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2 novembre 2013 6 02 /11 /novembre /2013 12:00



Country : Sweden
Genre : Funk
Style : Jazz Funk Soul , Instrumental

Live : JazzBaltica
Year : 2013






« Teamwork » est le nom de l’album qui marque le retour de Funk Unit. Pour cette occasion, des invités illustres comme Joe Sample et Al Jarreau y font une apparition. Cet opus est le huitième d’une série de productions couronnées d’un succès jamais démenti depuis 1994. A plus d’un titre donc, Nils Landgren mérite le prix du jury récompensant l’ensemble de son œuvre qui lui a été décerné cette année lors des Grammys suédois. A l’instar de Nils Landgren lui-même, Funk Unit a un lien privilégié avec JazzBaltica, puisque c’est là que le groupe a percé au niveau international en 1994. Le concert a d’ailleurs donné un album intitulé « Live in Stockholm » avec Maceo Parker en guest star. Au cours de la décennie suivante, les apparitions de Funk Unit à Salzau ont été des monuments du genre : il suffit d’évoquer le concert anniversaire du groupe en 2004 ou celui donné pour les 20 ans de JazzBaltica en 2010. A cette occasion, « Mr. Red Horn » a rendu hommage à ses modèles, Cannonball Adderley, Eddie Harris, Marcus Miller et George Clinton, justifiant au passage la réputation de Funk Unit comme l’un des groupes de jazz crossover les plus électrisants sur scène. Source

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22 mars 2013 5 22 /03 /mars /2013 12:00



Country : U.S.A
Genre : Funk Jazz
Style : Jazz Fusion

Label : ESP Disk
Year : 1978 (2010)





John Pratt (tp -6)
Graham Blackburn,
Colin Tihoon (sax -6)
David Waldo (key, tp -1/5,7,8)
Jerry Moore (g, vo)
Robin Sturgeon (g, vo -1/5,7,8)
Gil Silva (g, vo -6)
Lincoln Schleifer (b, vo -1/5,7,8)
Don Moore (b, vo -6)
Pepi Pabon (d -1/5,7,8)
Chris Sigwald (d -6)
Naga Udcoff (per, cga, maracas -1/5,7,8)


Tracklist :

1 Armed & Dangerous            
2 Aggravation 1        
3 War In the Forest            
4 Aggravation 2            
5 You Can Be a Rider            
6 I Got a Light            
7 Sharon            
8 Space Change, Mister


Info File :
Playtime: 00:38:56
Audio codec: MP3
Bitrate: 320 kbps
File: Zip
Size: 51.9 MB

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18 novembre 2012 7 18 /11 /novembre /2012 12:00


Origine du Groupe : North America
Style : Jazz Funk







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Tracklist :
1. Slinky Thing
2. I'm Not the Same Without You
3. Memorabilia
4. Weather in My Head
5. The New Breed
6. Out of the Ghetto (Isaac Hayes cover)
7. Miss Marlene
8. Good Stuff
9. Planet D'Rhonda

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15 octobre 2012 1 15 /10 /octobre /2012 12:00



Origine du Groupe : Germany
Style : Funk Jazz
Sortie : 2012




From http://www.digitalkunstrasen.net
Digital synthetic turf is well known for diversity of style and diverse artists, and so there are and have always wanted it to discover the times. The Trif fit exactly into the scheme because, since the experimental jazz of the trio is not only special but also done particularly well. Here is a little spark, since Piese blues and rock to a shock - everything zeitgenässischen based Jazzes and an outstanding instrument mastery. Achim schif, Marvin Blamberg and Johannes Fog understand not only the elaboration of songs, but also the jamming and improvising, and exactly in the path created, the present Parliament. And who has the Jazz not biosher range ansich leave it, which is definitely here to take a step in his direction.)

Tracklist :
01. Extratrifvore
02. Pneumotrifator
03. Trifious
04. Intratrifmorphic
05. Macrotrifship
06. Trifphyte

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14 mai 2012 1 14 /05 /mai /2012 12:00



Origine du Groupe : North America
Style : Jazz Funk Soul , Instrumental
Sortie : 1972

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Par FUNKYTOWN  pour http://funkytownsoul.blogspot.fr

Ronnie Foster est un un organiste de jazz Soul Funk et un producteur . Il travaillait souvent avec le guitariste George Benson, en incluant le jeu du piano électrique, mini-moog et de la composition du titre "Lady" sur l'album de 1976 de Benson Breezin'. Il a aussi joué avec Chet Atkins, Grant Green, Grover Washington Jr., Stanley Turrentine, Roberta Flack, Earl Klugh, Harvey Mason, Jimmy Smith et Stevie Wonder.

