BADBADBADNOTGOOD is the talented young quartet of Matthew Tavares on keys, Chester Hansen on bass, Alex Sowinski on drums & Leland Whitty on saxophone. They formed and became inseparable friends at Humber College's Music Performance program in 2011 and have been on a critically acclaimed, rule bending musical journey ever since. BBNG took the music world by storm with their 2014 LP, III, a brash yet refined record of angular jazz improvisations, lush ballads, kraut rock, & futuristic hip-hop tinged rhythms which led to a couple years of touring the world & collaborating with some of the best and brightest artists around the globe. The boys are back with the new album IV, their most impressive and highly anticipated project yet. IV continues their forward thinking progression, sounding something like a jam session in space between Can, John Coltrane, Herbie Hancock's Headhunters, Weather Report, Arthur Russell & MF DOOM.With tracks like "Time Moves Slow" featuring haunting vocals from Sam Herring of Future Islands, the syncopated groove of "Lavender," a collaboration with Montreal based producer Kaytranada, the rumbling fusion build of "Confessions Pt. II" featuring Colin Stetson on the bass sax, "Love" which is highlighted with smokey left field raps from Mick Jenkins & the epic chords of "Speaking Gently," IV is an exploration in post-genre virtuosity. Out Summer 2016 on Innovative Leisure Records, BBNG prove yet again that the possibilities & discovery in their musical quest are infinite.
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Mondo is excited to unveil the soundtrack for Marvel’s Luke Cage, the Netflix original series, with collectible artwork of the bulletproof hero by Matthew Woodson. Composers Adrian Younge (Something About April) and Ali Shaheed Muhammad (A Tribe Called Quest) have combined forces to produce one of the best scores of 2016 featuring an inspired, genre-bending blend of orchestral score and 90s hip-hop beats, filtered through the sonic lens of the works of Ennio Morricone. It’s no surprise that the score hovers in the same terrain of the Spaghetti Westerns soundtracks of Morricone – the narrative of Luke Cage plays out like a modern Western, only set in Harlem. Muhammad and Younge have meticulously crafted one of the most unique sonic landscapes in the history of television. “We sought to create a score that reflects the world of Luke Cage. We see this world as a place where classic cinema meets classic Hip Hop,” said composers Ali Shaheed Muhammad and Adrian Younge.
Black Milk and Nat Turner return with Sunday Outtakes, a 7" vinyl release consisting of 5 tracks created during a week-long jam session - the same jam session that produced the acclaimed instrumental album The Rebellion Sessions.
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Musical polymath Mark de Clive-Lowe seems an impossibility at first sight -juggling piano, synths, live sampling and beat making on-the-fly, all brought to lifewith a casual ease that’s mind-boggling. The half-Japanese New Zealander hascalled LA home for almost 8 years now and his acclaimed club night CHURCH hastaken his brand of electronic and beat-infused jazz from coast to coast and aroundthe globe. Equal parts jazz musician, DJ and production wizard, MdCL’s sets are atreat for the dancers, the listeners, the progressives and the purists alike, as hecasually erases the lines between genres and eras. Armed with a crateful of classics from Blue Note Records’ genre-defining years,Mark de Clive-Lowe has created a live-remix mixtape weaving from jazz to hip hopclassics, to underground house and broken beat. Recorded and improvised live inone take, MdCL deploys his drum machine, sample pads, rhodes and keyboardson-the-fly bringing unique perspective to moments created decades earlier by thelikes of Herbie Hancock, Duke Ellington, and Donald Byrd. From reminiscingsamples that we fell in love with through A Tribe Called Quest and J Dilla, toreimagining sax great Joe Henderson riding a broken-afro electronic frenzy, MdCLpaints his own vision of what Blue Note means to him.
The 10-track offering-which finds the Detroit lyricist paying homage to Nas's classic debute LP, Illmatic-was produced entirely by Will Sessions. Fellow D-Town MC Royce da 5'9" and Illmatic beatmaker Pete Rock also make appearances.
Guru's Jazzmatazz, Vol. 1 is a jazz rap album from Guru, one half of the duo, Gang Starr. This album is one of the first albums to combine a live jazz band with hip hop production and rapping. Jazzmatazz, Vol. 1 brought together a diverse group of jazz cats both old-school and new, including Roy Ayers, Donald Byrd, Lonnie Liston Smith, Ronny Jordan, and Courtney Pine. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic album back on standard weight vinyl.
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Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labeled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.
Herman Poole Blount, better known to the world as Sun Ra, lived more musical lives in his 79 years on this planet (and others) than seems possible. In the '30s he was the most rigorous bandleader in Birmingham, heading the Sonny Blount Orchestra and filling every waking moment with music or philosophical discussions; by the '40s he had moved to Chicago and performed with luminaries such as Wynonie Harris, Fletcher Henderson, and Coleman Hawkins. By the '50s he had changed his name to Sun Ra and began performing with longtime Arkestra bandmates John Gilmore and Marshall Allen. Sun Ra started his own label, El Saturn (or Saturn), to release his own recordings as well as those featuring the Arkestra backing local R&B and doo-wop groups. This second volume of the collected Sun Ra singles focuses on Yochanan (aka The Space Age Vocalist) -- a wild and wildly original street performer from Chicago whom Sun Ra befriended (or an alias of Sun Ra's) -- along with some other amazing Sun Ra sides (and tracks by Little Mack), spanning 1959-1962.
The theory of technological singularity – the notion that humans and computer technology will increasingly blend together - has been explored in many forms of popular culture since it’s conception. Over the past two decades, there has been a larger movement to integrate electronic artists and jazz musicians, often leaving the former as more of a sonic addendum (floating over the music) rather than an integrated part of the ensemble. Tasked with exploring a deeper synthesis of electronic and acoustic players, instrumental quintet Kneebody’s collaboration with electronic musician Daedelus in turn creates a true union of these disparate approaches to music and genre as a whole. The collaboration between Kneebody – keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood - and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). “Often when I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio. He would knock on the bathroom door and say ‘Would you mind playing something on this track?’,” recalls Wendel. “So I ended up being on at least five or six of Alfred’s albums because I happened to be there practicing.“The pair’s early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at “Jazz A Vienne” between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.When the quintet entered the studio with Darlington, the other members brought more compositions to the fore. “Ben approached me about trying to realize some of this music that was maybe different from the Kneebody spectacular – where they are always so through composed – and do something that was more intimate,” reflects Darlington. The result is a nine-song set of original music that sits inside the rich pantheon of instrumental music, but with a modern sheen that takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.