Archive for the ‘beat’ Category
One of my favorite MPB records.
I found this record accidentally when digging through the big staples of vinyl from a street merchant in Brazil, it grabbed my attention cause of the cover artwork, but I forgot to listen to – just because he had so much awesome stuff. I remembered the record a few days later, tried to find it again, but without success, I even couldn´t remember the name of the artist. I described the artwork to the guy and he immediately started to lionize about the record. Well, I really wanted that record now, but where the hell was it? We almost searched one hour for it and as we already wanted to give up, I turned my spotlight on another record, Jorge Ben´s “A Tábua De Esmeralda”. Well, I will buy this one, let´s see hows the vinyl condition. And, believe it or not, the Sergio Sampaio record was inside the slipcover behind the Jorge Ben record. Unpossible to see it if just flipping through the record boxes. Finally and the record is a direct hit.
In the late sixties Raul Seixas spotted the talent of Sergio Sampaio and started to work with him. Seixas also produced the first full-length “eu quero é botar…” from 1973, which contains a wide range of musical influences: Blues, Rock´n´Roll, Samba, Choro, to name just a few. The title track already was a big hit in the year before and Sampaio also was part of the legendary Raul Seixas second record “Sociedade da Grã-Ordem Kavernista”. He wrote some of the songs and also sang besides Raul, Edy Star and Miriam Batucada. So the expectations were really high for his debut and almost the whole music press received it with disappointment, it also didn´t sell very good either.
Maybe it was the result of his often “difficult” relations with the press, who used to illustrate him as a eccentric person, but maybe he was just a young and inexperienced guy, not used to deal with the vampires from the press. The music definitively is a unique blend of traditionalism with the fever of the rock guitar. The recordings include one of the finest musicians around in Brazil at this time: Ivan “Mamão” Conti (from Azymuth) and Wilson da Neves on drums, Zé Roberto on Piano and Moog.
His later release were much better admitted from the press, but Sergio never gained the attention from the public he deserved. Although the title track did play a big role in the cultural revolt of the student movement against the Brazilian military regime. Originally not intended by Sampaio, the students saw their own feelings and experiences reflected in the lyrics.
Sergio Sampaio died in May 1994.
All of you could already convince yourself from the qualities of Bid, here he also participates and the band name is setting the direction: Funk how you like it, with Portuguese singing . To be honest, I don´t know what to write about this release from Brazil, its well made modern funk (which means: some Hip Hop, Soul, Jazz, Rock, Electro influences and so on…), just check out the vid, I am too lazy today to write anymore.
For the last ten years or so, the collective Fanga has been on the up, blending Afrobeat, Jazz and Funk. An alliance of complementary personalities and cosmopolitan energies, Fanga first took form in 1998. Returning from Africa, Serge Amiano brings back a few vinyls of the likes of Fela, CS Crew and CK Mann that he plays to the Burkinabese rapper Korbo. Amiano being a hip-hop producer naturally takes on the role of the group’s artistic director right from the start.
The discovery of this urban African music of the 1970s quickly forms the basis of a shared passion. Fanga brings out its first six tracks in 2001, the group records “Afrokalyptik” in 2003, its first album. The following album “Natural Juice” comes out in 2007, warmly received and with much acclaim. Fanga is not only highly praised by Gilles Peterson but also the New York magazine Wax Poetics.
Despite being firmly rooted in certain Nigerian and Ghanean musical traditions (those of the 1970s’ afro-beat and high-life) Fanga is equally at home to musical concoction, as demonstrated by the samples and other hip-hop and electronic ingredients, not to mention the vocals in Dioula, English and French. The gritty horns and earthy analogue keyboards shape the group’s sound whilst Korbo has no hesitation in embracing his Mandingue roots.
Brought up on the raw energy of hip-hop, the group reposes equally on certain values that even today can only be found in Africa, a sort of candour and instinctive sense of rhythm which lends such freshness to Fanga. This urge to respond when faced with a base emotion, however fleeting, has governed their musical progression since the beginning of the 2000s.
