V.A. – Off the RAWS

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You may remember the beatmaker compilation entitled “On The RAWS”  posted back in December…. it was really good! This is the new one entitled “Off the RAWS“. RAWS is the party event for beatmakers at Ampcafe (Koenji, Tokto) 1 hour jazz session and 1 hour beat make from session recording. Good beats and it’s available for free! enjoy!

J.Period “Rage Is Back”

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Dope mixtape from J.Period entitled “Rage Is Back” featuring exclusive cuts from Black Thought, Commonm Talib Kweli, The Kid Daytona, Blu, Homeboy Sandman and Shad as well as unreleased J.Period remixes of Nas, Q-Tip, The Notorious B.I.G. and many more! Download will be available soon… meanwhile you can stream the mixtape down below, enjoy!

via: okayplayer

J Dilla “Anthem”

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This is “Anthem” a  track from the J Dilla’s long lost vocal album, The Diary, recorded in late 2001 and early 2002. There is not a released date yet but the first single “Anthem” b/w “Trucks” is now available as a pre-sale at rappcats.com, while we wait for the album you can stream “Anthem” down below, enjoy!

everybodydigs#68 Donald Byrd – Stepping Into Tomorrow

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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!

Beginning with a crack of thunder, like it was made to trail Gary Bartz’s “Mother Nature” (actually recorded at a slightly later date), Stepping into Tomorrow contains almost all of the Mizell trademarks within its title track’s first 30 seconds: a soft and easy (yet still funky) electric-bass-and-drums foundation, silken rhythm guitar, organ and piano gently bouncing off one another, light synthesizer shading, and coed group vocals to ensure true liftoff. It’s only one in a line of many magnetic ’70s sessions led by Fonce and Larry Mizell, and it differs from their two previous Donald Byrd dates — the polarizing and groundbreaking Black Byrd and the deceptively excellent Street Lady — by not featuring any of Roger Glenn’s flute, and by focusing on heavily melodic and laid-back arrangements. Even the speedy “You Are the World,” by some distance the most energetic song, seems more suited for relaxing in a hammock than shooting down a freeway. Many of the musicians present on the previous Byrd-Mizell meetings are here, including drummer Harvey Mason, bassist Chuck Rainey, keyboardist Jerry Peters, and guitarist David T. Walker. As ever, those who pined for the approach of Byrd’s ’60s dates would tune out a sublime set of material, but maybe some of those who sniffed at the straightforward nature of some of the rhythms and riffing were won over by the supreme layering of the many components (the way in which “Think Twice” lurches forward, peels back, and gathers steam is nothing short of heavenly), not to mention some deeply evocative playing from Byrd himself.

Rappamelo’s favorite track:

everybodydigs#67 Herbie Hancock – My Point of View

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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!

In this 1963 recording session, pianist Herbie Hancock had a chance to work with a septet that could highlight his burgeoning skills as an arranger and composer. With Hancock’s inventive sense of voicings already defined, it’s a happy mix of inspired charts and spirited blowing that fuses the hard bop of trumpeter Donald Byrd and tenor saxophonist Hank Mobley with the bluesy approach of guitarist Grant Green and Hancock’s own fluent soloing and incisive comping. Also notable is the explosive young drummer Tony Williams, who was already showing the distinctive fire that would soon ignite Miles Davis’s band. The track “Blind Man, Blind Man” is a funky romp that clearly builds on Hancock’s remarkable success with the earlier “Watermelon Man” and is a harbinger of the pop success he’d later enjoy with the Headhunters. –Stuart Broomer

Personnel: Herbie Hancock (vocals, piano); Grant Green (guitar); Hank Mobley (tenor saxophone); Donald Byrd (trumpet); Grachan Moncur III (trombone); Tony Williams (drums).

Rappamelo’s favorite track: