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Hyde Mr. Medeiros Mr. Lif Mr. Magic Mr. Hardem N. Various Artist V. Your Old Droog - Guest Appearances. Hot Breath feat. Revolutionary Ride Music feat. Hood Boogers feat. Wall Flowers feat. The Curve feat. Black Talons feat. Tales From The Firehouse feat. John Gotti feat. Mami Wata feat. We're All in the Same Gang feat. West Coast Rap All-Stars. Paint The White House Black feat. If I Get Locked Up feat.
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Kirk Knight. Reverie - Give It Time. Talib Kweli - Colors Of You. Phife - Dear Dilla. Film Skool Rejekts - Websters. Nas - The Season. Jaded Incorporated - Monster. Blueprint - Nothing Like This. Album) Rhymes - In The Streets. Snoop Dogg - My Carz. Young RJ - Motion feat. Come On Down feat. Nitty Gritty feat. Scenario feat. A Buncha Niggas feat. Wicked Act feat. Buju Banton. Oh My God feat. A Tribe Called Quest. I Am I Be feat. De La Soul. Alladat feat. Brand Nubian.
Flava In Ya Ear Remix feat. Notorious B. One Two Shit feat. Build Ya Skillz feat. Psychologically Overcast feat. Change Like the Weather feat. Pay Ya Dues feat. You're The One Special Mix feat. Yeah feat.
Tracy Lee. Starsky and Hutch feat. LL Cool J. Vibin' The New Flava feat. Niggaz Wanna Act feat. Victory feat. The Notorious B. I'll Be Right There feat. Jagged Edge. The Onslaught feat. Black Moon. Do It to Me feat. Da Goodness feat. Whacha Want, Whacha Need feat. Parental Discretion feat. Big Pun. Let's Dance feat. Get Money feat. Steppin' It Up feat. Rastaman Chant feat. Dangerous Mc's feat. Curious feat. Do It Now feat. Mos Def. Rumble In The Jungle feat. Rap Is Still Outta Control feat.
Bongo Break feat. The Madd Rapper. Imperial feat. Rah Digga. Y'all feat. What's It All About feat. Slum Village. Things feat. Keith Sweat. Reverse feat. Fright Night feat. Ante Up Remix feat.
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Angie Martinez. Get Low Remix feat. On feat. Large Professor. Endalay feat. Swizz Beatz. Syleena Johnson. Holla Back Slime feat. I Know What You Want feat. Mariah Carey. Freaks Come Out At Night feat. Uncle Kracker. Lovely Day feat. Luther Vandross. Lovely Day Part II feat. Fire Yes, Yes Y'all feat. Joe Budden. So Gone Remix feat. Never Scared The Takeover Remix feat. Like A Pimp Remix feat. Obie Trice. Suicide Bounce feat. Tough Guy feat.
Throw An Elbow feat. What's Happenin' feat. Method Man. R U Ready 4 This feat. Pitch Black. Don't Cha feat. The Pussycat Dolls. Woo Haa Remix feat. Ol' Dirty Bastard. Like Father, Like Son feat. The Game. Wait The Whisper Song Remix. Running Your Mouth feat. For The Nasty Remix feat. Watchalike feat. Kardinal Offishall.
Walk Wit Me feat. Rough Around the Edges feat. State Of Grace Spanish Version feat. Music For Life feat. Come Thru Move feat. Doctor's Advocate feat. Geek Down feat. J Dilla. Hurt feat. Run The Show feat. Kat DeLuna. Out To Get Me Remix feat.
La La feat. The Way We Roll feat. Work That Remix feat. Mary J. Fried Chicken feat. She's Fine feat. DJ Khaled. Kissin The Curb feat. OG Status feat. Kool G Rap. Lightworks feat. Zock On! Hard to Love Ya feat. Bounce Back feat. Grandmaster Flash. We Must Be Heard feat. Mind On My Money feat. Love You feat. Rotate feat. Dinner Time feat. Royce da 5'9''. About Me feat. Superstar feat.
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Cher Lloyd. Crane Style feat. Worldwide Choppers feat. Ceza, JL B. Outro feat. Harsh feat. Let's Go feat. Look At Me Now feat. Chris Brown. Drummer Boy feat. Justin Bieber. Sleep When I'm Gone feat. Welcome To My Hood Remix. Potty Mouth feat. Straight From The Golden feat. MTV Cribs feat. Nowhere feat. Play Dirty feat. Lowrider feat. Rocket Ships feat. Everyday feat. Faces of Death feat.
How We Survive feat. Sean Kingston. Hold That feat. Tony Touch, J. Break Of Dawn feat. Jay Sean. Never Get Over You feat. Shabba Remix feat. Sweet Caroline feat. What I feat. Womack's Lament feat. All Over feat. The Whoop feat. Ras Kass. Broad Daylight feat. Simon Says Remix feat. Out the Trunk feat. Fly on the Wall feat. Like Father Like Son 2 feat. Wall to Wall feat. Devil feat. Cash Cash, B. Pleasure or Pain feat. Stephen Marley.
Final Hour feat. Don't Ever Play Yourself feat. You Should Know feat. Somebody Knows feat. East Coast Remix feat. Jealousy feat. Land O' Lakes feat. Trojan Horse feat. Roc Marciano. Brossface Brippler feat. Rigamortis Remix feat. Kendrick Lamar. Look Over Your Shoulders feat. Ghost Muzik feat. Bubblin feat. Paak Remix. They Want My Blood feat. This One feat. Ghetto Luv feat. The Hit Off feat. Get Contact feat. Missy Elliott. The Assignment feat.