Tracklist :
01 - Chunky
02 - Drowning In The Sea Of Love
03 - The Two-Headed Freap
04 - Summer Song
05 - Let's Stay Together
06 - Don't Knock My Love
07 - Mystic Brew
08 - Kentucky Fried Chicken

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14 avril 2012 6 14 /04 /avril /2012 11:00



Origine du Groupe : North America
Style : Funk Jazz Instrumental
Sortie : 2012

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By Exy  from http://exystence.net

The Sugarman 3 will release their first album following a ten year hiatus, entitled What the World Needs Now, on May 15 via Daptone Records. Recorded at the Daptone Records ‘House of Soul’ studio in Bushwick, Brooklyn over five days, the album features members of Sharon Jones & the Dap Kings—including Dave Guy (trumpet), Fernando Velez (conga), Joe Crispiano (guitar), Bosco Mann (bass)— in addition to the core lineup of saxophonist Neal Sugarman, Hammond organ player Adam Scone, and drummer Rudy Albin. The album comes as the long awaited follow-up to 2002’s Pure Cane Sugar.
Group founder Neal Sugarman believes the group’s comeback record might be their best to date.”I am really excited about this record,” he says.

“Not only has it been almost a decade since the Sugarman 3′s last recording, but without a doubt this feels to me like our best effort yet. The album was recorded at the Daptone Records ‘House of Soul’ studio in Bushwick, Brooklyn in just over three nights, and from the moment we all started playing together, sparks were flying.”

Tracklist :
01 – Rudy’s Intervention
02 – Your Friendly Neighborhood Sugarman
03 – Got To Get Back To My Baby
04 – But It’s Alright
05 – Witches Boogaloo
06 – Brother T
07 – What The World Needs Now
08 – Dirty Water
09 – Jealous Moon
10 – Mellow Meeting
11 – Love Went Away

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23 mars 2012 5 23 /03 /mars /2012 16:00



Origine du Groupe : North America
Style : Jazz Funk
Sortie : 2002

By Chris Walker    from http://jazztimes.com

Like Karl Denson's Tiny Universe, Lettuce presents nonstop boogaloo funk/jazz. The hard-jamming band is an outgrowth of friendships dating back to high school and Berklee's summer program 10 years ago. During that era Lettuce jammed incessantly and, according to its folklore, the band often showed up around the Boston area not having instruments or a gig. The group was always asking, "Let us use your instruments, let us jam and let us crash here"-thus the name. Now with plenty of working experience, tighter chops and help from friends such as guitarist John Scofield (Lettuce drummer Adam Deitch is in his band) and legendary trombonist Fred Wesley, among others, Lettuce reunited to rekindle the spark from its early days.

Energy overflows on Outta Here, especially on the title track and "Nyack," which are laden with blazing brass. The funked-out jazz that this band of 25-year-olds produces is unrelenting, and the group's impressive cohesiveness is the CD's major attribute. Originality, on the other hand though, is pretty much nonexistent. The groves are primarily retro-styled compositions or covers that unabashedly draw from the '70s rocking/soul inroads of Herbie Hancock, Tower of Power, Rufus and the grand master, James Brown. Prime examples are "Superfred," featuring Wesley doing a take on Brown's "Call Me Super Bad," and "Twisted," highlighted by guest vocalist Toni Smith that's Chaka Khan and Rufus personified.

If the sounds and styles of Outta Here are new to you, you'll probably be partying down; if not, you'll likely be saying "I'm outta here."

Tracklist :   
1. Outta Here (Deitch) — 4:52
2. The Dump (Soul Vibrations) — 3:51
3. Squadlive (Haynes, Kelly, Smirnoff) — 3:57
4. Back in Effect (Lettuce) — 5:36
5. Twisted (Lettuce, Smith) — 5:15
6. Superfred (Lettuce) — 3:58
7. Reunion (Lettuce) — 5:45
8. The Flu (Coomes, Smirnoff) — 6:20
9. Nyack (Deitch, Krasno) — 4:10
10. Hang Up Your Hangups (Hancock) — 6:59
11. Nyack [live] (Deitch, Krasno) — 13:26

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20 mars 2012 2 20 /03 /mars /2012 11:00



Origine du Groupe : North America
Style : Funk Jazz , Jazz Fusion , Acid Jazz
Sortie : 1996

From Official Site :

It's incredible that GALACTIC has never made a carnival album yet, but now it’s here.

To make CARNIVALE ELECTRICOS, the members of GALACTIC (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.

GALACTIC was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. CARNIVALE ELECTRICOS is beyond a party record. It’s a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests from high-school students to 72-year-old AL “CARNIVAL TIME” JOHNSON (who remakes his all-time hit), GALACTIC whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.


CARNIVALE ELECTRICOS begins on a spiritual note, the way Mardi Gras does in the black community of New Orleans. On that morning, the most exciting experience you can have is to be present when the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants provide the fundament of New Orleans carnival music. These “gangs,” as they call them, organize around and protect the figure of their chief. The album’s keynote singer, WAR CHIEF JUAN PARDO, is, says Robert Mercurio, “one of the younger Chiefs out there, and he’s become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs, points out Ben Ellman, and “he’s got a little Monk [Boudreaux], a little Bo Dollis, he’s neither uptown nor downtown.”

On “Karate,” says Ellman, the band was aiming to “capture the power” of one of the fundamental musical experiences of Mardi Gras: “a marching band passing by you.” The 40-piece KIPP RENAISSANCE HIGH SCHOOL MARCHING BAND’s director arranged up GALACTIC’s demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says Mercurio, “I think they were surprised” to hear how good they sounded on the playback.

Musical energy is everywhere at carnival time. “You hear the marching bands go by,” says Mercurio, moving us through a Mardi Gras day, “and then you hear a lot of hiphop.” There hasn’t been a Mardi Gras for twenty years that hasn’t had a banging track by beatmaker / rapper MANNIE FRESH sounding wherever you go. “You can’t talk about New Orleans hiphop without talking about MANNIE FRESH,” says Ellman. His beats have powered literally tens of millions of records, and he and GALACTIC have been talking for years about doing something together. On “Move Fast,” he’s together with multiplatinum gravel-voiced rapper MYSTIKAL, who is, says Ellman, “somebody we’ve wanted to collaborate with forever. It was a coup for us.”

Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years been a smoking Brazilian drum troupe in town: CASA SAMBA, formed at Mardi Gras in 1986. They’re old friends of GALACTIC’s from their early days at Frenchmen Street’s Café Brasil, and the two groups joined forces for a new version of Carlinhos Brown’s “Magalenha,” previously a hit for Sérgio Mendes.

But the Brazilian influence on CARNIVALE ELECTRICOS goes beyond one song. “When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls,” says Mercurio. The group contributed three Brazilian-flavored instrumentals, including “JuLou,” which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the “walking krewe” that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became “O Côco da Galinha,” they decided it would be right for MOYSÉS MÁRQUEZ, from the São Paulo underground samba scene, who collaborated with them and composed the lyric.

If you were GALACTIC and you were making a carnival album, wouldn’t you want to play “Carnival Time,” the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in New Orleans doesn’t know this song. The remake features a new performance in the unmistakable voice of the original singer, AL “CARNIVAL TIME” JOHNSON, who’s still active around town more than fifty years after he first gained Mardi Gras immortality.

The closing instrumental, “Ash Wednesday Sunrise,” evokes the edginess of the post-party feeling. The group writes, “There is the tension you feel on that morning -- one of being worn out from all of the festivities and one of elation that you made it through another year.”

But, as New Orleanians know, there’s always another carnival to look forward to, and GALACTIC will be there, playing till dawn and then going to breakfast before parading.

GALACTIC is a collaborative band with a unique format. It’s a stable quintet that plays together with high musicianship. They’ve been together so long they’re telepathic. But though the band hasn’t had a lead singer for years, neither is it purely an instrumental group. GALACTIC is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing, they have the luxury of experimenting. So on their albums, they do something that’s unusual in rock but not so controversial an idea in, say, hiphop: they create something that’s a little like a revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the GALACTIC sound universe.

Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on GALACTIC albums, they especially like to work with artists who are still underground. If you listen to CARNIVALE ELECTRICOS together with the two previous studio albums (YA-KA-MAY and FROM THE CORNER TO THE BLOCK), you’ll hear the most complete cross-section of what’s happening in contemporary New Orleans anywhere – all of it tight and radio-ready.

Despite the electronics and studio technology, GALACTIC’s albums are very much band records. Mercurio explained the GALACTIC process, which starts out with the beat: “The way we write music,” he says, “we come up with a demo, or a basic track, and then we collectively decide how we’re gonna finish it.” The result is a hard-grooving sequence of tight beats across a range of styles that glides from one surprise to the next.

