Mixes Of The Week: 21/8/17

Mr Scruff

This week’s top mixes include Mr Scruff, Amy Becker and Big Strick.

The Do!! You!!! Show with Charlie Bones & Theo Parrish. Detroit-based house and techno artist, head of Sound Signature and Ugly Edits imprints, Theo Parrish joins Charlie Bones for a one off afternoon session of soul, jazz and funk-infused house via the daily Do!! You!!! radio show, on East London’s NTS. Stream above.
Big Strick’s Feel My Bicep Mixtape. Feel My Bicep welcomes Big Strick of Detroit’s FXHE Records to their mixtape series. With new projects due to drop later this year and a tour of Japan in October, "there was no real formula, just played some records I was digging on,” he explains. Stream and download here.

Daniel Avery at Brilliant Corners. A recording of the first in RA‘s series of RA Live events, featuring British DJ and producer Daniel Avery, founder of Divided Love club night, playing his favourite downtempo, shoegaze and ambient records at the outer reaches of techno, on a Sunday evening at London’s Brilliant Corners. Stream above.

Amy Becker’s Crack Mix Selections. With her self-produced zine and compilation TRX, an EP featuring Sir Spyro and Scratcha DVA, the launch of her own Acrylic label and regular slots on Radar, NTS and Rinse, UK bass music DJ Amy Becker selects cuts from London’s drill and afrobeats scenes in her Crack mix. Stream above, track listing here.

Mr Scruff Gets A Move On. Manchester producer, DJ and tea aficionado, Mr Scruff drops a mix ahead of his Lost Village set next week, via i-DJ. It’s "a winding journey through different areas of the festival, spending 10-15 minutes at one stage before moving on to another". Stream above, track listing here.

FOOZOOL and 8ULENTINA’s Truancy Volume. Hailing from San Francisco, FOOZOOL and 8ULENTINA are the masterminds behind Club Chai, an operation including radio shows, guest mixes, workshops, art shows and a label that featured the Club Chai Vol. 1 compilation released earlier this year. Their joint mix for TRUANTS packs an hour of rhythms from across the globe. Stream above. Source: http://ift.tt/1UBq9jI

The 200 Best Albums of the 1960s

Few humans were ever able to wrestle melody out of an upright bass or command a cacophonous jazz band like Charles Mingus—though all that is basically irrelevant on this album of solo piano works. The idea seems a bit incongruous, like if Eddie Van Halen decided to release an oboe-only record in his prime, but Mingus was no dilettante on the keys. At a young age, he was mentored on the instrument by the quick-fingered jazz titan Art Tatum, and this album of originals, reinterpretations, and spontaneous performances adds another dimension to his staggering talent.

Unlike Mingus’ full-band albums and shows, which could be rambunctious affairs that teetered on the precipice of chaos, Mingus Plays Piano is gorgeously spare, incorporating elements of jazz, blues, and his beloved classical music. Opener “Myself When I Am Real” was largely made up on the spot, a shapeshifting ballad that doubles as a spiritual portrait of Mingus’ own creativity. Elsewhere, there are skewed standards, quiet confessionals, and an eight-and-a-half minute ode to Mingus’ America, a complex and troubling place where black men like him were often left out. The record’s haunted soul still speaks to artists like Blood Orange’s Dev Hynes, who sampled “Myself When I Am Real” to introduce his own profound and personal treatise on being black in America, Freetown Sound. Truth, beauty, liberty—it’s all here. Unadorned. –Ryan Dombal

Listen: Charles Mingus: “I Can’t Get Started”

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John Vanore: Stolen Moments

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There were only seven musicians on Oliver Nelson’s The Blues and the Abstract Truth in February 1961. But as Creed Taylor, the album’s producer, told me in an interview in 2008, the extraordinary way Nelson arranged the septet enabled them to sound 10 times larger. Even more surprising is that the entire album was completed at Rudy Van Gelder’s New Jersey studio in a single session. Who came up with the album’s unusual title? [Photo above of John Vanore by Dave Rainy]

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"Me," Creed said. "I thought we should make a statement about the music. It was the blues, but it was an abstract blues that you hadn’t heard before. It was Oliver Nelson’s impression of the blues. Given the music, we had to package the record in a different way. The blues is supposed to be 12 bars and down and dirty. Here we had something like an architectural structure of something that existed in 12 bars but surely was abstract. And the music wasn’t trying to put anyone on. There was nothing contrived. It was the truth. Oliver meant every note he wrote. I’ve always liked that title."

