© Sassy J 2011

There you go::::::
http://www.montreuxjazz.com

More Details:

http://sonicrecords.blogspot.com

VENUE:

5ETAGE

Mühleplatz 11

3011 Bern

Switzerland

IG is a legend far beyond the confines of the geographical or musical designation of West London: respected across continents for his self-taught and diverse musicality and heavy rhythms. He is also is one of the most notable producers responsible for the wealth of material that has emanated from West London under the tag broken beat. Starting out during the early '90s as one-half of the rap duo Dodge City, a while after that project dissolved, IG founded a short-lived label called One Drop Interouter, and then became involved with the People and Main Squeeze imprints. For his show at Broad Casting at London's Cargo, after opening the night with his Zen Badizm project, IG brought his fusion of funk, soul, jazz fusion and hip hop to the stage with a very special DJ set. Subsequent to an afternoon spent sampling, looping, re-working and Build an Ark's soundcheck, IG actually created exclusive tracks specifically for the Broad Casting audience - and for us lucky listeners, too. Alongside these fresher than fresh Build an Ark dubs, he was busy dropping the bombs and specials, as he has always been known to do. Accompanied by jazz dancers, this was a unique rounding off the evening in unique Broad Casting style. Listen and marvel.

This is the kind of Disco we’re feeling – deep and wayward with some serious cosmic side effects. Having rocked drumkits in bands, Mari.Cha has turned to super-charging the decks of bars and clubs along Thessaloniki with a heady selection of retarded House beats and spaced out Hip Hop. As if that wasn’t saucy enough she’s also known for simmering a stew of deep Prog Rock-influenced Funk rarities, and the latest edit-filled cuts by Amsterdam’s leftfooted vanguard and Detroit’s deepest downtempo House-mongers. In other words, she’ll be frying up a mish mash, Thessaloniki style. Greek lightning!

Finally, the lady known simply as Fatima is ready to drop her first official solo release. After featuring on many of last years biggest tracks including Shafiq Husayns ’Lil Girl’, Floating Points ’Peroration Five’, TettoryBad’s ‘Unite’ , Funkineven’s ‘Kleer’ as well as live collaborations with I.G Culture’s Zen Badizm workshop, The Floating Points Ensemble and not to mentioned a recent live P.A with Slum Village, its plain to see why the London resident is in such high demand!

The Mindtravelin EP is released on March 22nd, four tracks deep, featuring production from the likes of Dam Funk, VeeBeeO and Funkineven, the EP is an eclectic journey through the thoughts of the 24 year old, Swedish born, East London based star. Fatima is currently being filmed, in preparation for a Red Bull Music Academy based documentary, after successfully applying for and attending the 2009 summer term in Barcelona.

Since moving from Stockholm to London in 2006, Fatima has become a firm fixture within the sets of 1Xtra’s Benji B and Radio 1?s Gilles Peterson and after joining the Eglo records camp in 2009 she can be heard regularly on Alexander Nuts Rinse Fm radio show. From Dubstep to Soul, Jazz to Orchestral, this versatile singer is set for big things.

The ‘Soul Glo’ video is now complete and will be on its way over to you soon, until then, please check out the Ep (link below), let us know if you’ll be reviewing it for your publication or would like to get hold of Fatima for an interview. Please no sharing or blogging any of the tracks.

FunkinEven 1956’s individual, futuristic, soul bounce can be heard throughout his productions and Dj sets. His debut release Kleer came out on a limited run of clear vinyl copies. He has co-produced for Rosin Murphy on ‘Orally Fixated’.

West Londoner FunkinEven creates sounds that inhabit a similar atmosphere to The Neptunes, Model 500 and Bugz In The Attic just as much as they do Cameo, NPG and Zapp.

Touring Europe as the support DJ for Dutch future-phreaky-funk artist Aardvarck is probably enough to send anyone’s mixtape a bit wonky, but throw in some extra spices like working in the Rush Hour record store, spinning at Paradiso and compiling a set of beat-strumentals with Jay Scarlett of Spacek, and it’s a surprise if Cinnaman can walk in a straight line. Which comes in pretty handy when he’s selecting broken and deeeep hip hop beats for his Traffic Jam radio show on national station Kink FM. A bit of bobbing and weaving is par for the course when you walk on the left side.

It’s been a startling couple of years for instrumental beats of all persuasions: the likes of LA’s Brainfeeder crew and Glasgow’s LuckyMe collective have developed styles with a scope far beyond creating merely ‘instrumental hip hop’. Amongst all the hype and promotion, one of the music’s reclusive architects seems to have been mysteriously overlooked.

However, ask the likes of Gaslamp Killer or Ras G and they’ll tell you the same thing: Dimlite’s production was astounding from the start. His EPs of 2003 and debut album Runbox Weathers two years later revealed a Swiss producer beholden to no one, possessing a style as nuanced as his friend Prefuse 73 and yet enriched by a careworn romanticism and quirkiness that rewarded repeat listens and has, over time, made him something of a ‘producer’s producer’.

Another album, singles, remixes and side-projects followed, taking Dimlite’s sound further left, further into a singular world where soul music, latin rhythms, hiphop and more are reconstituted into dreamy, lovelorn beat constructions. And so he takes his place on Now-Again, home to a cadre of similarly singular spirits such as The Heliocentrics and The Whitefield Brothers, each bent on refracting music history through their own unique lenses.

And while copycat producers abound, Dimlite’s uniqueness is only throw into sharper relief. It’s clear the moment he sings, such as on EP highlight Elbow Flood or the astonishing (and miniature) closer, Can’t Get Used To Those. It’s apparent in every one of his strangely abrupt changes. It’s even in his song titles. Perhaps Prismic Tops will be the record that sparks a critical reappraisal of this gifted producer’s work. And if not, Now-Again Records is still proud to present this, the latest in a line of remarkable releases from a quiet pioneer.

Sweden is a hotbed of diverse and escalating musical talent. From the mighty Soundtrack of Our Lives to idiosyncratic songsmiths JosÈ Gonz·lez and Jens Lekman, through to the unpredictable pop styles from the likes of Love is All and Audrey, not to mention the infamous black metal scene, Gothenburg now boasts the dynamic, organically soulful pop sounds of Little Dragon. Featuring radiant vocalist Yukimi Nagano and her close high school friends Erik Bodin (drums), Fredrick K‰llgren (bass) and HÂkan Wirenstrand (keyboards), Little Dragon stepped into the spotlight with the release of their first double A-side single on Peacefrog (home to JosÈ and Findlay Brown), ëTwiceí/íTestí. A former Rough Trade ëSingle of the Weekí and ìuniversally hailed as a masterpiece of free thinking soulî, according to One Week To Live. Born and raised in Gothenburg to a Japanese father and American mother, Yukimi says, ìI grew up listening to American folk because of my Mom, but Iíve always had an affinity for RíníB.î Meanwhile, keyboardist HÂkan spent his childhood in the deepest, darkest woods of Smaland before moving to Gothenburg, hearing a lot of Swedish folk music, later getting into electronic and synth music. Erik grew up hearing early hiphop and jazz. ìFrom time to time we have had to get side jobs,î Yukimi sighs, ìbut weíd rather stay broke, so we can concentrate on the band.î Their true vocation can be in no doubt based on this divine debut offering. Yukimi has sung with Swedenís electronica-jazz outfit Koop, and both Yukimi and Erik play live with JosÈ Gonz·lez. Erik also drums with Peps Perrson, a legendary Swedish blues/reggae artist. ìWe had an admiration for each other musically, and way before we defined ourselves as a band we were making music and hanging out,î Yukimi explains. ìItís like a family, and the band is our big passion. Little Dragon reminds you that when you're really creating music, it's like building a ship that will travel in a direction previously inconceivableî. However, what unites these disparate influences is an undeniable swing and lightness of touch, braced with bass heaviness, borne from the intuitive connection between the band members that epitomises Little Dragonís music. Unwilling to stick to definitions or reasons for why Little Dragon is what it is, Yukimi offers effusive and illustrative impressions, which is as good a way as any to understand this very special band. ìMaybe Little Dragon is a city,î she muses. ìBlue traffic-lights, fast food-signs, neon, love, loneliness, technology ñ a city reflected in the middle of a vast ocean. The music juxtaposes tradition and intense knowledge of musical tools, with destruction, invention... blazing a new trail. I like to think of our music as dreamy, but not always in a pleasant way. Some songs are emotional and some more free and naive.

Zimbabwe-born and London-raised composer ESKA comes from a rich musical background. As a vocalist, her legendary virtuosity has attracted the attentions of a host of acclaimed artists – the likes of Tony Allen and David Sylvian, to name a few. Her vocal arrangements have credits on 3 Mercury-nominated albums that range from hip-hop to indie to jazz. For her solo project, she chose to work alongside one of her most recent collaborators, artist-producer Matthew Herbert. ESKA leads the 80-voice Goldsmiths Ensemble who have performed with Matthew Herbert’s Big Band. This summer, she will be conducting a 100-voice choir for Bobby McFerrin‘s improvisational performance at the Jazz a Vienne Festival, France.

Eska Mtungwazi’s is a voice already heard by millions, but until now it’s not arrived at the opportunity to shine in a space of its master’s own making. She’s taken her time for good reason: this is music that walks a fine tightrope, the slightest breath enough to unsettle the serenity it so effortlessly conjures. Though her boisterous performances of the past decorated the output of Zero 7, Matthew Herbert and The Cinematic Orchestra to great effect, here the emphasis is on tranquillity over tumult. Settle back, sink into it; surface when you’re ready, take your time.

But don’t mistake ESKA for an artist with chill-out intentions, clichéd as such a route is – her music wears its experimental tendencies on its sleeve, and proudly so. Equally, although blessed with a powerful voice, easily on a par with any chart-topping diva you’d care to mention, she doesn’t belt it out for the sake of doing so. Instead, ESKA uses her vocals in intriguing ways, layering them to form new levels in the instrumentation, complementing self-penned compositions and arrangements laid-down by means both conventional and absolutely not, invention and expression always paramount in her mind. Lyrics drift in and out of focus, meaning dissolving and ambiguity every bit as essential to the overall message as direct narratives.

If you’re after a hook to hang this music on, with its nuanced structure and inquisitive playing, the best available is perhaps that of folk. But ESKA is unlikely to be confused with traditional purveyors of the genre past or present, her assemblage of myriad elements leading to motifs that point the way forward rather than retreating into the past. Just as her friends and sometime musical partners The Invisible merged styles from across the spectrum to arrive at their Mercury-nominated sound, ESKA’s ear is tuned to composition comprised of constituent pieces that only ever complement one another. That they come from across the sonic spectrum is a moot point when the seamlessly structured end product is processed. The joins are conspicuous by their absence, scrutiny derailed by the inherent beauty on show.

Throughout her career ESKA has attracted the attentions of a host of acclaimed artists, many of whom she has later worked with – the likes of Tony Allen and David Sylvian do not associate themselves with any old vocalist who passes their creative windows. Now, though, ESKA is the one throwing the shutters open, looking out onto the world through her own eyes. That she likes what she sees is indubitable; and that all and sundry will be seduced by the sounds she brings with her, equally unequivocal.

“Love of the music should be the driving force of any producer, performer or DJ.” Welcome to the merry world of Theo Parrish’s music. A mind of (and in a league) of his own, the Chicago-raised, Detroit resident is the legitimate heir and conscience of a DJ school that stems from ancestors like Ron Hardy, Frankie Knuckles or Andre Hatchett, radio shows on WBMX and clubs like the Muzic Box. As anyone who has experienced a Theo Parrish set can testify, the work of this consummate architect of sound envelopes the listener, and transmits new perspectives on club sonics. Maltreating the eqs, playing vinyl like a self-contained vamped instrument, fusing soul, jazz, house and disco into one capacious ardent ball is all part of Theo’s musical expression. He can fuse the rhythmic, disco-based pulse of Chicago house with the modernist motorik soul of Detroit techno, while at the same time pointing to a lineage in black music that runs directly from Sun Ra to Sound Signature. “Jazz spawned house music, jazz spawned hip hop, Jazz spawned funk and they all reflect back into that,” he says. This applies as well to the songs and tracks from Parrish’s own pockets. His label Sound Signature provides an adventure playground for vital drum machines, touch-and-go arrangements, regal synths and some of Detroit’s finest soul music talents. So if you want to see the future via the raw, soulful roots of house music, then you’ve come to the right teleporter.

Sa 31.07.2010 - 23:00 Bonsoir Club / Bern/ Switzerland

Patchwork PopUp with

DJ Questlove (Philadelphia, USA)
SASSY J (PATCHWORK / BERN, CH)

Der charismatische Roots-Drummer macht mehr, als nur auf gespanntes Leder dreschen. Abseits der Bühne hat der Mann in den letzten 20 Jahren kapitelweise Musikgeschichte geschrieben.

Questlove alias Ahmir Khalib Thompson aus Philadelphia wird in die Musik-Annalen über das späte 20. und das 21. Jahrhundert eingehen. Schon seine Rolle als Schlagzeuger von The Roots qualifiziert ihn dafür. Questlove ist allerdings weit mehr als nur der Rhythmus-Chef der wohl erfolgreichsten Hip Hop-Formation im zeitgenössischen Kosmos. Ender der 1990er gründete er das genreprägende Neo Soul-Kollektiv Soulquarians. In diesem Verbund agieren Leute wie Q-Tip, Common, Mos Def, Talib Kweli, Erykah Badu, D'Angelo und J Dilla mit ihm. Im gleichen Zeitabschnitt initiierte Questlove die bis heute einflussreiche Online-Community Okayplayer für alternativen Hip Hop und modernen Soul. Als Produzent und Schlagzeuger hat er seine Spuren auf den Karrierepfaden etlicher heute namhafter Künstler hinterlassen; darunter Common, Erykah Badu, Jason Mraz, Jay-Z, Mark Ronson, N*E*R*D und John Mayer, um nur einige zu nennen. Im Bonsoir präsentiert sich der Koloss mit dem markenzeichenhaften Steckkamm im Afro als DJ - in einer Rolle, die er nicht minder gut spielt als all seine anderen, welche er aber viel zu selten auf eine Bühne bringt.

http://www.bonsoir.ch

http://www.myspace.com/questlove
http://www.theroots.com

http://www.okayplayer.com

http://www.gurtenfestival.ch/program/program_detail2010.aspx?ID=361