Wednesday, 22 April 2020

Nicolas Jaar ‎– Cenizas (2020)

Style: Minimal, Ambient, Modern Classical
Format: FLAC
Label: Other People

01.   Vanish
02.   Menysid
03.   Cenizas
04.   Agosto
05.   Gocce
06.   Mud
07.   Vacíar
08.   Sunder
09.   Hello, Chain
10.   Rubble
11.   Garden
12.   Xerox
13.   Faith Made Of Silk

For the first time in four years, we have a proper Nicolas Jaar album: Cenizas. The latest entry from the Chilean-American composer neé DJ is both the end of a drought and the capstone on an incredible run. While his last “official” project, the politically-oriented Sirens, came out in 2016, Jaar has released two dance compilations under the alias Against All Logic and produced FKA Twigs’s exquisite Magdalene in the intervening years. So where does all that — two hours of original club-ready beats and a bona fide pop music Event — leave Jaar? 
As an album, Cenizas wanders, floats, drifts. Jaar’s work has always been experimental, but this record is without a doubt his most “challenging,” rife with exercises in drone, ambient, and noise, often at the same time. In many cases the only punctuation in these songs is the smooth arrival of Jaar’s lilting baritone, a soothing voice hovering in the abyss. Historically, Jaar’s most exciting songs have often featured some moment of lift-off, where an unexpected instrument arrives, the drum kicks in, or a beat picks up. Not so here. One song is titled “Gocce,” Italian for “drops.” Jaar is either having some impish fun with expectations or investigating the outer limits of what a “drop” means in music. Or, more likely, both. The notable exception to this vibe is the album’s focal point and standout track, the seven-minute “Mud.” A drum-led, drone-heavy meditation, “Mud” is the centre of gravity of Cenizas. It easily sits with the best of Jaar’s work. 
Cenizas invites a perilously simple narrative for where Nicolas Jaar has arrived in 2020. With a home for his dance music under A.A.L. and big league producing opportunities, he can now indulge his more avant-garde impulses under his own name. But this record is also consistent with the themes and objectives that have pervaded the artist’s work to date. Jaar’s music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar’s first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He’s showing us now.
Colin Groundwater / LOUD AND QUIET

HE3 Project ‎– Chapter One (2010)

Genre: Funk / Soul
Format: CD, Vinyl
Label: Family Groove Records

A1.   Rapture Of The Deep
A2.   Funk Punk
A3.   Appreciation
B1.   Life Is A Tortured Love Affair
B2.   Make It Sweet
B3.   We All Have Our Own Lives
B4.   In A Soft & Subtle Way
B5.   Easy Come Easy Go

Mastered By – Henri Yonet
Producer – Daniel Borine
Written By – Herman Eberitzsch

Few have had the opportunity to hear the brilliant music of virtuoso pianist, arranger, and songwriter, Herman Eberitzsch Jr. III. Known to his peers as "funky knuckles," Eberitzsch crafted an inimitable brand of psychedelic soul and funky jazz during San Francisco's much-fabled artistic and political awakening in the 60s and 70s. Yet, his boldly experimental music missed the ears of the right A&R man and never saw commercial release. The studio tapes found their way to Eberitzsch's basement where they remained for 35 years until a chance encounter with Family Groove Records. Over one decade's worth of Eberitzsch's original recordings will be mastered and released, resulting in a four-part compilation entitled the HE3 Project.The first chapter of the HE3 Project features Eberitzsch's trailblazing efforts from three distinct recording sessions spanning 1971 to '74. He brought a loose-knit quartet together in '71 to record a decidedly expressionistic approach to jazz and funk that they had cultivated in the city's avant-garde clubs and cafes. In '73, Eberitzsch joined members of Coke Escovedo's Latin group, Azteca, at Wally Heider and CBS studios to arrange and write demos for Coke's seminal, self-titled debut. And in '74, he brought in a full band, Motion, to record at Wally Heider -- with songstress Linda Tillery (The Loading Zone) an unknown soul singer named Johnny Lovett on lead vocals and a Tower-Of-Power strength horn section. Eberitzsch brought this experimental ethos to the studio where he played around with recording techniques. With a child's amusement, he used an old fashioned Fender Echoplex in "Rapture" and applied a screwdriver to his Hammond keyboard in "Massage" to create wobbling effects. He then manipulated the tape loop, searching loosely for weird sounds that would produce warped textures. The strange, idiosyncratic sounds created in the process helped to shape the psychedelic quality of the music. Yet it never smothers itself in abstraction. "It's still earthy because it was manipulated not by machines," he explains while laughing, "but by the hands of the monkey man!" The HE3 Project, emerging nearly four decades after its inception, is as strikingly moving and fresh as ever.
Rush Hour

Zeitgeist Freedom Energy Exchange ‎– Zeitgeist Freedom Energy Exchange (2018)

Style: Jazz-Funk, Contemporary Jazz
Format: Vinyl, FLAC
Label:  Wax Museum Records

A1.   Big Up
A2.   Nikita
A3.   Ochre
A4.   Elisa
B1.   Drum Poem
B2.   Marcus Garvey
B3.   Emerald
B4.   Stay Swag
B5.   Elliot
B6.   Lakshmi

Ziggy Zeitgeist - Drums/Percussion
Matt Hayes - Bass
Lewis Moody - Keyboards
Javier Fredes - Percussion
Erica Tucceri - Flutes
Elf Tranzporter - Vocals on "Stay Swag"
Tiaryn Griggs - Vocals

Ziggy Zeitgeist has become a staple of the Australian Music scene. Touring and recording with Melbourne Nu-Soul/ future-jazz collective, ‘30/70’ has enabled Zeitgeist to forge new frontiers in improvisation and drum-set application. Zeitgeist has stepped up to the role of bandleader in the debut self-titled album Zeitgeist Freedom Energy Exchange. 
The vision of this project was to create a live band experience that is closely aligned with an extended DJ set, heavily influenced by club culture and transformative festivals where people seek a more transcendent experience- a continuous odyssey, sound and groove with the spirit of live improvisa- tion. The main influences for this project include house, broken beat, and a good dose of 70’s jazz-funk in order to create a unique and cosmic pocket. 
Zeitgeist: The spirit of the time. That is, we are only a product of our own zeitgeist. At the same time we create our own zeitgeist. This is an exploration into contemporary music whilst always digging deeper into the wealth of forward thinking artists, musicians and activists who have come before us and continue to inspire. 
Freedom is the liberation of the self. Breaking down the shackles of form and concept to manifest the ultimate dimension of reality. The Energy Exchange is the universal synergy, which effortlessly binds us all to eternity tapping into the exchange is the realization of interdependence. The more we can give, the more capacity we have to receive. This is scarcely more evident than in the age-old communication between musician and dancer. 
The process for this record entailed writing sparse rhythmic and harmonic figures that imply a kind of groove and tonality without restricting the expression and trajectory of the group improvisation. These parameters were used to inspire the musicians in a way that allows personal expression whilst still maintaining strong group cohesion. 
The making of this album has been an exploration of instrumental music as a vehicle of spiritual discovery, and finding a working balance of composed and improvised material. Freedom Energy Exchange is about creating new directions in dance music culture where people come to hear new music and find new ways to express themselves, new ways to move, new ways to make love. 

The Beginning Of The End - Funky Nassau (1971)

Style: Afro-Cuban Jazz, Jazz-Funk, Funk
Format: CD, Vinyl
Label: Funky Beat Productions,  Alston Records

1.   Funky Nassau (Part 1)
2.   Funky Nassau (Part 2)
3.   Come Down
4.   Sleep On Dream On
5.   Surrey Ride
6.   Monkey Tamarind
7.   In The Deep
8.   Pretty Girl
9.  When She Made Me Promise

Bass – Fred Henfield
Trombone – Vernon Mueller
Trumpet  – Neville Sampson
Clarinet – Freddie Munnings
Drums, Congas, Vocals – Frank "Bud" Munning
Guitar, Vocals – Liroy " Roy" Munnings
Organ, Vocals – Raphael "Ray" Munnings
Tenor Saxophone – Kenneth Lane, Ralph Munnings
Producer, Arranged By – The Beginning Of The End

A monster bit of funk that's unlike anything else we can think of! Beginning Of The End hailed from The Bahamas, but don't hold that against them – because instead of being a Caribbean cliche, they took the best part of the island rhythms, and used them to forge an incredible approach to funk! They've got a choppy sound that's the result of some incredibly dexterous guitar, bass, and drums – and which you'll recognize instantly from their one-time hit "Funky Nassau", a killer funk track that never gets old, no matter how many bands cover it over the years! That gem kicks off the album, which then rolls into the monster funky "part 2", which is even better! Other titles are equally wonderful – and include "Come Down", "Surrey Ride", "Monkey Tamarind", and "In The Deep". Essential – and one that you'll be spinning for years!
Dusty Groove 

Ramuntcho Matta ‎– Domino One / MTM VOL. 30 (1991)

Genre: Electronic, Jazz, Stage & Screen
Format: CD, Vinyl
Label: Made To Measure, Crammed Discs

01.   Gesti
02.   Zoique III
03.   Domino One
04.   Coracor
05.   Opi 0:53
06.   Hop Hop
07.   Doo Di Da Doo
08.   Jeune Et Vieille
09.   Wallaroo
10.   Orgao
11.   Marimbula
12.   O Clapo
13.   Ne
14.   Sunrise
15.   Morning
16.   Noon & Afternoon
17.   Sunset

Cacau - Saxophone
Guillermo Fellove - Trumpet
Elli Medeiros - Vocals
Negrito Trasante - Bata, Percussion
Ramuntcho Matta - Bottle, Guitar, , Marimbula, Multi Instruments, Ney, Organo, Arranger,  Producer, Vocals