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Over the years, Nelson’s influence has turned up in many interesting places. In 1977, Steely Dan’s Donald Fagen and Walter Becker asked Aja’s horn arranger Tom Scott for a Nelson feel on Deacon Blues. As Scott told me in 2015, "I used a sound that mirrored Oliver Nelson’s orchestral style. I wrote in these ‘rubs’—two notes close together in the middle register played by the tenor and baritone saxophones. This produces a really thick, reedy sound."

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Now John Vanore has released Stolen Moments, a tribute album that embraces the Nelson catalog with thrilling results. The song choices are smart, they’re in the best possible order and Vanore’s arrangements couldn’t be more vibrant and dynamic.

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Here are the songs Vanore chose and the Nelson albums on which they appear in parenthesis: Self-Help Is Needed (Black, Brown and Beautiful), A Taste of Honey (from the album of the same name by Lloyd G. Mayers), Stolen Moments (The Blues and the Abstract Truth), El Gato (from the album of the same name by Gato Barbieri), St. Louis Blues (from Ramsey Lewis’s Country Meets the Blues), Blues and the Abstract Truth (More Blues and the Abstract Truth), Greensleeves (Leonard Feather’s Encyclopedia of Jazz All-Stars), I Hope in Time a Change Will Come (Black, Brown and Beautiful) and Reuben’s Rondo (Skull Session).

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Vanore, who is from Philadelphia, assembled a dozen superb core musicians for this project, with others added on different tracks: Tony Kadleck, Augie Haas, Jon Owens and Dave Ballou (trumpets); Ryan Keberle and Dave Taylor (trombones); Adam Unsworth and George Barnett (French horns); Steve Wilson and Bob Malach (saxophones); Jim Ridl (piano); Greg Kettinger (guitar); Mike Richmond (bass); Danny Gottlieb (drums) and Beth Gottlieb (percussion).[Photo above of the orchestra, courtesy of John Vanore]

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The musicianship is extraordinary throughout. It’s soulful, swinging and flawless, which is remarkable given the intricacies of the music and the twists and turns of Vanore’s charts. The beauty is that Vanore didn’t mess around with the purity of Nelson’s sound or turn his approach inside out. There was no need to. Instead, Vanore’s arrangements remain true to Nelson’s spirit, with new solos and fascinating introductions that only enrich the original material.

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Vanore arranged and conducted the band and he played a trumpet solo on the title track. In college, Vanore had the good fortune to attend a summer program directed by Nelson. It was then that he decided to pursue a career in music. After college, he joined the Woody Herman band on the road. Back in Philadelphia, he was a first-call trumpet player for top artists who came to town, including Tony Bennett, Michel LeGrand and Louis Belson. Vanore currently is direcot of music at Widener University in Chester, Pa. [Photo above of Vanore conducting, courtesy of John Vanore]

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In the press release that came with the album, Vanore is clear on why he avoided tinkering with Nelson’s work: “I would never take Oliver Nelson’s arrangements and record them,” Vanore says. “This isn’t a ghost band. I kept the identity and essence of Oliver’s music but made them my own. I’m trying to tell his story with my words.” And he does so royally. [Photo above of Bob Malach and Steve Wilson, courtesy of John Vanore]

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A special hats off to alto saxophonist Steve Wilson, who handles Nelson’s soaring solos. My only wish is that they had included 3, 2, 1, 0 from Black, Brown and Beautiful. My guess is there’s an arrangement still sitting in Vanore’s leather bag.

JazzWax tracks: You’ll find John Vanore’s Stolen Moments (Acoustical Concepts) here.

JazzWax clip: Here’s Self-Help Is Needed, with Steve Wilson on alto saxophone…

Self-Help Is Needed

      

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Source: http://www.JazzWax.com/

Ancient Ocean Filters NASA Footage Through Ambient Lens

At the risk of adding to all the noise around this afternoon’s solar eclipse, we can’t help but share the latest single from Ancient Ocean’s upcoming Beyond Beyond Is Beyond album. Available below, “Life At the Surface” is a moody, 11-and-a-half-minute piece that sounds like an orchestra slowly fading to black alongside a blizzard.

