#Afro-Caribbean Mixtape

[jazzdailyblog]

Nicholas Payton: Redefining the Boundaries of Jazz

Introduction: Nicholas Payton, a virtuoso trumpeter, composer, and bandleader, has firmly established himself as one of the most innovative and controversial voices in contemporary jazz. Known for his exceptional technical prowess and his fierce dedication to evolving the art form, Payton has redefined what it means to be a jazz musician in the modern era. His wide-ranging artistic vision and…

[kickmag]

Listen: Aminé & Kaytranada-Forever Feat. Pharrell Williams

Kaytranada and Aminé have partnered as KAYTRAMINÉ for an upcoming self-titled album. "4EVA" featuring Pharrell Williams is the first single from the project that has roots in 2013. Aminé did a bootleg remix of Kaytranada's "At All" calling his version "Not At All" that year. Kaytranada heard the remix and reached out to Aminé to offer official music for him to use. Their meeting in 2013 resulted in Kaytranada producing three songs on Aminé's 2015 mixtape Calling Brio. Fans had suggested for years that they collaborate on a full-length project and they agreed. Pharrell added some of his production skills and vocals to the hip-hop, house and Caribbean rhythms of "4EVA." The Afro-diasporic beat mashup also reeks of Afrobeats and conveys warmth with gliding synths. Listen to the festive vibe of "4EVA" from the album that officially drops on May 12th. 

[hwingnet]

Young T & Bugsey Release New Mixtape "Beyond Rea5onable Doubt"

Young T & Bugsey have released their third mixtape, “Beyond Rea5onable Doubt”, following a two-year break. This project showcases their signature blend of Rap, Afro-swing, and Caribbean influences, with standout tracks like “Dundee,” “Soca,” and the JAE5-produced lead single “Fake Can’t Stay.” The mixtape features both high-energy anthems and introspective tracks, highlighting the duo’s…

[toptowngist]

"Bodak Boss: The Life and Career of Cardi B"

Belcalis Marlenis Almánzar, known professionally as Cardi B, was born on October 11, 1992, in The Bronx, New York City. She is of Afro-Caribbean and Hispanic descent. Growing up, Cardi B faced financial struggles, and she had to work as a stripper to make ends meet. She began to gain a following on social media, where she posted videos discussing her life and her opinions on various topics.

Cardi B's big break came in 2015 when she joined the cast of VH1's reality TV series, "Love & Hip Hop: New York." Her outspoken personality and comedic wit quickly made her a fan favorite. While on the show, she began to pursue a career in music, releasing her first mixtape, "Gangsta Bitch Music, Vol. 1," in 2016.

Cardi B's breakthrough came in 2017 with her hit single, "Bodak Yellow," which topped the US Billboard Hot 100 chart. Her debut studio album, "Invasion of Privacy," was released in 2018 and received critical acclaim. The album won the Grammy Award for Best Rap Album, making Cardi B the first female solo artist to win in the category.

[burlveneer-music]

Nicholas Payton - Afro-Caribbean Mixtape

On Afro-Caribbean Mixtape, propelled by keyboardist Kevin Hays, bassist Vicente Archer, drummer Joe Dyson, percussionist Daniel Sadownick, and turntablist DJ Lady Fingaz, Payton seamlessly coalesces his interests, drawing on a global array of beats, melodies and harmonic consciousness to serve his lifelong conviction that music is a process by which the practitioner uses notes and tones to map identity and tell a story.   All songs composed by Nicholas Payton (BMI) except "Madmwazél Ayiti" co-composed with Kevin Hays and "ACM Remix 1, 2, & 3," co-composed with Kevin Hays, Vicente Archer, Joe Dyson, Daniel Sadownick and DJ Lady Fingaz PRODUCED BY NICHOLAS PAYTON Recorded, mixed, and mastered using the PAYTONEsonic™ programming process

[tu-blisko]

Vicente Archer, Afro-Caribbean Mixtape Jazz na Starówce, Warsaw, Poland (2017)

[daisukekaniebroadcast]

Nicholas Payton - Afro-Caribbean Mixtape

[afrobeatsindacity]

AFROBEATS CITY MEETS DOCTA DEE

No stranger to the music scene and especially the UK Afrobeats scene, Docta Dee has been blessing us with nothing but hits since he first entered the music scene in 2012. 

Afrobeats City caught up with Docta Dee to find out about his new mixtape The Antidote, how he stayed positive during lockdown and more.

Who is Docta Dee and how did you get into music?

Docta Dee is a songwriter who grew up in the church and grew up around music. Everyone calls me Docta Dee, it is a nickname I grew up with in my area. I originally grew up in Blackheath but moved to Kent.

Docta Dee also comes from my Dad being a Pastor with a Doctorate and the nickname stuck with me for the rest of my life.  It has been hard to shake off but it has served its purpose in terms of helping people and trying to provide a solution to my music.

In 5 words how would you describe your musical style?

Good vibes, positive, reflective, fun, and vibrant

You recently released your new album “The Antidote”, how did you come up with the name for the album and what was the creative process behind the album?

The Antidote is a very special project for me because during this time of COVID and the pandemic, I thought about me being Docta Dee what can I do for my people. So many people lost their jobs or are going through a lot of things with their family, what can I do to try and lift their spirits and provide hope so that is what The Antidote is, it’s reminding people that the solution comes from within themselves. I put a bit of my story and pain so that I can try to influence and have an impact on someone else’s life.

My favourite song off the album is “For A Bit”, what is your favourite song off the album?

“For A Bit” for me is a banger, I like it because it’s different, it’s trap. It was actually a freestyle I was messing around with so I’m glad you said that.

My Personal favourite is “Smile”, it hits home and touches the surface of what I have been through during this lockdown as well. I also sampled an old school church song in there “This Little Light Of Mine”. Stuff like that makes me want to listen to the song every single day.

Do you think growing up in the church influences you in terms of music, I know you don’t do gospel music but in terms of the way you incorporate your faith into your music?

Yes big time, my faith is very much my everyday life and struggles. All the pros and cons that comes with living, I try to reflect that in my music, even though I do not solely do gospel music, I just try to uplift people through my music. I know my parents would love me to do gospel and my dad will promote me widely, but I am just trying to find my own feet and take it as it comes.

Your new single “Sidekick” featuring Ka’Reema gained over 50k views in the first week of its release which is amazing, was you expecting that sort of reaction to the song?

I was and I was not because I knew that I was going to release it on my own channel and push it myself. I tried to use all the resources possible so when I released the first video “Payroll”, I kind of engaged that people were not expecting me to fire them with visuals. I went abroad to shot the video and two weeks late I dropped “Sidekick” and I knew that song was that radio, Afroswing type of song that is strong at the moment.

Ka’Reema is an amazing artist who added that extra vibe and we have just been pushing it and pushing it and thankfully I’m seeing good views on my own channel and I am going to keep pushing it until everyone is playing it. I am happy that we can pat ourselves on the back, but the work continues.

Did the recent lockdown affect your music plans for 2020 or do you feel that you were able to still achieve your plans?

It affected my plans in a good way, I normally release one single a year traditionally or like a major video. I pushed an EP at the start of the year called The Life Of The Party and then I thought I was done but being on lockdown and losing my job, I was able to make the best out of the situation. I went to the studio, I was able to song write and then I produced the video for, “For A Bit”, “Payroll” and “Sidekick” so in all there are about 4-5 visuals that have been out since January. I saw myself being more pro-active and hungry. All my friends in the music business are doing their things and it inspired and encouraged me to do it at my pace. I realised I was doing it at my pace but putting in a lot of work as well.

Due to lockdown rules you currently can’t do any live shows but have you done any instalives or online shows?

I have done a few lives called The Consultation in the theme of going to your GP or Doctor and the response and feedback was real good so I am going to keep doing that. I would love to throw a little live party once we get all clear in terms of the lockdown. I might do a few intimate live shows and put it out there, they are some ideas that I have in the pipeline.

What is something you learnt early on in your career that has helped shape your career?

“Don’t Wait For Nobody, Don’t Sit Around”. Do not expect anything and have a clean heart. You might do something for someone they might not do it for you but it doesn’t mean there is beef or no love. I know I have been designed and created in a special way to always go over and beyond for people and it may not be returned but just have a good heart and wish everyone well.

Understand your audience but give them what they want. I love R&B but when I asked the question on my Instastories a lot of my followers love the Afroswing stuff, I have to find the balance. For The Antidote, I made sure there was a balance of R&B, Afro-fusion, Trap and Drill. I was able to give them a dose in that project.

What is one message you would give to your fans?

A message that has saved my life is “Learn To Dance In The Rain”. No matter what you’re going through just find the positive and appreciate what you have, dance in the rain. If you can dance in the storm with the cloud over, then you will celebrate in the sunshine when the rain goes out. I try to stay happy and smiling especially during this time.

What is next for Docta Dee?

I have a single outside of the project, it should have been on the project but I wanted to take my time so it should be out in a few weeks. Visuals to follow as well.  

I have also been writing for other people so their stuff is coming out and then I have another project at the end of the year. I thought 2020 was cancelled but God has other plans for me, so I’m going to keep working and keep going at my own place

 Just for fun, fill in the blanks…

 Without music, I would be…Stuck in finance or have my own business

My current favourite song is…Docta Dee – Smile

My favourite song to perform is… Flex N Finesse ft AdeJosh

My dream artist(s) to collaborate with is…Konan - his amazing on hooks and an ear for melodies. But I work with so many artists that I work with and respect. AdeJosh is one of my favourite artists of all times. That’s my bro

Support Afrobeats because… Its authentic, it’s raw, energetic and it’s home. That is why it’s key to support it especially being from the UK but know your roots, it’s so important. I’m happy that we have the UK Afrobeats chart and there are so many opportunities and so many people that are pioneering the movement. So as an African, Nigerian in the UK especially with a lot of Caribbean friends I have never been so proud of our music, the quality of the visuals, the sound even from Nigerian artists and artists here. The progression since 2012/2013 has been massive and to be a part of that I am so proud.

Follow @Officialdoctadee on Instagram | @DoctaDee on Twitter

This interview was conducted by Shade A (@shardeya) / Afrobeats City doesn’t own the rights to the image used.

[thesustainableswap]

BLM Master Post / Resources

No blog post this week. I felt like this was much more important. Here is a master post of everything I’ve found regarding the BLM movement, from petitions, to where you should donate, to reading, to accounts, to business... hopefully most of what you’re looking for can be found below. If I’ve missed anything vital please let me know and I will add it.

