Stones Throw Podcast 79: Dam-Funk’s Spiritual Flight Vol. II

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Yesterday i posted a little compilation (here) and today this mix thanks to the Stones Throw and their podcasts, enjoy!

One of the most memorable of our podcast series was Dam-Funk’s 2008 all-gospel, boogie-funk mixtape Spiritual Flight. We’re pleased to kick off 2013 on a positive note with Dam’s second volume. Image by Freddy Anzures. Looking further into 2013, expect to see the DAM DRUM 2.0 and some big news with Dam-Funk’s new full length album.

~ Spiritual Flight Vol. II ~ A DāM-FunK Mix ~

1. PASSAGE ~ I See The Light ~ A&M | 1981
2. OMNI ~ Warriors ~ Mercury | 1984
3. THE YDOC’s ~ It’s Your Choice ~ Posiga | 1987
4. FEDERATION OF LOVE ~ You’ve Changed My Life ~ LVW | 1989
5. THE FORDS ~ He’s My Closest Friend ~ Tyscot | 1986
6. THE KING’s MEN ~ It’s Testifying Time ~ BSS International | 1984
7. THE RANCE ALLEN GROUP ~ Can’t Get Enough ~ Stax | 1980
8. THE RANCE ALLEN GROUP ~ It’s Your Time ~ Myrrh | 1983
9. DONN THOMAS ~ Any Other Love ~ Myrrh | 1981
10. WHITE HEAT ~ Hold On ~ Myrrh | 1982
11. NORM CALVIN and the TRUTHSEEKERS ~ Faith Medley ~ TSM Records | 1986
12. D.J. ROGERS ~ I Told Him I Would Sing ~ Hope Song Records | 1982
13. LARNELLE ~ To Be Like Him ~ Benson Records | 1980
14. The FANTASTIC VIOLINAIRES Feat. Robert Blair ~ Telephone ~ Malaco | 1984
15. EDDIE BRADFORD ~ He Keeps Me ~ Edd-Ra Records | 1988
16. LOUIS FARRAKHAN ~ Let Us Unite ~ A.V.C. Records | 1984
17. GOOGIE and TOM COPPOLA ~ Joyous Flame (*Special DāM-FunK added String-Synth version)

All music was mixed live via the original wax pressings owned by: DāM-FunK. No mp3’s or borrowed music was used in the recording of this mix.

Peace & all the best 2 U, as we all resist the negative forces of this world that we co-exist in and continue 2 polish our armor against the darkness, as we collectively grow into our individual & personal: Spiritual Flight.

With respect & love for all ‘universal’ kind.
– D-F

MP3: DOWNLOAD!

CohenBeats – Milk and Honey Vol.1

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Got this on the mail, Cohenbeats 26 years old beatmaker from Israel, This is “Milk & Honey Vol. 1” hist last project with 27 beats made using Israeli samples only, available now as free download on bandcamp, enjoy! props to rawtapesrecords.com

Cohenbeats has been a long time friend and one of the best beat makers we know. It was only a matter of time until he would’ve released an album on Raw Tapes…
Even though Cohenbeats (also one half of the rap group Cohen@Mushon) has always had a soft spot for Israeli samples, this time he focused on 25 of his favorite beats sampled only from Israeli records from the 60’s up to the 80’s, 2 beats from Israeli related samples and many skits of Israeli people speaking half ass English. We even went far enough to feature Hebrew writings on the cover, if you ever wondered what it looked like…
We figured since all we hear in the news is political related, we needed someone to show us another side of the middle east.

So there you go, 27 nose punching, throat grabbing, heart moving beats.

everybodydigs#39 Etta Jones – Don’t Go To Strangers

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Don’t Go to Strangers was Etta Jones’ first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts. An elegant ballad on an album that had several of them, including the masterful “If I Had You” and a marvelous reading of “All the Way,” a song usually identified with Frank Sinatra, “Don’t Go to Strangers” featured Jones’ airy, bluesy phrasing and uncanny sense of spacing, and was very much a jazz performance, making its success on the pop charts all the more amazing. Listen to Jones’ restructuring of the melody to the opening track, the old chestnut “Yes Sir, That’s My Baby,” to hear a gifted jazz singer sliding and shifting the tone center of a song like a veteran horn player, all the while leaving the melody still recognizable, but refreshing it until it stands revealed anew. Apparently there were no additional tracks cut at the session, since bonus material has never surfaced on any of the album’s subsequent reissues, although that’s hardly a problem, because as is, Don’t Go to Strangers is a perfect gem of a recording. ~ Steve Leggett

Personnel: Etta Jones (vocals); Etta Jones; George Duvivier (upright bass); Skeeter Best (guitar); Frank Wess (flute, tenor saxophone); Richard Wyands (piano); Roy Haynes (drums).