Have a listen below, right alongside J.R. Bohannon’s commentary and streaming versions of another new song and Ancient Ocean’s last LP. Look out for the rest of Titan’s Island on September 22nd….

“Life at the Surface” came about during a heightened interest in all of the NASA public domain materials out there. It’s interesting to think how many hours and days of footage likely exists and how closely it all gets examined. The many layers throughout the movement were shaped watching this footage, a lot of which slowly unravels over time.

Also, Aaron Martin’s beautiful string work helped bring this movement of the record to life, and I sent Darryl Groetsch (Pulse Emitter) a simple layer many months ago to see if he could add something, and he tracked these very simple synthesizer bells that helped change the landscape a little bit, and breathe a different life into it. I like to collaborate on my works in very subtle ways, and I choose people based on an overall vision I have for each movement of an album—sometimes that includes another person, sometimes it doesn’t, but I like to always leave the possibility open.

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Babyfather Meets A$AP Rocky on “Benzo Amore”

In honor of his appearance at Berghain next month, Dean Blunt has shared a previously unreleased Babyfather track featuring a few laid-back lines from A$AP Rocky. Have a listen down below, right alongside the long-awaited return of Blunt’s Hype Williams project, which will see an official release through Big Dada this Friday….

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STILL Channels Lee ‘Scratch’ Perry, Restless Digital Riddims on PAN LP

Simone Trabucchi (the Hundebiss head formerly known as Dracula Lewis) has announced the first proper LP from his ever-evolving STILL project. Due out September 15th through PAN, I is a dizzying collaboration with six Milan-based African-Italian vocalists that cements some of the concepts Trabucchi first examined through his Negus art project last year.

According to a press release, the Simone Bertuzzi collab (an extension of their visual arts duo Invernomuto) featured “a series of sculptures, installations, a book, and a long-feature experimental documentary screened at Unsound 2016. [It] revolves around a cleansing counter-ritual performed by Lee ‘Scratch’ Perry in the Vernasca Square where 80 years earlier, an effigy of Haile Selassie I was burned. The documentary then follows a trajectory connecting Italy’s overlooked colonial past seen through personal history to a reverberation of symbols in Ethiopia and Jamaica. Within STILL, [Trabucchi] connects these research threads, evolving their sonic and linguistic aspects further, where ‘computerised riddims’ sustain a shared gospel channelled through a polyphony of voices.”

Said MCs/singers will appear alongside Trabucchi in a group STILL performance at Unsound’s Krakow edition this fall. In the meantime, here’s the album’s lead single, along with the official trailer for Negus….

STILL | I album cover

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(PAN, September 15th)

1. Haile Selassie is the Micro-Chip
2. Bubbling Ambessa [Afrikan Messiah Riddim]
3. Nazenèt [Wasp Riddim]
4. Don’t Stop [Wondo Riddim]
5. Rough Rider
6. BANZINA [Banzina Riddim]
7. Gozpaal [Mustard Riddim]
8. Still Sound Boy Test {Interlude}
9. Mangrovia

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Jerry Lewis: (1926-2017)

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Jerry Lewis, whose geeky, high-strung brand of humor starting in the late 1940s made him a national sensation and early TV star while still in his 20s and whose seemingly ad-libbed routines as a befuddled jerk in ’60s films influenced several generations of improv comics, died on Aug. 20. He was 91.

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Personally, I was never a huge fan. His nerdy comedy bits with Dean Martin always seemed grating and juvenile (a generational thing?), and most of his movies with Martin were consistently dreadful. Yet somehow Lewis managed to connect with both parents and teens well into the 1960s at a time when the generations were at each other’s throats. His finest moment on screen (other than his tireless efforts to raise lots of money for good causes) was his role in The King of Comedy, in which he pretty much played himself.

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For me, Lewis excelled when his comedy was combined with his physical agility and love for jazz, especially Count Basie’s band. Lewis also had an uncanny ability to see the absurdity of everyday products and situations. When his material was great, his timing and silliness could reach a fever pitch. In this regard, his delivery had the rhythm of a drummer, an instrument he could play well.