What pulls all the diverse artists on CARNIVALE ELECTRICOS together into a coherent album is that one way or another, it’s all funk. GALACTIC is, always was, and always will be a funk band. Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, it’s all funk at the bottom, because funk is the common musical language, the lingua franca of New Orleans music. Even zydeco can be funky -- and if you don’t believe it, check out “Voyage Ton Flag,” the album’s evocation of Cajun Mardi Gras, in which Mamou Playboy STEVE RILEY meets up with a sampled Clifton Chenier inside the GALACTIC funk machine.

    Theryl DeClouet - vocals
    Erik Jekabson - trumpet
    Robert Mercurio - bass, photography
    Stanton Moore - drums
    Mark Mullins - trombone
    Jeff Raines - guitar
    Eric Traub - tenor saxophone
    Dan Prothero - programming, producer, engineer, editing, design, mixing
    Raymond Pumilia - photography

Tracklist :   
1. Go Go
2. Welcome To New Orleans
3. Something's Wrong With This Picture
4. Funky Bird
5. Stax
6. Church
7. On The One
8. Mystery Tube
9. Doo Rag
10. Percussion Interlude
11. Everybody Wants Some (Part 1)
12. Everybody Wants Some (Part 2)
13. Everybody Wants Some (Part 3)
14. Goodnight

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25 février 2012 6 25 /02 /février /2012 11:00



Origine du Groupe : U.K
Style : Jazz Funk , Disco
Sortie : 1982

By Mike Stone (Notorious) from http://mikestonemusic.blogspot.com

The album cover may look sort of spooky & mysterious (Gives me the creeps, sometimes, but what a great-looking model), but as the saying goes, you can never judge a book by its cover. This 1982 Polydor/PolyGram release by Shakatak was one of the group's best R&B/Jazz recordings at that time.

Most of you may remember the songs, "Lose Myself", and "Lonely Afternoon", which features the sultry, sexy vocals of Tracie Ackerman (some thought it was Jill Saward singing on the track, but she is with the group at this time of recording). They are the actual tracks on this album, so you can stop worrying about this album being another fabrication of "Night Birds" replacing the actual song that was supposed to be there. In fact, "Night Birds & "Invitations" did come out the same year in 1982. That's primarily the reason why some Shakatak fans felt confused on what year these two albums came out(?).

Tracklist :
1. Invitations
2. Lose Myself
3. Lonely Afternoon
4. Steppin' Out
5. Stranger
6. Usual Situation
7. Sol Fuego
8. In Shadows
9. Invitations (Remix) BONUS TRACK

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26 mars 2010 5 26 /03 /mars /2010 11:00
http://1.bp.blogspot.com/_gB1532_vmUM/SzAR5yDHqSI/AAAAAAAABsI/-Vf-zmGahcE/s400/zzafrikaundergroundja_101b.jpgNote :

Sortie : 2002
Style : Jazz funk , Fusion

Tracklist :
1. Lament
2. Chapita - Dick Khoza
3. Half N Half - Zacks Nkosi
4. Thunder into Our Hearts - Jabula
5. I la I La
6. I Remember You - Mike Makhalemele
7. Way It Used to Be
8. African Live [Moto] - Dick Khoza
9. Wilderness - Zacks Nkosi
10. Musikana - Harari
11. Blues for Yusef - Lionel Pillay


Really wonderful stuff -- a collection of totally unique grooves that won't cross over with any of your other African funk compilations! The focus here is on jazz, not funk or soul -- and the set features a wealth of great tracks pulled from obscure South African records of the late 70s and early 80s. Funky fusion is definitely in command here -- and the overall feel of the tracks is similar to some of the best European funky fusion of the 70s, fused with elements of African percussion and instrumentation -- creating a true crossover of styles that crackles with a freshness that will have you coming back to this one again and again! Most tracks are instrumental -- and the grooves here are a lot more complicated than on your average James Brown-inspired African funk tracks, a mix of strident modal modes, and other choppier funkier riff-heavy tunes. Plus, the whole thing's put together with the righteous intelligence of all the other Counterpoint titles -- with great notes, incredible sound, and an approach that will easily take you to a whole new musical world! Titles include "I Remember You" by Mike Makahalemele, "Half N Half" by Zacks Nkosi, "Chapita" by Dick Khoza, "Lament" by Movement In The City, "Blues For Yusef" by Lionel Pillay, "The Way It Used To Be" by Pacific Express, and "La I La I La" by George Lee Larnyoh.
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