Vanilla – For What It’s Worth

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New stuff from the english beatmaker Vanilla, I’ve enjoyed “High Life” back in 2011 and actually i figured out that i missed “Soft Focus” last year…. anyway this is “For What It’s Worth” a collection of 20 outtakes and loose instrumentals, stream below and download at the bottom, enjoy!

‘For What It’s Worth’ is a collection of 20 outtakes and loose instrumentals made over the past year that I felt could use a home. There’s a slightly jazzier vibe here than my other stuff but overall there’s no real unifying theme. I am working hard on the proper follow up to Soft Focus as well as some other major projects so hopefully 2013 should be an eventful year…

Thanks for all the support!

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Cyrus – New Batch ’13

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This is Cyrus, electronic jazz/hip-hop producer from Montreal, Canada. He initially planned to leave these 4 tracks as singles but after my request he was very kind enough to create a set on soundcloud called “New Batch ’13” plus he sent a link to download the mp3’s, he reminds me a little bit the early Bonobo and i really like this batch, stream below and download at the bottom, enjoy!

More at: soundcloud.com/cyrusmtl

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everybodydigs#46 John Coltrane – A Love Supreme

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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 Love Supreme is a suite about redemption, a work of pure spirit and song, that encapsulates all the struggles and aspirations of the 1960s. Following hard on the heels of the lyrical, swinging Crescent, A Love Supreme heralded Coltrane’s search for spiritual and musical freedom, as expressed through polyrhythms, modalities, and purely vertical forms that seemed strange to some jazz purists, but which captivated more adventurous listeners (and rock fellow travelers such as the Jimi Hendrix Experience, Cream, and the Byrds), while initiating a series of volatile, unruly prayer offerings, including Kulu Su Mama, Ascension, Om, Meditations, Expression, Interstellar Space. From the urgent speech-like timbre of his tenor, to the serpentine textures and earthy groove of Elvin Jones’s drumming, Coltrane’s suite proceeds with escalating intensity, conveying a hard-fought wisdom and a beckoning serenity in the prayer-like drones of “Psalm,” where Jones rolls and rumbles like thunder as Garrison and Tyner toll away suggestively–all the while Coltrane searches for that one climactic note worthy of the love he wants to share. –Chip Stern

Rappamelo’s favorite track:

everybodydigs#45 John Coltrane – Blue Train

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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!

The tenor sax giant had signed with another label when he embarked on this one-off date for Blue Note, an excursion that paid off with an enduring modern jazz masterpiece. Boasting volley after volley of smart soloing and intuitively swinging rhythm work, Blue Train is a joy, from the coolly precise ensemble entry on the opening title piece through the set’s balance of elegant hard bop conversations and smooth downshifts into ballads. John Coltrane wrote four originals for the date, all of them now regarded as standards, and assembled a rhythm section including pianist Kenny Drew, Miles Davis’s rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, and trumpeter Lee Morgan and trombonist Curtis Fuller, both recent Blue Note recruits. Coltrane’s signature sound, now fully developed but still hewing more to familiar blues and chromatic harmonies than his later modalities, is confident and expansive, and his partners respond vividly throughout. –Sam Sutherland

Rappamelo’s favorite track:

everybodydigs#44 George Benson – White Rabbit

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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!

For George Benson’s second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish-flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such. The idea works best on “California Dreamin'” (whose chords are based on Andalusian harmonies), where, driven by Jay Berliner’s exciting Spanish rhythm guitar, Benson comes through with some terrifically inspired playing. On “El Mar,” Berliner is replaced by Benson’s protégé Earl Klugh (then only 17) in an inauspicious — though at the time, widely-heralded — recorded debut. The title track is another winner, marred only by the out-of-tune brasses at the close, and in a good example of the CTI classical/jazz formula at work, Heitor Villa-Lobos’ “Little Train of the Caipira” is given an attractive early-’70s facelift. Herbie Hancock gets plenty of nimble solo space on Rhodes electric piano, Airto Moreira contributes percussion and atmospheric wordless vocals, and Ron Carter and Billy Cobham complete the high-energy rhythm section. In this prime sample of the CTI idiom, everyone wins. (allmusic)

Personnel: George Benson (guitar); Earl Klugh, Jay Berliner (acoustic guitar); Ron Carter (bass); Jane Taylor (bassoon); Romeo Penque (oboe, flute, clarinet, bass clarinet); George Marge (flute, clarinet, oboe, english horn); Phil Bodner (flute, oboe, english horn); Hubert Laws (flute); Gloria Agostini (harp); Wayne Andre (trombone, horn); Alan Rubin, John Frosk (trumept, flugelhorn); Airto Moreira (percussions, vocals); Phil Kraus (vibraphone, percussions); Herbie Hancock (electric piano); Bill Cobham (drums).

Rappamelo’s favorite track: