We’ve been sitting on these tracks for months and are really excited they will be released next month on our favorite cheeky remix label, GAMM Enterprises. Check the sampler below and be sure to cop the vinyl (August 27) or the digital files (September 28 - with a bonus cut and exclusively at www.junodownload.com)
This is great. Current music bloggers and critics take note:
Down Beat Magazine interviewed Miles Davis in 1964 and asked him for his opinion on some music via a blind listening test, and checked his ability to pick out other musicians based on the way they played.
Now, Miles Davis wasn’t known for listening to just about anything – he was very selective in what he spent his time listening to, so he’s definitely got some opinions.
On Les McCann-Jazz Crusaders, “All Blues” (Wayne Henderson, trombone; Wilton Felder, tenor saxophone; Joe Sample, piano; McCann, electric piano; Miles Davis, composer):
What’s that supposed to be? That ain’t nothin’. They don’t know what to do with it – you either play it bluesy or you play on the scale. You don’t just play flat notes. I didn’t write it to play flat notes on – you know, like minor thirds. Either you play a whole chord against it, or else … but don’t try to play it like you’d play, ah, Walkin’ the Dog. You know what I mean?
That trombone player – trombone ain’t supposed to sound like that. This is 1964, not 1924. Maybe if the piano player had played it by himself, something would have happened.
Rate it? How can I rate that?
On Clark Terry, “Cielito Lindo” (Clark Terry: trumpet; Hank Jones, piano; Kenny Burrell, guitar):
Clark Terry, right? You know, I’ve always liked Clark. But this is a sad record. Why do they make records like that? With the guitar in the way, and that sad fucking piano player. He didn’t do nothing for the rhythm section – didn’t you hear it get jumbled up? All they needed was a bass and Terry.
That’s what’s fucking up music, you know. Record companies. They make too many sad records, man.
On Rod Levitt, “Ah! Spain” (Levitt, trombone, composer; John Beal, bass):
There was a nice idea, but they didn’t do nothing with it. The bass player was a motherfucker, though.
What are they trying to do, copy Gil? It doesn’t have the Spanish feeling – doesn’t move. They move up in triads, but there’s all those chords missing – and I never heard any Spanish thing where they had a figure that went
That’s some old shit, man. Sounds like Steve Allen’s TV band. Give it some stars just for the bass player.
On Duke Ellington, “Caravan” (Ellington, piano; Charlie Mingus, bass; Max Roach, drums):
What am I supposed to say to that? That’s ridiculous. You see the way they can fuck up music? It’s a mismatch. They don’t complement each other. Max and Mingus can play together, by themselves. Mingus is a hell of a bass player, and Max is a hell of a drummer. But Duke can’t play with them, and they can’t play with Duke.
Now, how are you going to give a thing like that some stars? Record companies should be kicked in the ass. Somebody should take a picket sign and picket the record company.
On Sonny Rollins, “You are my Lucky Star” (Don Cherry, trumpet; Rollins, tenor saxophone; Henry Grimes, bass; Billy Higgins, drums):
Now, why did they have to end it like that? Don Cherry I like, and Sonny I like, and the tune idea is nice. The rhythm is nice. I didn’t care too much for the bass player’s solo. Five stars is real good? It’s just good, no more. Give it three.
On Stan Getz – Joao Gilbert, “Desafinado” (Getz, tenor saxophone; Gilberto, vocal):
Gilberto and Stan Getz made an album together? Stan plays good on that. I like Gilberto; I’m not particularly crazy about just anybody’s bossa nova. I like the samba. And I like Stan, because he has so much patience, the way he plays those melodies – other people can’t get nothing out of a song, but he can. Which takes a lot of imagination, that he has, that so many other people don’t have.
As for Gilberto, he could read a newspaper and sound good! I’ll give that one five stars.
On Eric Dolphy, “Mary Ann” (Booker Little, trumpet; Dolphy, composer, alto saxophone; Jaki Byard, piano):
That’s got to be Eric Dolphy – nobody else could sound that bad! The next time I see him I’m going to step on his foot. You print that. I think he’s ridiculous. He’s a sad motherfucker. Just put he’s a sad shhhhhhhhh, that’s all! The composition is sad. The piano player fucks it up, getting in the way so that you can’t hear how things are supposed to be accented.
It’s a sad record, and it’s the record company’s fault again. I didn’t like the trumpet player’s tone, and he don’t do nothing. The running is all right if you’re going to play that way, like Freddie Hubbard or Lee Morgan; but you’ve got to inject something, and you’ve got to have the rhythm section along; you just can’t keep on playing all eighth notes.
The piano player’s sad. You have to think when you play; you have to help each other – you just can’t play for yourself. You’ve got to play with whomever you’re playing. If I’m playing with Basie, I’m going to try to help what he’s doing – that particular feeling.
On Cecil Taylor, “Lena” (Jimmy Lyons, alto saxophone; Taylor, piano):
Take it off! That’s some sad shit, man. In the first place, I hear some Charlie Parker cliches… . They don’t even fit. Is that what the critics are digging? Them critics better stop having coffee. If there ain’t nothing to listen to, they might as well admit it. Just to take something like that and say it’s great, because there ain’t nothing to listen to, that’s like going out and getting a prostitute.
Interviewer: This man said he was influenced by Duke Ellington.
I don’t give a shit! It must be Cecil Taylor. Right? I don’t care who he’s inspired by. That shit ain’t nothing. In the first place he don’t have the – you know, the way you touch a piano. He doesn’t have the touch that would make the sound of whatever he thinks of come off.
I can tell he’s influenced by Duke, but to put the loud pedal on the piano and make a run is very old-fashioned to me. And when the alto player sits up there and plays without no tone… . That’s the reason I don’t buy any records.
What might sound like Luther Vandross himself is actually Bryan Chambers belting out an impressively convincing rendition of Luther’s classic, Never Too Much, over Sao Benitez’s sultry samba backing band. This recording was captured during a live performance and released by Mr. Bongo records on the album Danca Loca. The track preceding Never Too Much on the album, a cover of Anita Baker’s Caught Up In The Rapture, rides over the same music and the combination is a one-two punch every time. Check the tube below and cop the music here.
Absolutely massive throughout West Africa and in France when it dropped in 1999, Bob Sinclar gave “Premier Gaou” new life with a set of remixes in 2001. Magic System continue to be very popular in their native Côte d’Ivoire and in Africa, but never really achieved the massive success of this 1999 single.
While the original is undeniably great, house master Sinclar added just the right thump to this for the club. We’ve been dropping this since the Dahlak days and it never fails to set the floor into a frenzy, especially if there are West Africans in the building.
Lucky for you, there is no youtube video of the Sinclar remix. So you get a download:
Who says the sexy jams can’t smash the big rooms? Swedish DJ/producer/instrumentalist Rasmus Faber knows better. From the Dahlak days of Sol Power, pulling this one out was effective when the ladies in the house were really feeling the energy. A true sing along joint, “Ever After” also worked well at U-Hall and our outdoor parties. Meistro was always fond of dropping the 8-bit bomb right after the drums and guitar transition to the vocal, then it’s time to take off into some summer samba house goodness. First released in 2003, it’s still putting in work in the digi-crates. It was even an MTV hit on non-American shores. True house heads have the 12-inch too.