These guys have a bit more grit in their grooves than most, still very much in the best 70s-inspired Afro Funk styles you’d expect, but with a nice edge in some of the rhythmic undercurrents, almost as if their new recordings were actually some lost indie label sets from years back!
Killer gem from Brazil!!
This is a widely unknown, but excellent and charming conglomerate of Hip Hop, electronic music, Funk, Soul and Jazz with the finest Brazilian music traditions like Samba. Eduardo Bidlovski (Bid) is the composer and producer of this 2005 album and he not only has created a bunch of smooth, but never dull songs. Bid also assembled extraordinary guests for “Bambas & Biratas”. Black Rio Soul legend Carlos Daffé opens the record with his warm voice on the catchy tune “não pára”, while Samba Queen Elza Soares later proves she also fits perfectly on relaxed tunes. But this is not a record that tries to gather attentions with Brazilian singer legends, the majority are contemporary artists and Brazil has a rich scene which fuses modern influences with traditional aspects. Rapper Black Alien, whizz kid Chico Science or everybody’s darling Seu Jorge are a few of them and also do participate. All in all 56 musicians were involved in this highly recommend work. Vol. 2 is announced for end of the year.
While music enthusiasts are digging Ethiopian funk and soul of the ’60s and ’70s, some releasing mixes of their germs, David Schommer gathers some musicians in New York with an Ethiopian background and records an awesome fusion of Ethiopian roots and Hip Hop. Schommer is deep into Ethiopian culture and music. With Ethiopian-American Amharic rapper Maki Siraj, Bahia-born percussionist and Stomp cast-member Davi Vieira, cellist Dave Eggar, Ethiopian bassist Henok Tenesgen, and Malian kora-player Balla Tounkara he created a beat-driven trans-atlantic collaboration. With his incredibly clean programming abilities, Schommer created one of the most unique takes on modern Ethiopian music. Hip-hop and soul vocal hooks are scattered throughout, but the overall effect is a caravan of nomadic spirits banging on heavy percussion, penetrative bass loops and catchy harmonies. Innovative stuff that blends African, North-American and a few Brazilian influences. Recommend to check out.
You don´t miss anything cause of this small cover, it´s so boring and lacking in ideas, let´s concentrate on the music and Helge Schneider.
Helge Schneider is a phenomenon. As a highschool-dropout he toured for years as a little-known Jazz musician and stand-up comedian through small clubs in Germany, besides he started acting in his own movies. Of course produced with almost no budget and full off extremely anarchic and absurd humour, in two words: uproariously funny! But his humour deeply roots in German language and I think it sadly do not translate well into other languages.
Schneider soon gathered a small, but die-hard fanbase with these movies and his comedian tours which always come along with a lot of live Jazz. And then in the mid-90s, from almost one day to the other, Helge Schneider became widely popular in Germany, his movies were Blockbusters, he played in front of thousands. And he still kept his anarchic parodies, the sudden and unexpected use of infantile language, his Dada-esque absurdity and crude humour. Of course he acts milder on the big screen, but not that much and until today he is one of the very very few “comedians” I don´t immediately switch away on national TV.
And besides all that Helge Schneiders records fine jazz music, they aren´t very wide-spread, I also bet a lot people even don´t know he plays jazz. “Laut!” is a session recording with The Firefuckers (Thomas Alkier, Thomy Jordi, Eric St-Laurent) and Schneider playing the BR3 (besides piano and melodica). Grooving organ Jazz with Rock and Blues influences, always laid back instrumentalists with a lot of fun. Nothing mind blowing, but a charming Jazz session.
Way too long no sweet rocksteady at urbanology, here is a killer compilation, a must have. Bunny Lee, one of the greatest Jamaican producers aka “Striker”, who had one Rock Steady hit after another in the hot Jamaican summers in the late 60s, when rocksteady was the big new thing on the isle. Out of this most productive era the well made compilation presents 25 killer tracks produced by Bunny Lee. You get all the big names: Slim Smith, Alton Ellis, Sensations, Errol Dunkley, Uniques – but also artists like Webber Sisters with their terrific female rocksteady groover “What I´m gonna do”. I bet only rocksteady fanatics knew them before. CD and vinyl are added by good liner notes, one reason more to get this germ.