Petitions:

Justice for George Floyd (White House) | Justice for George Floyd (change.org) | Justice for George Floyd (change.org) | Justice for George Floyd (color of Change)

RAISE THE DEGREE - Remove bail for Derek Chauvin, murderer of George Floyd (White House) | Arrest The Other Three (White House) | Raise The Degree (change.org) | The Minneapolis Police Officers to be charged for murder (change.org)

#JusticeforBre (MoveOn.org) | #JusticeforBre (color of Change)

Justice For Ahmaud Arbery (change.org) | Justice for Ahmaud Arbery- Pass Georgia Hate Crime Bill (change.org) | Disbarment of George E. Barnhill (change.org)

Trayvon Martin Law (change.org)

Hands Up Act (change.org)

Justice for Belly Mujinga (change.org)

Justice for Tony McDade (change.org)

Justice for Alejandro Vargas Martinez (change.org)

Justice for Regis Korchinski-Paquet (change.org)

Wrongful Conviction: Julius Jones is innocent (change.org)

Wrongful Conviction: Kyjuanzi Harris (change.org)

Willie Simmons has served 38 years for a $9 robbery (change.org)

Defund The Police Minneapolis (Every Action / Reclaim The Block) | Mandatory Life Sentence for Police Brutality (change.org) | National Action Against Police Brutality (change.org) | Against Police Brutality in France (change.org)

Demand Racial Data on Coronavirus (BLM) | Coronavirus: Demand More from the Government (BLM)

Get Schools to Speak Up (change.org)

Stand with BLM (organizefor.org)

Organisations to Donate to

George Floyd Memorial Fund

Minnesota Freedom Fund

Black Visions Collective

Reclaim the Block

Campaign Zero

Black Lives Matter

UKBLM

National Bailout Fund

Black Earth Farms

Communities United Against Police Brutality

Unicorn Riot

Louisville Community Bail Fund

Rebuilding the Community (We Love Lake Street)

United Families and Friends Campaign

COVID-19: Supporting BAME Communities

House of GG

Trans Justice Funding Project

The Okra Project

Youth Breakout

SNaPCo

Black AIDS Insitute

Trans Cultural District

LGBTQ+ Freedom Fund

For If You Have Little Money to Spare:

Check out these YouTube videos and play them while you go about your day (or actively watch! Up to you.) The ad revenue will be donated to organisations supporting black lives - but make sure you turn off your adblocker first.

By Zoe Amira

By Francesca Grace

By Cindy Marshall

By Danni and Emmyn

Instagram Accounts (source)

Nova Reid

Layla Saad

Rachel Cargle

Check Your Privilege

Rachel Ricketts

The Great Unlearn

Reni Eddo Lodge

Ibram X. Kendi

Galdem

The Irin Journal

Women Who

For Working Ladies

Thyself

Black Girl Fest

UK isn’t Innocent

Readbyrachelaa

Mikaela Loach

Podcasts

About Race with Remi Eddo-Lodge

Conversations with Nova Reid

iWeigh with Jameela Jamil

The YIKES podcast

Have You Heard George’s Podcast?

The World Wide Tribe

Zero Hour Talks

1619 by the New York Times

TV / Film (source)

13th

When They See Us

Selma

The Black Power Mixtape 1967 - 1975

I Am Not Your Negro

The Black Panthers: Vanguard of the Revolution

If Beale Street Could Talk

The Hate U Give

American Son

Trial by Media

Books: (Source)

How To Be Anti Racist by Ibram X. Kendi

Me and White Supremacy by Robin Diangelo and Layla Saad

Why I’m No Longer Talking To White People About Race by Remi Eddo-Lodge

So You Want To Talk About Race by Ijeoma Oluo

The Fire Next Time by James Baldwin

Minor Feelings by Cathy Park Hong

America’s Original Sin By Jim Wallis and Bryan Stevenson

The New Jim Crow by Michelle Alexander

Blindspot by Mahzarin R. Banaji & Anthony G. Greenwald

Good Talk by Mira Jacob

Between The World and Me by Ta-Nehisi Coates

How Does It Feel To Be A Problem by Moustafa Bayoumi

The Fire This Time by Jesmyn Ward

White Fragility by Robin Diangelo

I’m Still Here by Austin Channing Brown

When They Call You A Terrorist by Patrisse Khan-Cullors, Asha Bandele, et al.