The Next Shit feat. Pharoahe Monch. What My Niggas Want feat. Get This Money Remix feat. Touch It Remix feat. The Take Over feat. Goin' Outta Business feat. Guerilla Pimpin' feat. Get By Remix feat. Billionaire feat. Earthquake All Stars Remix feat. Coffin feat. American Dream Remix feat. Twerkit feat. Nicki Minaj. Give It to Me feat. Remedy feat. Calm Down feat. Henny Remix feat. Touchdown feat.
Takeover feat. My Shot feat. Hear My Cry feat. Girlfriend feat. Call da Police feat. Get It feat. Psycho feat. Part 1 Part 2 Part 3. I Just Can't Comin Home - Various - The Countdown Spectacular Live 2 (CD feat. Murderous Intentions feat. Power feat. Roach Eggs Sol Messiah Remix feat. Saul Williams. Health Wealth Knowledge of Self feat. Illuminati Congo. Racist Friend feat. Life Less Criminal feat. SmokeFest feat. Throw Some D's Remix feat. Carn never sacrifices the swinging, songlike structure while underscording the complexity in Tyner's harmonic inquiry.
The "Acknowledgement" section of Coltrane's "A Love Supreme" is rendered with elegance and spiritual soul in Jean's delivery. The familiar bass and piano theme buoys her. The horns gather force and cascade under and around her as Carn lays down fat, open-ended chords for the rhythm section to play off.
His lyrics are full of optimism and spirituality. Horace Silver's "Peace" closes. Carn's chart showcases an elegant interplay between bass and Rhodes piano as Jean expresses the lyric with nuanced resolve and resonance while the trombone emerges as a second voice.
All of Carn's Black Jazz titles are influential, but Infant Eyes arrived at a special cultural juncture. It balanced accessibility with adventure and established both the label and the Carns as co-creators of a brand new, specifically Afro-centric approach to creative jazz. He found a home at the Black Jazz label, where African-Americans called the shots and, of course, racial tension was nonexistent.
Who was this year-old whose first album, Infant Eyes, sold very well away from the machinations of the music industry? Following his muse to Los Angeles, he worked in an organ trio and studied with organ and piano player Larry Young, who had co-founded the seminal jazz-rock band Tony Williams' Lifetime and recorded an excellent mids hard-bop record titled Unity, among other things.
Carn assumes several roles well: organ and piano player, arranger and lyricist. His wife at the time, Jean, is just as impressive singing. First track 'Welcome' -- a Coltrane piece found on the early s collection The Gentle Sound of John Coltrane -- has Jean's operatic voice and a swirl of instruments conjuring a state of awe in just over a minute.
Next, Jean displays a world of conviction singing the joyous lyrics about a newborn that Doug penned for vibraphonist Bobby Hutcherson's 'Little B's Poem' originally an instrumental on Hutcherson's Components album. Jean opens still another vista of wonder singing the new lyrics of the melodic Wayne Shorter ballad 'Infant Eyes.
It was the first of twenty albums by a label that was very different from other new indie jazz labels that were being founded across the America. This included albums that featured political and spiritually influenced music. Between and the label released twenty albums that included everything from spiritual jazz and soul-jazz to free jazz and funk. Eclectic described the music that the label released.
That described the albums that Black Jazz Records released during That was still to come. Doug Carn who was just twenty-three when he signed to Black Jazz Records.
Not long after this, he began work on his debut album Infant Eyes. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album. The rhythm section featured drummer Michael Carvin, bassist Henry Franklin and bandleader Doug Carn who switched between electric piano, organ and piano. Meanwhile his wife Jean added her unmistakable vocals.
George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn. This talented and versatile band worked their way through the seven tracks which became Infant Eyes.
The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in When Infant Eyes was released inDoug Carn still regarded the album as a demo. Despite that, it was well received by critics and hailed as a groundbreaking album. It was a similar case with the other two albums Doug Carn released for the label. That was no surprise given the quality of the three albums he released. The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove.
By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster. Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track. However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal.
Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist.
Despite that, it was the most successful album that Black Jazz Records released that year. Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz.
These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America. This was just the first chapter in the Doug and Jean Carn story.
Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business. And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'?
And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either.
Most of his career has been Album) television and radio, where he lent his dark, agile bassvoice to numberless commercials. His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record.
But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well. The twenty-page Album) booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine.
The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc.
Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.
They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.
Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted.
Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces.
Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job. Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles. Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least.
Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time. All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics.
He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions.
When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day. He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard.
I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now.
It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica. It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and Album) out exactly the same as ever. He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing.
You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen.
At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter.
We Are Ready - One Spirit For All - Fuck This World (CD), Shake It Up - The Cars - Shake It Up And Other Hits (CD), War - Galaxy (Vinyl), Tomita - Grand Canyon Suite (CD, Album), Sin Opción - Aztra (2) - Insurgente (CD, Album), Oiga Doctor - Joaquín Sabina - Hotel, Dulce Hotel (Cassette, Album), The Motive (House) - Then Jerico - The Motive 96 (CD), Down - Shinebox - Shinebox (CD, Album), Mother Pin A Rose On Me - The Gordon Fleming Orchestra - The Swingin 30s (Vinyl, LP), Welcome To The Real World - Various - New Stuff 5 (CD, Album), Wang Chung - Dance Hall Days (Vinyl), Suedehead (Live) - Morrissey - The HMV / Parlophone Singles 88-95 (CD), Baby Dont Take Your Love From Me, Gulper - Shaka (5) - Spring Day (Vinyl), II Andante Con Moto - Young-Choon Park - Recital Series Vol. 1 (Live At Kungsbacka Concert Hall) (CD