I was hoping for @shabakahutchings & the ancestors to play #Nguni tonight & they saved it for last definitely one of the highlights of #winterjazzfest what a performance ❄️🌨🎷🥁🎻🎺 (at (le) poisson rouge)
About to enjoy the record player in the room with these @turntablelabnyc picks from @soulpeoplemusic @theinvisible3 @floatingpoints remix & Giovanni Damico’s latest on Lumberjacks in Hell (at Ace Hotel New York)
Second day of the new year & I’m already back to my old ways popped in to @strictlydiscs today & picked up Broken Knowz by @_jaydeezy_ & I Roam The Cosmos by @sunraarkestra 2017 off to a fine start (at Mount Horeb, Wisconsin)
Spent some time at @gramaphonerecords today picked up some 🔥 from @buggew @kaialce @mark_grusane @sirfroderick @kaidikat Jesse Futureman & a classic #Galliano LP. Bought a ton of great records this year from all over the place, here’s to an even better year ahead… (at theWit Chicago)
Got to visit my favorite record store on my birthday picked these up from @dustygroove this morning LPs from @jwayniac @mndface @volcovneroli IG Culture the Logan’s Run OST & a @gillespeterson comp. Plus some great reads from @timlawrencebooks & @souljazzrecords
This crisp vinyl issue of previously unreleased material presents a typical night at Scott’s in the 60’s when there was a top soloist in residence and the house rhythm section was on good form. Ronnie Scott thought knowledge of recording might inhibit the band as it did him, so he asked Les Tomkins to secretly tape the music on his Ferrograph from a back room. In any event, on one occasion Lateef on flute carefully constructs an inventive solo that might have had other qualities if he had known he was on record. Occasionally the piano sounds distant but that was due no doubt to not having every instrument balanced with a microphone.
Lateef’s programme is mainly blues, perhaps chosen because he didn’t know what rhythm section he might find. As it was, he was exceptionally well served by Tracey and company and announces mid-concert that they are some of the finest musicians he’s ever had the pleasure to perform with. Blues From The Orient has Lateef on the shenai, a high-pitched type of oboe which sounds very exotic. His flute work is also very intense and personal and the backing by Tracey matches the leader at times. Song Of Delilah is a low-down dirty blues, played at slow tempi on flute with the rhythm section pacing him faithfully. It all makes for a very authentic sounding night at Scott’s way back when and is the nearest anyone can get to actually being there, as it happened then.
Produce & host a weekly four hour broadcast since 1998 on independent public station, WYEP Pittsburgh. Dubmission features a mix of offbeat, glitch, jazz, house, broken, soul, funk, boogie, techno, bossa, wonky, dubstep, rare grooves, leftfield, downtempo & more.