An African American and Latin History of The United States by Paul Ortiz

Citizen by Claudia Rankine

An Indigenous Peoples’ History of The United States by Roxanne Dunbar-Ortiz

Mindful of Race by Ruth King

Just Mercy by Bryan Stevenson

Tears We Cannot Stop by Michael Eric Dyson

Stamped From The Beginning by Ibram X. Kendi

Have Black Lives Ever Mattered? By Mumia Abu-Jamal

The Coloraturas of Law by Richard Rothstein

The Warmth of Other Suns by Isabel Wilkerson

Why Are All The Black Kids Sitting Together in the Cafeteria? By Beverly Daniel Tatum

Stamped by Jason Reynolds & Ibram X. Kendi

This Book Is Anti Racist by Tiffany Jewell and Aurelia Durand

Brit(ish) by Afua Hirsch

Children’s Books: (Source)

Malcolm Little by Ilyasah Shabazz

Let It Shine: Stories of Black Women Freedom Fighters by Andrea Davis Pinkney

Something Happened in Our Town: A Child’s Story About Racial Injustice by Marianne Celano, Marietta Collins and Ann Hazzard

My Hair Is A Garden by Cozbi A. Cabrera

Separate Is Never Equal by Duncan Tonatiuh

Young Water Protectors by Aslan Tudor

My Family Divided by Diana Guerrero

We Are Grateful by Traci Sorell

I Am Not A Number by Jenny Kay Dupuis and Kathy Kacer

Schomburg: The Man Who Built A Library by Carole Boston Weatherford

Lailah’s Lunchbox: A Ramadan Story by Reem Faruqi

The Day You Begin by Jacqueline Woodson

The Whispering Town by Jennifer Elvgren

When Harriet Tubman Led Her People To Freedom by Carole Boston Weatherford

When I Was Eight by Christy Jordan-Fenton & Margaret Pokiak-Fenton

Happy In Our Skin by Fran Manushkin

Chocolate Milk, Por Favor by Maria Dismondy

Voice of Freedom: Fannie Lou Hamer by Carole Boston Weatherford

When We Were Alone by David A. Robertson & Julie Flett

Shining Star The Anna May Wong Story by Paula Yoo & Lin Wang

Little Leaders: Bold Women In Black History by Vashti Harrison

Maddi’s Fridge by Lois Brandt

Hair Love by Matthew A. Cherry

Sulwe by Vashti Harrison

A Is For Activist by Innosanto Nagara

Intersection Allies by Chelsea Johnson, LaToya Council & Carolyn Choi

What Is Race? Who Are Racists? Why Does Skin Colour Matter? And Other Big Questions by Clair Heuchan & Nikesh Shukla

Black Owned Businesses: (source)

Wales Bonner

Casely-Hayford

Daughter of a Bohemian


Daily Paper

Aaks: Basket Bags

Martine Rose

Nubian Skin

Sincerely Nude

Liha Beauty

Beauty Stack

Bouclème: Afro and Curly Hair Products

Afrocenchix: Hair Products

The Afro Hair and Skin Company: shampoo bars, hair masks, face masks

Prick: Cacti and Plantcare

La Basketry: homeware

Bonita Ivie: stationery & design

Reset travel: travel cards and workshops

Bespoke Binny: homeware

New Beacon Books: Specialists in African and Caribbean Literature

Original Flava by Craig & Shaun McAnuff

Zoe’s Ghana Kitchen by Zoe Adjonyoh

Hibiscus by Lopè Ariyo

Ethiopia by Yohanis Gebreyesus

Belly Full by Riaz Phillips

Chika’s Snacks

Berry and Brie Grazing Boxes

Yard Confectionery Chocolate

Cabby’s Rum

Cham Cham Hot Pepper Sauce

Stay strong, and get learning (or unlearning)!

[defalternative]

#GoodMorning The definition of alternative is “Rhythm of Life : Breezy Affection” by @DJMasa! This mixtape gives life with swag and sway for ladies and gentlemen that appreciate how sexy it is to samba early in the morning. This will either send you off to work with a smile or have you calling in to work with a bigger smile and breakfast in bed. Music snob approved and possibly the cure for dragging your knuckles, this collage of Afro Caribbean Jazz influenced flavors makes all the right things shake into the right situations. If I didn’t share this, I’d be selfish. You need to know about this, for real. This is straight up lounge music that turns any location into a space full of gyration. #DefHot #DefCool #JazzFatty #Jazz #Samba #Brazilian #PhatTuesday #Music #SoulSonic #PressPlay> https://www.mixcloud.com/turningplatter/rhythm-of-life-breezy-affection-mixed-by-turningplatter/

[princeklassen]

A Few Of My Favorite Things: 2017 Albums (In)

The last of the A Few Of My Favorite Things series! While the rest of the entries covered the lesser known, the final installment covers possibly the most known or rather ‘In’ of them all. I’ll try and keep this short as most people have surely come across these fantastic albums IRL or by some sort of algorithmic means.

Again more Jazz, but certainly a much more ‘household’ name these days... Kamasi Washington follows up his epic LP, The Epic (yeah I did that), with a new EP of recordings that could easily be outtakes from said LP. The stand out on Harmony Of Difference is the 13 minute ‘Truth’, which also has a lovely video to accompany it.

While not quite Jazz but still very Jazzy, the Texas native / Brooklyn inhabiting Sly5thAve dropped an album paying tribute to Dr. Dre’s wonderful creations. The Invisible Man: An Orchestral Tribute To Dr. Dre is banger after banger of Jazz Funk rawness. While the LP doesn’t have the 14 minute long extended version of ‘Let Me Ride’, def worth seeking out digitally.  

More Funk fo dat a$$, Tuxedo dropped their second album earlier in the year and they have dialed in the formula to heavy slap levels. Sure, some songs are mostly bites of classic Boogie cuts but they are done so well that can be forgiven... plus they have some GREAT original moments on here. ‘Back In Town’ needs its own 12″. 

A bit of cross pollination from New Zealand’s Lord Echo on his 3rd LP, Harmonies, in a true mish mash of styles... or stylee for the rude boys. More soulful hybridization from Reggae to Disco & most things in between. Somehow he managed to record sunshine and press it on a record. Just like on his first LP, Lord Echo closes this album with a fantastic cover. This time with a reggaefied version of The O’Jays ‘I Love Music’. 

More Reggae greatness that dropped in 2017 comes from Brooklyn’s The Frightnrs. Their 2016 debut, Nothing More To Say, is still high in rotation for me and in 2017 they dropped the accompanying dub versions, More To Say Versions. Recorded at Daptone studios, pressed in Mono, I’m surprised they didn’t go for the authentic JA press off center special delight. So sad the band lost their lead singer just after the debut dropped but so happy we have this to commemorate him until the end of time. RIP Dan Klein.

Going to the home of Reggae, the Kingston born Chronixx has quickly rose to fame with a handful of features, originals, and one fantastic LP under his belt. Chronology is the perfect blend of the roots sound for the modern listener sprinkled with dancehall & rocksteady flavors... white dudes with dreads LOVE this. Peep Majesty & feel me nah... EU press only cuz America doesn’t get down like that. 

The 6 God himself, Drake, blessed us with another album errr ‘mixtape’, More Life: A Playlist By October Firm... this time mostly ditching the melancholic sounds we’ve come to know and love Aubrey for, and going for a strong Afro / Caribbean / UK vibe... What am I doing, you already know this shit. Anyway, thanks 6 God. 

Speaking of blessing, the first lady of TDE, SZA, finally dropped her debut album CNTRL & it couldn’t be anymore perfect.... well maybe there could have been a little more diversity in production but whatever. Two things about this album... 1: I find myself going to sleep to this album A LOT & 2: This is what I wanted Frank Ocean’s Blonde to be. I mean she even borrows some of Frankie’s flow a few times ‘bet they fucking for real...’. 

Here are three albums that came out and people seemed to not care...

1: Little Dragon’s ‘Season High’ - Yeah it wasn’t their best, but goddamn Yukimi’s voice tho. The lead single ‘High’ brought me back to their debut feelz.

2: Z-RO’s ‘No Love Blvd’ - I don’t expect the masses to fuck with this because they’ve essentially turned their back on Houston rappers in general. However, Z-Ro was in top form on this album. Peep Bye Bye & try not swangin.

3: Illa J’s ‘Home’ should have been much bigger than it was & maybe I have lame friends that don’t fuck with it but the kin of Dilla is finally finding his own voice & I’m excited to hear where he takes it. Watch the video for ‘Home’ & peep Detroit from a Native’s perspective. 

The last two spots are reserved for more funky weird dudes. People either love em or hate em, and me saying this will prolly make me lose friends but I’m due for a solid unfriending anyway... That said, Mac Demarco just keeps getting better & better. ‘This Old Dog’ is Clearly Canadian in music form. Check out ‘My Old Man’ & wipe those tears with your floppy 6 panel. Coming out of the terribly named Chill Wave movement, Washed Out has managed to stay ahead of the pack while simply refining his excellent production & writing skills on Mister Mellow. Peanut Butter Wolf over at Stones Throw manages to find artists that, while they create vastly different styles of music, their is an umbrella of a certain sound that is uniquely Stones Throw... Washed Out’s Mister Mellow certainly tucks nicely under that umbrella. Peep the Mister Mellow Show, no acid necessary.

Again, I don’t really need to say anything about most of these albums because they’re the mainstream of the indie world but still great listens. Could I have made Spotify playlists and made this task much easier for everyone to listen, yes. Could I have given up on this as I usually do every year, yes. But I didn’t. Now I’m going to go back to looking for old records that excite me so much more... Oh shit, I didn’t talk about Kendrick’s ‘Damn’ (enters black fist & flame emojis) 

Thanks for tuning into A Few Of My Favorite Things 2017. If you haven’t read the other entries here are some simple links to follow....

Reissues  Compilations  Singles  Album (Out) 

[studiooneeightynine]

YOUR NEW FAVORITE SOUNDTRACK:  UPROOT ANDY’S MIXTAPE FOR STUDIO 189 IS FIRE  

LISTEN TO BUMPER TO BUMPER

The album is called Bumper to Bumper and is a remix album featuring 16 dance floor  ready tracks and the mixtape is more than one hour's worth of beautiful dance music exploring the common thread connecting afrobeats, baile funk, dembow and the afro latin caribbean through to hip hop. It draws from diverse sources but are remixed and re-contextualized so as to blur the lines that separate them and present us with a view of an interconnected shared culture across many genres and languages.

[themusicbookofthefactsoflife]

Track of the day: Nicholas Payton - Jazz is a Four-Letter Word https://youtu.be/cmPTxmq-zsw From the album "Afro-Caribbean Mixtape" © 2017 Paytone Records

[lvlsrvryhigh]

LVLSRVRYHI-054: Hunni'd Jaws

Introductions first: for anyone who doesn't know, who are you / where are you from? Yo yo, thanks for having me - I’m Hunni’d Jaws. I'm a solar eclipse personified. I moisturize. Facts: Coconut oil is not what it’s cracked up to be, if you want the hook-up on emollients DM me...on some off the record ish. My latest conspiracy is that I'm immortal.

From New York, exiled in Berlin, I mean “based”. How does "On exile" sound? Like I’m on chic sabbatical for being a leftist multi-national expatriate. Although, ya gotta strive for "arbitrarily-detained" these days, for the social media credentials.

What music did you grow up listening to? I grew up whittling didgeridoos. On the real, there’s a rogue didgeridoo in the house I grew up in. I have no clue how it got there. No one knows how to really “play” it, we’ve all tried. If my folks got it at a flea market, I’ll be a livid that my parents are just hoarders, and that Carlo Santana’s 3rd cousin didn’t loan it to us.

I’m so thankful for access to radio like Hot 97 and NYC. Nineties pop music was an animal. Dance-pop, grunge, dancehall, alt-rock, RnB, hip hop, trip-hop, the OG list goes on. I’m nostalgic for the pop hits, from Ace of Bass to No Doubt.

Mix cds were essential living. My street punk older sister got me into punk music and concert-going, starting at places like the Chance in Poughkeepsie. Thusly train-ing to NYC was compulsory. SO former self getting signatures on my cons. I grew up technically too far to be a bridge-and-tunnel though. “Bridge-and-tunnel" is slang for someone who takes one of the bridges and/or tunnels to get to NYC by car. Bridge-and-tunnels get on the Metro-north around White Plains with vodka Coolatas and clog up the Midtown club scene.

My folks played jazz, on special holidays merengue, 60s funk, reggae some 80s pop - cuz they’re into that - oh and a lot radio monotonous news coverage, tonally so nauseating that they smell like plastic factory fumes. Afro-caribbean & latin music were solace, since I’m half dominican. My uncle was more current, and played lots of new wave, punk, or like fat boy slim and beastie boys for us. We ransacked his computer once when we finally got cd burner software.

I also was heavily into indie rock, post-punk and random hip hop or the genre one-offs, like Hold You Down by the Alchemist, I found. Finding music was everything. I wrote about UK experimental & indie music for my HS newspaper - no one cared. My younger sister got me into A Tribe, Madvillian and J Dilla. Shout out to Nora for keeping me updated on hip hop mixtapes throughout the 2000s. And in college I veered towards indie music and electronic.

I'm cutting myself off, we should pick up the conversation here for the next interview. We can highlight more cringe-worthy pleasures that did not age well and my descent into grime and club, and how I’m still an angsty tropical riotgrrl haha.

One of my earliest musical memories was going to this wedding in 1997 and dancing to radio garage house tracks - what we called techno. Recently, I had a dance floor epiphany at Monarch Club in Berlin. Soda Plains played a garage track I hadn’t heard since that era, maybe that occasion. I made a note of the lyrics, found it later, and binged on it for like a week. This is my mentality.

My first introduction to you as a DJ came via Call Dibs, the show you run with Dis Fig on Berlin Community Radio, so I wanted to get an idea as to how the show first came about and what the motivations were behind starting it together. How did the two of you start to put things together? Yeah before Call Dibs, before deejaying, I was a head in NYC. Fel - Dis Fig - and I met then, kicking it many dawns.

Fast forward, in Berlin we saw a vacancy for our musical focus on BCR - whose programming we admired and were acquainted with. It fell into place. We decided to do this plan b, instead of becoming tech-house legends.

Going through the show's archive is like reading a who's who of upcoming djs over the past few years and it's pretty impressive how on top of it the two of you have been. How do you decide on which guests to reach out to? Do you have any dream picks? Thanks! We follow music, convene on that, take turns hosting monthly, and plan logistical. There's been several artists, I heard one track of theirs and decided to ask them. I was lucky they were down. It's insanely cut-throat. There's usually a rose award ceremony and sacrifice.

No "dream picks", I’d like to work with so many people, especially unique gem artists. I'm interested in new, small, unique voices and showcasing challenging fun sounds.. The cult of celebrity dominates booking, the scene and the industry. At the same time, we don't obscurity hunt. The process is organic, why dilute it?

From what I can gather (correct me if I've got this backwards), you moved from New York to Berlin not too long before the BCR show first started. Do the two cities mean different things for you musically? Did anything change for you in that vein after making the move? Yeah definitely! I lived in NYC for a couple summers during school, then moved to Brooklyn after college for 3ish years. New York is it’s mix of cultures and hustle. There are so many micro-communities doing amazing things. It is a pace, hip-hop, outspoken, loud - the majority of new dembow in my mix, I heard blaring out of cars, at restaurants, and in cabs while visiting over in early June. Even just 2 years ago, Bushwick was not what it is now, or Crown Heights even. I grew up in the music communities in NY through Jelly NYC, Tribes, bass warehouse parties like Reconstrvct and DIY venues like 285 Kent, and lived with the Teklife extension. Ballroom, dancehall, jersey club, and footwork were foundational w/ parties like Ghettogothik, Lit City, S!ck Magic, Mixpak, among others. With all this stacked against a city, there's so much synchronicity, like Dubbel Dutch playing an arcade entirely word of mouth, or mythic rooftop parties w/ lineups of whoever is in town not playing officially in the city. Or heads from around the country, turn out to see acts on a Monday night in Meatpacking district. It’s a constant struggle and everything is bought out. I have a deep bond there, the music community has a different appreciation and gratefulness for each other. People dance. I’m idealizing hxc. It all took bites, I got bored, and was looking to contribute.