Rappamelo’s favorite track:

everybodydigs#38 Jaco Pastorius – Jaco Pastorius

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

With one album, this self-titled first release, bass phenomenon Jaco Pastorius was catapulted into the position of the greatest electric bass player that ever lived. Officially discovered by Blood, Sweat & Tears drummer Bobby Colomby, Jaco’s revolutionary use of the bass as a solo instrument made him one of the most compelling instrumentalists of the electric era. Indeed, this record marked a turning point in the history of music–from the period before Jaco Pastorius and the period since.

Personnel includes: Jaco Pastorius (bass); Sam Moore, Dave Prater (vocals); Wayne Shorter (soprano saxophone); David Sanborn (alto saxophone); Michael Brecker (tenor saxophone); Howard Johnson (baritone saxophone); Randy Brecker (trumpet); Peter Graves (bass trombone); Peter Gordon (French horn); Hubert Laws (piccolo); Max Pollikoff, Arnold Black (violin); Julian Barber, Al Brown (viola); Kermit Moore, Beverly Lauridsen (cello); Herbie Hancock (piano, Fender Rhodes piano, keyboards); Alex Darqui (Fender Rhodes piano); Homer Mensch (acoustic bass); Narada Michael Walden, Lenny White, Bobby Economou (drums); Othello Molineaux, Leroy Williams (steel drums); Don Alias (bongos, congas, bells, okonko y iya, afuche, percussion).

Rappamelo’s favorite track:

everybodydigs#37 Charles Mingus – Pithecanthropus Erectus

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. Raised in Los Angeles, Mingus was a devotee of Duke Ellington, whose compositional style had an unsurpassed effect on the young composer. As a player, however, Mingus was drawn to his contemporaries, who included Thelonious Monk, Bud Powell, Charlie Parker, and Max Roach (indeed, Roach and Mingus co-owned their own Debut Records during the ’50s). Perhaps his greatest contribution was bridging the gap between those two generations: in Mingus’s music, one could always explicitly hear the continuity between the big bands and the bebop era, the affinity between the romantic and the modern. Although he had recorded extensively for numerous labels including his own Debut Records, Mingus’s relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely “Profile of Jackie,” are among the bassist’s finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.

Personnel: Charles Mingus (acoustic bass); Jackie McLean (alto saxophone); J.R. Montrose (tenor saxophone); Mal Waldron (piano); Willie Jones (drums).

Rappamelo’s favorite track:

everybodydigs#36 The Gil Evans Orchestra – Out of the Cool

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

A much admired and loved man, of all the many brilliant orchestration projects this was his finest in his own right. He teases us with the opening of ‘La Nevada’ until the gorgeous repeated four-bar riff finally bursts on our ears with orgasmic delight. There are wonderful brass solos from John Coles, Tony Studd and Budd Johnson and a bass showcase for Ron Carter. As the opening track peters out after 15 minutes the listener enjoys the smug realization that there are a further four outstanding pieces to come.

Gil Evans Orchestra: Gil Evans (arranger, conductor, piano); Budd Johnson (soprano & tenor saxophones); Eddie Caine, Ray Beckenstein (alto saxophone, flute, piccolo); Johnny Coles, Phil Sunkel (trumpet); Keg Johnson, Jimmy Knepper (trombone); Tony Studd (bass trombone); Bill Barber (tuba); Bob Tricarico (flute, piccolo, bassoon); Ray Crawford (guitar); Ron Carter (bass); Charlie Persip, Elvin Jones (drums, percussion).

Rappamelo’s favorite track:

everybodydigs#35 Hubert Laws – Morning Star

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Flutist Hubert Laws is joined by a large string orchestra on this set, which was arranged and conducted by Don Sebesky. Keyboardist Bob James is in the supporting cast, and some unnecessary background vocalists (including Debra and Eloise Laws) are employed on some of the numbers, but the focus is mostly on Laws’ brilliant and appealing flute. Highlights include “Let Her Go,” “Where Is the Love,” and, particularly, “Amazing Grace.” The results are pleasing, if not quite essential.

Personnel: Hubert Laws (flute, alto flute, piccolo); Debra Laws, Eloise Laws, Lani Groves, Tasha Thomas (vocals); John Tropea (guitar); Gloria Agostini (harp); Elliot Rosoff, David Nadien, Gene Orloff, Irving Spice, Harry Cykman, Max Ellen, Paul Gershman, Emanuel Green, Harry Lookofsky (violin); Lucien Schmit, George Koutzen, Charles McCracken (cello); Romeo Penque (flute, alto flute, piccolo, English horn); Phil Bodner (flute, alto flute, clarinet); Jack Knitzer (bassoon); Alan Rubin, Marvin Stamm (trumpet, flugelhorn); James Buffington (French horn); Garnett Brown (trombone); Bob James (electric piano); Dave Friedman (vibraphone, percussion); Billy Cobham (drums); Ralph MacDonald (percussion)

Rappamelo’s favorite track: