more donuts to add to these...
j dilla -dillanthology 1: dilla's productions for various artists
i his brief 32 years, james dewitt yancey, better known by the names j. dilla or jay dee, was a highly influential hip hop/soul producer who worked with the likes of de la soul, a tribe called quest, erykah badu, the pharcyde, janet jackson, busta rhymes, common, d'angelo, and his own group slum village. ??in this first volume of the dillanthology tribute series we focus on some of his classic productions for atists including busta rhymes, the pharcyde, erykah badu, slum village, the roots, and common.
j dilla - dillanthology 2: dilla's remixes for various artists
in his brief 32 years, j-dilla, otherwise known as jay-dee or james yancey created and shaped a new sound for hip-hop that inspired beat smiths, mcs and music lovers around the globe. with an incredible line of production credits for de la soul, tribe called quest, erykah badu, the pharcyde, janet jackson, busta rhymes, common, d'angelo, his own crew slum village and so many more, it is little wonder that j-dilla has been described as a visionary, a genius and the quintessential producers' producer by some of the most respected names in the game. the fact that both pharell williams and kanye west name him as their major inspiration speaks volumes to the influence of his distinctive "dilla sound." ??the second volume of the dillanthology series focuses on a collection of his unique remixes for artists including busta rhymes, the pharcyde, de la soul, artifacts and masta ace.
j dilla - jay stayed paid
the quiet, prolific producer collaborated with everyone from erykah badu to common to janet jackson to prince. dilla was just beginning to capitalize on his cult status when he sadly passed at age 32 due to lupus-related complications. jay stay paid, is a 25 track collection of unreleased dilla beats mixed and arranged by pete rock. while mostly instrumental, jay stay paid also offers a few guests vocals from artists that dilla worked with or admired including black thought of the roots, doom, m.o.p., blu and more. ?
jay stay paid is overseen by maureen yancey (aka ma dukes) along with the musical supervision of dilla's only real musical idol, pete rock: "this album combines what he did in the beginning of his career, what he did in some of our early hospital stays, which was very deep, and some stuff he pulled from old discs and dats. it's mind blowing...this is like the missing links to dilla's legacy."
j.rocc - syndromes 2
here's a great mix cd from j-rocc of the beat junkies. a nice jazz-funk mix cd. not too much on here that will surprise you in terms of unknown breaks but it's all put together with skill and originality.
james pants - all the hits
when not out touring the globe with his band, dj’ing nights the pacific northwest that he calls home or running through the streets of los angeles with pal, mentor and label-head peanut butter wolf, james singleton aka james pants is up in his lab assemblin’. he’s packed numerous recorded projects under his belt for stones throw records and this is his effort with publishing/licensing house miserable beast music. all the hits us a journey into the genre-less domain typically classified as library music, made specifically for the visual medium.
koushik - tell me what you see
koushik’s music has captured listeners as the soundtrack to the ideal lazy, sunday afternoon. so, miserable beast commissioned the producer to make such a soundtrack uninspired by the many film noir projects of yesteryear. what came of it is a meandering audio accompaniment into a film that unexists only in the producer’s mind using samples pulled from the stones throw, now again and miserable beast catalogue; made unspecifically for visual media.
the last electro-acoustic space jazz & percussion ensemble [madlib] - summer suite
40-minute jazz fusion piece produced and arranged by madlib. this suite is a single track comprised of four major sections and several different themes, altogether feeling similar to, more more cohesive, than one of madlib's jazz mixtapes. “electro-acoustic space jazz” itself is a fitting description.
lee fields & the expressions - my world
lee fields is a bona-fide, 100%, unadulterated, pure, gut-bucket soul singer. his "legendary" status owes to his undeniably solid series of rare 7" singles (and one lp) recorded and released on his own independent labels in the 70s. madlib recently jacked his “flim flam” drums for the tv on the radio remix he produced. now, the new york label/production team truth & soul currently in the studio with aloe blacc are ready to bring him to light with a brand new album of beat-heavy, deep soul ballads that will show soul-revivalists the world over what real soul is.
recorded over four years, lee fields & the expressions have successfully created a unique and personal sound that can hold court with the bands they set out to emulate. however, what they’ve created in the process goes beyond just a carbon copy of a sweet soul music from the 60's and early 70's. the formula has remained the same but the style has been adapted for the ears of youngsters whose experiences with soul began with amy, not al, otis and marvin. thirty years of retrospection has colored this cross-generational melding of the minds. it sounds odd on paper, but the results are classic: hip hop-reared record collectors come full circle to produce an album of beautiful soul music with one of the progenitors who made it all possible.
mayer hawthorne - a strange arrangement
mayer hawthorne’s debut album a strange arrangement grew out of a childhood steeped in detroit soul. raised in ann arbor, michigan, just outside of detroit, he vividly remembers driving with his father and tuning the car radio in to the rich soul, deep funk and swinging jazz the region provided. as he grew up, and his obsession with soul records grew into a passion, hawthorne discovered that sweet soul existed on both sides of the commercial divide. he discovered the same beauty in the polished sound of issac hayes and curtis mayfield as he did in the deeper, darker grit of the obscure symphonic four and detroit-cult soul slingers the new holidays. ??his album draws from the inspiration of leroy hutson, smokey robinson, and the legendary songwriting and production trio of lamont dozier, brian holland, and eddie holland jr. at the same time that it revels in the raw sounds of those independent musicians who aspired to achieve a level of success akin to their famous peers. a strange arrangement is an album full of original compositions and one cover (he had to give the new holidays “maybe so, maybe no” a whirl) that underlies a heartfelt nostalgia to the sweet soul of yesteryear with a clear desire to show that his strange arrangement is no passing fancy. “it’s old soul,” hawthorne explains, without an ounce of irony. “but it’s new.”
triorganico - convivencia
a southern californian garage-band influenced by music of the latin american diaspora? forty years ago that might have described a psych outfit, or an ensemble that emulated santana. in 2009 it describes a wondrous little combo who have returned to latin jazz’s raw, minimalist roots and have recorded a self-titled album drenched in history, yet defiantly modern: convivencia. ??triorganico – pablo calogero on saxophones and woodwinds, ricardo “tiki” pasillas on percussion and fabiano do nascimento on guitar – formed in calogero’s garage. “we would simply get together to listen to music, write music, share ideas and research music,” the rio de janeiro bred do nascimento states. “we created a musical chemistry… even though we came from very different musical backgrounds, we can understand each others musical language.” ??the band set up a weekly residency in downtown la, playing a variety of original compositions and cover songs from their favorite musicians. songs by baden powell, hermeto pascoal, moacir santos and other brasilian legends featured prominently. the idea to record happened, in keeping with the band’s namesake, organically: “it came to us that we could record our music, on our own, easily, using the technologies of today,” do nascimento laughs. “anyone can make a record these days right? so we started recording our ideas as a pablo’s garage, using, as he called it, ‘guerrilla tactics.’” ??the result is wholesome album that rambles purposefully through the wonders of brasilian bossa nova influenced jazz and spreads into throughout the musical melting pots at the center of its creator’s multi-cultures. their album is a warm, acoustic affair that, as a filling entrée amongst glitchy, electronic-based appetizers, feeds the soul.