I shifted gears, and moved to Berlin, to party less. Hahah. Techno goth, crust punk aura, the gay club scene, and deejaying/producer culture are indisputably mainstream. The leftfield club scene is compact w/ Janus, PAN, Trade, Creamcake, Boo Hoo, among others. There’s a core DJ and music producer community here that inspires me, albeit, a catch-22, is insular. There’s more funding, clubs are seen as institutions. It’s still Germany. It’s much more modest, introverted, and chill. The sound is usually spot on. Flights are cheap. It’s more white, whiter than the Midwest.

If you can sort housing, it’s a refuge for creativity because of work/life balance.

You're also involved with a few programs based around teaching dj skills to women and those within the lgbtq+ spectrum in No Shade and Intersessions. What interested you about these programs? What was it like for you personally when you first learnt to DJ? Was there anything similar out there at the time? Who wants a world w/ the same people, the same cliques, in control throwing the same parties, of similar perspectives, w/ the same mega brands curating, playing the same music?  Sign me up if I'm a mega-brand.

I didn’t choose to be half black, a woman, or femme, so I def take advantage of the opportunities given to me. And I'm aware I'm somewhat priveleged. I have a lot of friends who also want to organize and pass the torch. My core ethics are merging human rights, creativity, and access empowerment. I was also involved in the Co-Op compilation w/ Ziur, galvanized to counter the tension and rise of global alt-right movements.

When I first learned to DJ, it was a necessity to socializing. And when I got more serious about it, I had to teach myself. Getting comfortable at the club and tech-literacy was another blind-fold. I’ve had to dj with equipment I've never used before - wish these moments were filmed cuz I went too hard on myself. There were some people to help me but not really. I also had several feminist social groups to help with the visibility of women in NYC, our goals were more about solidarity and the safety of women at parties.

I co-founded No Shade alongside Linnea and Caramel Mafia in association with Acud Macht. The DJ tutoring program aspect gives the participants more security and time with industry standard equipment. They can ask questions, and they are learning from women and non-binary folk. Blasphemy!

Links between music and therapy come up a lot on your social feeds and, though it's not really something I've put a lot of thought into understanding, I often find myself relying on music to clear my mood or help me move past something that's frustrating or aggravating me. Do those ideas ever inform the sets you put together or the music you listen to? That’s sick that you found a personal correlation. Music as therapy vs. music therapy vs. sound therapy vs. vibration therapy vs. however we define music and therapy has an abundance of operational levels. On your experiential level, it’s great for emotional awareness, resonance, letting out stress, etc. 

It can be deeply triggering yet cathartic too. It’s tied very close to memory. People with degenerative neurological diseases can get pieces of their identity and abilities back when listening to their old records, or happiness. In other mysteries, if you suffer a major head injury you can miraculously become a musically-creative, perfect-pitch savant. Still so much is unknown in the regard to cognitive neuroscience, music and healthcare. This is Your Brain on Music by Daniel J. Levitin and Musciophilia by Oliver Sacks expand on this.

The club is an undeniable conduit, escape. A good sound bath from a sound system will reset you. Cymatically, it manifests your physical matter. Certain chord progressions and frequencies will awaken certain feelings. Certain rhythms make you rotate your hip joints, certain vibrations catapult you to an astral plane, ASMR and whiteness soothes and entrances. I’m rambling. It’s personal, it’s human, it’s spooky, it's cyborg. There’s loads of sound phenomena to explore.

The tradition of it in the psych world is very “koombayah”, which led me away from the narrow conventional sense of it. However, there are however strides towards incorporating rap into the psychotherapy application. The history of oration down to modern rap is rooted in the "music game over the streets" to narrate the struggle. Poets from West Africa brought oration traditions over to communicate their highest spiritual being. The command of it is called Nommos. As a practice it's so very suitable for the clinical experience. Therapeutic Uses of Rap & Hip Hop by Susan Hadley discusses this, maybe overintellectualizes it, but it’s an important platitude to introduce formally to the white-coat community. I may go back to school for it, so I can dispute and defend the way. I wish I had proper exposure to composition as a kid. I was more interested in learning tabs so I could steeze on covers.

There’s truth deeper and universal, beyond niche music that privileged perspectives get to admire, be bewildered by and entertain with. It's orthodox. It seems the people involved don't consider how esoteric and self-centered this chokehold of participation is, like subjective tunnel-vision ; music culture is full of circumstance, value judgements, media infrastructure, markets, and industry. Who has access? What is contingent? and Why? What does this all mean in 5-10 years?

You seem to take a playful, lighthearted, but also semi-theatrical approach towards your moniker and press shots (covering yourself in honey, planning to do the same but with bees), which is refreshing and in stark contrast to the ultra serious DJ look (black tee, dark background, lots of shadow, plsdon'tsmile). Was that something you consciously set out to achieve? Wow, thanks for noticing! Deejaying is full of bad baaaad tropes. Shout out Kurupt FM for being as played out as possible. Satire, critiques, and creating new information are important to me but it's more unconscious and involuntary. Music gets all bent out on being serious, then plays into trends and lacks originality.

