wider audience than ever before, both through distribution and support from DJs around the world. Such a collection is a promising start for Major Keys as they dive head first into the reissue market.

Have a listen to our Youtube links below to hear the amended quality of a few of the reissues and be sure to pick up your own copies for the full remastered experience: 

Buy link:

Cet article A COLLECTION OF SEVEN REISSUES BY PRIME DIRECT DISTRIBUTION est apparu en premier sur Bolting Bits.

Jazzy Sport, the long standing, popular record shop and label from Tokyo, Japan is preparing its next record for release. The label focuses on a fusion of soul, jazz and hip-hop, oftentimes in a house-y direction, as is the case with the newest double LP to hit their catalogue. Kid Sublime is the man at the helm of the record entitled “The Padded Room”. The album sees the Dutch producer explore the sounds that the label is known for and perhaps sees him shy away a bit from hip-hop, a genre that has a place near and dear to his heart.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-kid-sublime-the-mandrill-feat-han-litz” /]
The album has guest appearances from a number of artists such as vocalist Damani Leidsman, percussionist Jos De Haas from New Cool Collective, soul collective the Dangerfeel Newbies and of course flutist Han Litz of the Kindred Spirits Ensemble who features on our premiere today. The Mandrill has got some bouncy percussion, a chunky bassline and a groovy piano sequence that are bound to make you move on any given day of the week. Add the fantastic jazzy flute skills of Han Litz and you’ve got that extra bit of spice that takes this track over the top and makes it one of the standout cuts on the album.

Don’t snooze on the rest of the album either as it is very much a dance record sprinkled with seasoning and influences from around the world.

Igor

Cet article Kid Sublime – The Mandrill feat. Han Litz [Jazzy Sport] est apparu en premier sur Bolting Bits.

G-Edits is up there with the best of them when it comes to the sweet sound of disco, and if you haven’t heard of them we suggest you buy the entire discography right this minute. Ben Gomori has taken his time to mould a smooth reputable label whose consistency outshines its neighbour labels. The man with an incredible work ethic, not only performing under Ben but with his alias too G Markus all the while running several labels such as Monologues Records, Sterns Edits and G-Edits. But his impressive CV doesn’t stop there with the talented musician hosting regular podcasts, radio shows and refugee fundraisers he truly does have a heart and mind of gold and its filled with music. Roots For Bloom and Soul Clap Records are just two of the labels G Markus has released with, he never fails to deliver and keeps up that record today.

Adam R.

Cet article G. Markus – Eternal [G-Edits] est apparu en premier sur Bolting Bits.

As you might know, Heist Recordings was created by the lads of Detroit Swindle as a means to take control of their own releases. However, in the 5 years that they have been in existence, Heist has also become a launching pad for many producers from their homeland the Netherlands. Artists like Nachtbraker to Frist Wentik and Fouk, all have featured their music on the label and have helped Heist become the Dutch, funk powerhouse that it is today. In keeping up with the tradition of showcasing the best deep house and disco the Dutch have to offer, Heist has decided to add another friend into the mix – the exquisite producer Pitto!

To get yourself a copy of the EP when it comes out on June 22nd, simply click on this link right here!

Cet article Pitto – Late Night Studio Moves [Heist Recordings] est apparu en premier sur Bolting Bits.

It’s rare to find a ‘Various Artists’ compilation that glues together from start to finish as well as Broken District’s debut, five-track record, set for vinyl release on April 27 before its May 11 digital release.

Finding blanket-terms to shortly categorise music isn’t easy at the best of times, but the heads of the new label, Jus Jam, Momla and Antwan, have done it for us. They said they want its output to fuse their tastes, which include jazz, house, hip-hop, funk, soul and more experimental genres. And each one of these elements, at some stage of the record, rise up strongly and contribute something very authentic.

So the whole record is definitely worth a listen, but we suggest you pay particular attention to our premiere, Jeppe Wolmer’s Normal Position.

Fresh out of Copenhagen, this nearly seven-minute house rhythm is lightly pieced together by jazz and funk building blocks, like deep, groovy chord stabs and a looped guitar riff. The B1 on the record, it’s a great example of the EP’s multi-generic flavour.

Other tracks on the record come from Bordeaux’s Momla, Berlin-based Marian Tone, Jus Jam and Yepes & Plae Casi, the latter of whom step out of their hip-hop norm to produce arguably the track of the record.

Jacob

Cet article Jeppe Wolmer – Normal Position [Broken District] est apparu en premier sur Bolting Bits.