It’s an old trick but nice to see Q Tip showing out. Love to our friends at Breath on this one.

[Apiento]

You Tube: Hermeto Pascoal

November 22, 2009

Am just visiting a friend in Stockholm and she showed me this. This is a Brasilian albino flautist who, according to wikipedia, was described by Miles Davis as ‘the most impressive musician in the world’ after they worked together. Apparently he is known as ‘o bruxo’ (the sorcerer) and often uses nature as a basis for his music. Anyway, this is probably super known but stick with the video as it gets better and better. If you get on You Tube you’ll see he also has a piece called ‘music from the beard’. Anyway, nature, flutes and water bottles. Balearic.

[Apiento]

MISSION CONTROL
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I was round the guys house that engineered the Bang The Party releases and we were going through his records. Within the standard genre sections (disco, funk, dub etc…) he had a further category for Murk. I liked that. Not really ‘Under The Radar’ but here’s my favourite Murk moment anyway.

[Apiento]

Labels 003: JPR Records Inc.

November 14, 2009

The year, going by the label, was ’92. My mind is all about fuzzy around those times as a lot was going on, but we were working in Ladbroke Grove and music was good. House music was alive and well and slowly other bits and pieces were appearing referencing further back than I’d gone before. I remember Dwayne Dawson from Amato Distribution giving me an old disco, funk and soul cut-up reissue/bootleg (I think ‘Bits N’ Pieces’) and me not getting it. Then these JPR Records appeared, supposedly from the US, but actually coming from W10.

JPR Records 'Night Is Over' / 'Born To Love'

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They were the first records I’d heard that joined everything up by taking those Kenny Dope-style drums and basically running them under a re-edit adding synths replaying the original parts. They were definitely key to opening the door to a world of music that I hadn’t really thought about bar T-Connection and the big Salsoul/disco anthems. They cut into records like Maze ‘Twilight’, The Jones Girls ‘Nights Over Egypt’ and ESG tracks (I’m pretty sure the Patti Jo re-release wouldn’t have happened had it not been for the Hope release (JPR 003)). Anyway, soon after the disco revival hit full swing. Well compiled Salsoul catalogue re-issue comps appeared on import, the Garage and Loft classics boots appeared, Black Cock records arrived and Ashley made ‘New Jersey Deep’. The more switched on magazines started writing articles on Larry Levan et al and off we went.

JPR Records Inc 'Grace' / 'Bushing About The Beat'

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Disco is seen as a staple now but back then it wasn’t really on the radar so much so the JPR label was pretty important to me and maybe a few others of my age. It also reintroduced the idea of the re-edit. Some tracks stand up better than others to my ears, though that’s just the nature of beats, but as a moment in time and influence on their future they are good to hear. Phil Mison and a few others are still breathing life into them and they are pretty cheap right now if you have your Discogs switched on. Anyway, here are the first three releases.

JPR003 'By Daylight' / 'Hope'

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(EDIT – As I said this is a personal take on that time but everyone’s is different. Tim H said the following, ‘In my memory, Jump Kutz did more to kick start the disco edits, but maybe they were all happening at the same time. In my eyes the real influence was Norman Jay/Paul Trouble and Zoo gigs and radio shows.’ – Ed)

[Apiento]

Revelations 'First Power'
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Shout to Kevin Hurry on this one.

[Apiento]


Copa Salvo
Copa Salvo

I’m sitting in a jazz café, or jazz kissa, at the junction of a four-lane highway about five minutes away from my kids’ sports (taiso) club. Sneaking in a coffee while they vault boxes and dodge ball. Seems a pity to drown the jazz out. Sometimes I pop in here in the morning and it’s melancholic covers of standards and suicide-inducing lounge versions of pop classics. Catering to the mums taking solace in stimulants after the school run and before the next round of chores. Now, in the afternoons, it’s office workers on the skive and students asleep in their books to a soundtrack of Thelonious Monk and Charlie Parker. I guess if the owner could see me put my ear-pieces in he’d be offended. But the writing’s got to be done somewhere. And I can’t write without listening. Someone who meant a lot to me once said music is fuel.

I hear a Latin piano line full of the urgency of life. Understood by Mayday and Morrisey alike. Flamenco. Not the Gipsy Kings, but Pigbag doing over Paco De Lucia. A melodica carrying on like Lee Oskar’s trancendentary blues harp or Astor Piazzolla’s accordion. With a story to tell. A busy town square. 3 AM. The air thick with the promise of fighting and fucking. Sips of gut-rotting espresso while a Dexy-driven bordello band cynically play for a clientele for whom they are merely an accompaniment to the transactions being made. Their slept-in suits and blackened eyes privy to a thousand stories every night. Whores dance, drink and hitch up their skirts amid shouts of encouragement and cash changing hands. I’m back walking through the Old Town practically too drunk to stand, trying to hold onto something that has already gone.

Time, she goes by like a wave.

Copa Salvo: Wave
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Copa Salvo: Imperador Do Samba
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[Dr Rob]

Coldcut Deconstruct Paid In Full
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[Tim Hayter]

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