Posts Tagged ‘Funk’
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.
Not many information available about this Jam Band from Tel Aviv, which kindly gives us a hint with their group name. If you like modern Afrobeat-based bands like Antibalas, you can hop on the train, the waggons beside Afrobeat are Funk, Soul, Jazz, diverse Latin styles, Hip Hop and some Mideast influences. Sounds promising? It is!
Anikuku consists of DJ Sabbo, member of the fantastic Soulico crew, who plays a prominet role in the band and which results in a different sound compared to bands like Antibalas; the several times at urbanology featured Kutiman; Yaya Cohen Aharonov (bass) and Shlomi Alon (sax) from the highly recommend hebrew Hip Hop/Funk group Hadag Nahash, as well as Ilan Arad (sax) and Idan K (percussions, dijeridoo).
Well, it is possible to write a lot about No Means No from Vancouver, Canada, but I will keep it short: One of the most interesting bands from the Punk sector.
But is it still punk? With a drummer talking about playing drums like Art Blakey and a funk-rythm inspired bass to accompany the monster-breaks? Call it avantgarde or just a band which has listeners who normally don´t give a fuck about Punk (I can´t believe they exist).
“The Worldhood of the World” – their 9th release from 1995 – is one of their best releases which and brought back the fun, after some weaker records. A exuberant tour de force through the different NMN´s styles.
Wikipedia labels NMN as a progressive punk rock band and also says:
NoMeansNo’s output features a seemingly endless flow of “Wright/wrong/right” puns, and significant measures of black humour.
I think they would like also like progressive punk rock very much. Mr. Right and Mr.Wrong, the Wright Brothers are also loved by David Grohl. Who lately recorded boring rock farts, no no no, not everybody can be a genius, cause no means no.
Wiggley, wiggley, wiggley, wiggley, wiggley wiggley, wiggley, viggley, wiggley worm.
End of the year and everybody presents a best of the past twelve months, oh, or even a best of the decade, 2010 motherfucker and if you wanna be really fresh, grub out some christmas records. All that shitty songs, the torture of christmas in a Soul, Reggae or whatever version, hooow sweeeeeeeet. To be honest, I can´t imagine to get bored more. Instead I continue with some good music and hope that this time of the year will end very soon. Christmas is a bitch.
Vibesman Isiah Stance, his bassist brother Dwayne and the phenomenal drummer Byron Breaks – the legends are back, kickin the Funk to the Jazz. The Stance Brothers are with one foot in the past and the other firmly placed on the kick drum, countless of hours spent jamming at their dusty garage. The trio’s unfaltering will to excel in playing funk-influenced garage jazz comes second only to their passion for shooting hoops at the nearby basketball court.
At least that is the story Teppo “Teddy Rok” Mäkynen tells about The Stance Brothers, the drummer and live band leader of the globe-trotting Five Corners Quintet, the visionary behind the late Teddy Rok Seven, and the producer of such Finnish jazz co-luminaries as Jukka Eskola and Timo Lassy. His idea was to make “the holy grail of beat junkies”, the kind of a record which you would love to sample but which would at the same time sound as a “real” instrumental funk/jazz album from the early 70s. The music positions itself somewhere between funk and instrumental hip hop. Jazz is very much present, but not in the leading role. But this is no retro-funk at all. The breaks are fresh and sound almost as cut-ups (maybe they are), and the grooves are infectious and timeless.
The Stance Brothers’ “Kind Soul”, has all the requisite breakbeat fundamentals: snares that sound like they’re being played in a basketball gym; closely microphoned kick-drums that thump with pleasing tightness; and an extremely minimal sprinkling of hi-hats.
Funk, soul, exotica, early-’70s jazz, and hip-hop all come together in a brew that is as finger-popping and natural as it is savvy.
Butch Cassidy Sound System was one of the most succesfull postings in the last months, regarding the incoming clicks. And here we have a very similar constellation. Lack of Afro is Adam Gibbons, a 26 year-old funk aficionado based in London who has been learning and playing music since he was just a kid. He creates a slightly assembled brand of funk music, as modern as it is retro, one that features live instrumentation mixed in with samples and programmed beats in a big bowl of funky, jazzy feel-goodness. His debut LP is everything it should be, packed full of super strong dancefloor funk with that modern touch that makes it so alluring and instant. Conceptually this is isn’t that new, referencing old funk and jazz and adding breaks and beats, overplaying live parts and assembling it all into music for the floor, it’s been done many times over the last decades. But what makes this record stand out is it’s feel. And here we come back to the Butch Cassidy Sound System – what BCSS made with reggae, Lack of Afro does with funk.
Taking its cues from the heavy funk and soul of the 70s, and giving them something of an updated twist, “Press On” is without a doubt one of the finest albums of the modern funk era. From the opening track you can hear a sincere and honest love of funk and an understanding of what works both on the dance floor and at home. And the record has a whole bunch of top hits to offer. Judge for yourself if it is as good as Butch Cassidy Sound System, in my opinion it is, a fucking must-have. This is an thoroughly enjoyable album that is sure to spice up even the most wintry of days. So grab a blanket, curl up next to that stereo, and pump it loud.