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To illustrate the best of Lewis, here are eight of my favorite clips…

Here’s Jerry Lewis in Cinderfella (1960) miming to Count Basie’s Cute

Here’s Lewis in the ball scene from Cinderfella with Anna Maria Alberghetti and Count Basie…

Here’s Lewis in The Errand Boy (1961) miming to Basie’s Blues in Hoss’s Flat

Here’s Lewis in The Nutty Professor (1963), with Les Brown’s band…

Here’s Lewis learning German in Which Way to the Front (1970)…

Here’s Lewis with the Treniers in 1954…

Here’s Lewis again in The Errand Boy

And here’s Lewis conducting Count Basie’s band on April in Paris during his 1980 Muscular Dystrophy Association Telethon…

       

Source: http://www.JazzWax.com/

Patti, Bill and Marty

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This week in The Wall Street Journal,
I interviewed two of the original Hollies—lead singer-guitarist Allan Clarke and drummer Bobby Elliott—and lyricist Roger Cook (go here). This time around, the song I explored was Long Cool Woman (in a Black Dress). The rocker co written by Allan and Roger, has a intoxicating rockabilly sound and a lyric about an F.B.I. raid in Prohibition New York. The song has a fascinating history. Perhaps my favorite question for Roger was when I asked him who he had in mind for the "long cool woman" in the song. His answer? Billie Holiday. "I loved her voice," he says. Here’s the song in case you’ve forgotten it…

Also in the WSJ, my Mansion "House Call" interview with the spectacular Patti LaBelle (go here). As a child, she was so enormously introverted and shy that her mother used to give her a quarter to go out and play with other kids. Patti was a marvelously warm and forthcoming interview subject. Here’s Patti singing Here’s to Life from her current album, Bel Hommage

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And finally,
my "Playlist" column in the Review section featured a chat with bestselling novelist Dean Koontz (go here) on Paul Simon’s The Boy in the Bubble from Graceland and how the song helped him come up with the right tone in the novel that was his first success.

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Bill Evans.
I have no idea who Paria Forouzesh is or where she’s from. I stumbled across this video clip quite accidentally during the week and thought you’d enjoy it as much as I did. Here’s Paria playing a transcription of Bill Evans’s Gone With the Wind

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Marty Paich.
Christopher Strawn sent along a clip to a Glen Campbell Goodtime Hour featuring a range of guests, including Stevie Wonder. I had forgotten that Marty Paich was the show’s musical director. Here’s Glen and Steve (starting at 5:50) and Glen and Roger Miller (King of the Road) at 26:08…

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Dave Pell.
Drummer Robert McKeon in Phoenix sent along a link to the following clip featuring a new band he’s in called the West Coast Cool Octet. Here they’re playing the late Dave Pell’s swinging arrangement of Cheerful Little Earful

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In New York next weekend?
Marlene VerPlanck will be singing at Kitano on Saturday, August 26. She’ll be joined by pianist Russ Kassoff and bassist Jay Leonhart. There are two shows—at 8 and 10 p.m. Reservations a must. Call (212) 885-7119. The club’s entrance is on 38th St, where there is very easy street parking. Here’s Marlene singing Speak Low on her Marlene VerPlanck Meets Saxomania album from 1994

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What the heck.
Here’s Patti Page singing Stars Fell on Alabama on her 1950s television show. Patti was pop, but wow could she ace a song with perfect articulation and phrasing..

Oddball album cover of the week.

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Goodness, Art Linkleter on the facts of life. On the back, the copy promises that "prior to its release, the album was reviewed by outstanding members of the clergy, representing all faiths, educators and child psychologists." They obviously missed the cover photo featuring Art’s illustrative hand signing.

       

Source: http://www.JazzWax.com/

Win A Pair Of Studio Monitors Worth £1,000

Take part in a short survey for a chance to win a pair of KRK V6 S4 monitors worth £1,000.
KRK V6S4 Monitor Speakers
Take part in the Electronic Music Brands Survey and you’ll be entered into a prize draw to win a pair of KRK V6 S4 studio monitor speakers worth £1,000.
This survey will take less than two minutes to complete, and your responses will not affect your chances of winning.
Any information you share will be kept strictly private and anonymous, and none of your answers or details will be shared with third parties, for marketing purposes or otherwise.
The prize draw closes on August 31st, and the winner will be notified by email. Full terms and conditions can be found by following the link below.
To take part, click here. Source: http://ift.tt/1UBq9jI