I treat creating under hunnid jaws as a full multi-medium, creative universe. My press shots were fun. They feel so old, they're from a past life at this point. The series are under themes of objectification, erotica, and sex culture paradigms mirroring a literal interpretation of my pseudonym. The general idea was around for 2 years before it came together with my homegirl Syd who's in Rotterdam now. The actual process felt like I was suffocating and stung my eyes, basically honey-board torture. I'm sitting on a lot of weird ideas and bizarre influences. Just takes one or two sentences for an idea to be a good one. I'm excited to use them when I have more content and collaborators. I'd love to art direct for others. And to do more video.  Or something extrasensory.

Did you set out with a particular idea for this mix? Where / how did you record it? I recorded it in my room on my pioneer ddj-sb controller. No set intention but this mix is a missing cut from a film reel, like a glimpse into my flashback. Disorienting like a horror flick being played in reverse.

What do you have planned for the rest of 2017? Conjuring up some gigs and beats. Ya tu sabes.

If you had to pick something for people to listen to immediately after this mix what would it be? If you can hold out, listen to Call Dibs this Thursday 6-8pm CET.

[kathleenhorwood-blog]

Seu Jorge (photo credit: clture.org)

Festival-goers and jazz fans around the world have heard of the Cape Town International Jazz Festival — one of the largest jazz festivals on the planet. The fest, which has a reputation for gathering some of the best musical talent from across the globe, is held annually in South Africa’s ‘Mother City.’ Combining jazz virtuosos with groundbreaking modern artists, this event a big draw for tourists and locals alike.

While ‘Africa’s Grandest Gathering’ boasts headlines such as Herbie Hancock, Isaac Hayes, Leela James, Mos Def, and Erykah Badu — the festival is also known for elevating the careers of up-and-coming artists, providing a platform for lesser-known musicians. If you’re visiting during our March 2018 Best of Cape Town Tour, you will be lucky enough to see these incredible shows in person.

5 Artists to Watch at the Cape Town International Jazz Festival

  1. The Soil

Experience a different genre. The Soil is an award-winning three-person South African acapella group. The group’s style is described as “kasi soul,” which features an eclectic mix of jazz, hip hop, African-influenced pop, and soul. Despite being perfectly harmonized, not a single member of the trio is formally trained. Unable to read even a note of music between them, the group collaborates on every song with a heavy emphasis on poetic and inspirational lyrics. The result of their labor of love is a complex, exciting, and inspiring sound. Follow The Soil on Instagram.

2. Keenan Ahrends Quintet

Show some local love. Be sure to support Keenan Ahrends when you’re at the Cape Town International Jazz Festival. Ahrends is a Cape Town native. He started playing guitar at the age of 15 and studied under Mike Campbell. If you don’t recognize the name, Campbell is the famed guitarist, songwriter, and record producer best known for his work with Tom Petty and the Heartbreakers. Ahrends is a local favorite and is heavily involved in the Cape Town music scene. In a quartet, this modern jazz sound is amplified by the soulful rock influence of Ahrends’ guitar. Definitely worth a listen. Follow Keenan Ahrends on SoundCloud and Instagram.

3. Miles Mosely

Not your mama’s bassist. Los Angeles-born Miles Mosely is a virtuoso on the upright bass. Set aside whatever preconceived notions you have about a mellow bass soloist. Mosely’s smooth vocals, thunderous horn section, and his expert use of a variety of pedals make for a bold, upbeat, and unexpected sound. This show will not disappoint. Follow Miles Mosely on Twitter and Instagram.

4. Nicholas Payton: Afro-Caribbean Mixtape

Listen to a new sound. “Experimental” is the word that comes to mind when describing Nicholas Payton: Afro-Caribbean Mixtape. This native New Orleans trumpeter will be unlike anyone you’ve ever heard. Payton’s style can be best described as the expert trumpeting of Wynton Marsalis overlayed with rhythmic Afro-Caribbean beats. The result is an experimental Moby-eque sound, without sounding anything like Moby. Payton is absolutely a ‘must-see live’ artist and musician. Follow Nicholas Payton on Facebook and Twitter.

5. Seu Jorge presents The Life Aquatic / A Tribute to David Bowie

Bowie-approved listening. You likely recognize singer-songwriter and “father of the Brazilian samba renaissance” Seu Jorge from the films City of God and The Life Aquatic, for which he provided much of the soundtrack in the form of Portuguese language cover versions of David Bowie classics. Bowie later went on to say that “had Seu Jorge not recorded my songs in Portuguese I would never have heard this new level of beauty which he has imbued them with.” Listen to Seu Jorge’s original work on Spotify.

Experience the Cape Town International Jazz Festival as part of a stellar lineup of the best sights and activities in South Africa. In our Cape Town Tour 2018, travelers will not only get to attend the festival, but will stay in premier oceanfront lodging, experience a two-day safari, and enjoy a leisurely day in South Africa’s famed Winelands. Learn more about this incredible 10-day adventure.

For more tips, ideas, and advice for seeing all there is to see in South Africa, visit us at vacationtosouthafrica.com.

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The post 5 Featured Artists at the Cape Town International Jazz Festival appeared first on South Africa Travel and Tours.

[tu-blisko]

Nicholas Payton, Afro-Caribbean Mixtape Jazz na Starówce, Poland, Warsaw (2017)