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NINA SIMONE

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), better known by her stage name Nina Simone, was an American singer, songwriter,pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles includingclassical, jazz, blues, folk, R&B, gospel, and pop.

Born the sixth child of a preacher's family in North Carolina, Simone aspired to be a concert pianist as a child. Her musical path changed direction after she was denied a scholarship to the prestigious Curtis Institute of Music in Philadelphia, despite a well-received audition. Simone was later told by someone working at Curtis that she was rejected because she was black. She then began playing in a small club in Philadelphia to fund her continuing musical education to become a classical pianist and was required to sing as well. She was approached for a recording by Bethlehem Records, and her rendition of "I Loves You Porgy" became a smash hit in the United States in 1958. Over the length of her career, Simone recorded more than 40 albums, mostly between 1958 — when she made her debut with Little Girl Blue — and 1974.

Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic low tenor. She injected as much of her classical background into her music as possible to give it more depth and quality, as she felt that pop music was inferior to classical. Her intuitive grasp on the audience-performer relationship was gained from a unique background of playing piano accompaniment for church revivals and sermons regularly from the early age of six years.

After 20 years of performing, she became involved in the civil rights movement and the direction of her life shifted once again. Simone's music was highly influential in the fight for equal rights in the US.

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THESE ARE THE BREAKS (UBIQUITY)

Some of the funkiest tracks on the mighty Luv N Haight and Ubiquity labels – no surprise, given that all of them have been sampled over the years! The bulk of the work here is 70s funk – of the gritty, obscure sort that Luv N Haight first started digging 20 years ago, and has continued to reissue at a rock-solid level – overlooked gems from the American underground, brought back to life not just through key hip hop samples, but also from the label's own series of excellent compilations and reissues

SPIRITUAL JAZZ (VARIOUS)

The sound of spiritual jazz from the European underground of the 60s and 70s – a really rich music-making scene that's every bit as impressive as the one going on in the US – as you'll hear from this amazing set of tracks! As with the first volume in the series, the collection is filled with modal jazz and other groovers – mostly long tracks that really stretch out, yet still always have a tight sense of rhythm – one that makes the music completely infectious right from the start! It might be tempting to think of European jazz of this sort as kind of a copy of a US mode – but instead, it really happened simultaneously – as younger players were really pushing past the styles of previous years – and drawing not only on American jazz for inspiration, but also a range of different post-colonial modes particular to the European scene – bits of African, Latin, Brazilian, and other styles that really helped influence their approach. And in a way, it might even be said that the Europeans of the 60s had a much looser approach to rhythm, one that really allowed for experiments like these – and which, in turn, went back to have an influence on the American side as well

MODERNO PRIMITIVO (GERARDO FRISINIA)

A great little cut that definitely earns the "Primitivio" in its title – thanks to some mighty spare acoustic rhythms at the bottom – much more classically Afro-Cuban than you'd guess from the house mix listed here! In fact, it seems that all instrumentation is played live – even though there's a tightness to the groove that might also fit a contemporary club sound too – massive conga lines, organ riffs, and a bassline that really stitches the whole thing together! The "original mix" has some more live jazzy instrumentation on trombone and keyboards – and "Cogele El Ritmo" builds a strong groove with almost a descarga vibe – yet always that tightly-directed style we love from Gerardo Frisina

BLACK WATER GOLD (BLUE RHYTHM COMBO)

The Blue Rhythm Combo take on "Black Water Gold" – a cut that's already a 70s funk classic, thanks to the original reading by African Music Machine – but even funkier here, with lots of bass that really bumps it up from the bottom! There's a cool kind of wheet/whistle that lurks somewhere in the background – and the bass and drum bits are really amazing, with a breakdown in the middle that's worth the price of the record alone! The flipside has lots of funky feeling too – and some massive massive drums that don't exactly break in the usual way, but really set the tune on fire

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Love Song (Bush Babees w/ De La Soul)

GCS (G.C.S.)

Viva Tirado Otra Vez (El Chicano)

Chameleon (Herbie Hancock)

Let's Stay Together (Julius Brockington)

Tribe (Madlib)

Real Love (Mary J. Blige)

Back To Life (Soul II Soul)

People Everyday (Arrested Development)

Summertime (Fresh Prince & Dj Jazzy Jeff)

UFO (ESG)

El Mundo Es Un Ghetto (White Label)

Me & Mrs Jones (Billy Paul)

Never Breakup (The O'Jays)

Creator Remix (Pete Rock)

Say No Go (De La Soul)

Daylight (King Most)

First Step (Dj Day)

Sunday (Dj Day)

Sunroof (P.U.T.S.)

Clap Yo Hands (A.T.C.Q.)

Get On Down (Kenny Dope)

Bose (Geisha Boys)

No Escape (Urbs & Cutex)

Get Down QSO Remix (Nas)

Adidas (Ninja Simone)

Anger (Marvin Gaye)

Turn Around (Sola Rosa)

Starz (Jaylib)

The Turning Point (Dpat)

Easy To Lose (Leo Sayor)

Electricity (The Avalanches)

Alice (Pogo)

El Botellon (Uproot Andy)

Abuelo (Jauneco Y Su Combo)

Escribe Pronto (Mexican Insitute Of Sound)

Green Tea (Mi Gusta)

Sabali Remix (Mike Snow)

Life Partner (Teams vs Starlinger)

Drive Your Car Remix (Grovesenor)

All Alone (Toro Y Moi)

White Label (Chromeo)

Shoot Your Heart (Apollo Brown)

With You Tonight (Dpat)

Liquid Summer (Diamond Messages)

Futuca (Battles)

Hold Me (Wu Tang vs Beatles)

Time To Move (Carmen)

Champion Sound (Crystal Fighter)

Casanova Jump (Stars Singers)

White Label (Hercules Love Affair)

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[[posterous-content:pid___0]]WE had an opportunity to play some tunes on of Los Angeles's most listened to radio stations known as KPFK. In case you're wondering it's 90.7 on your FM dial if you're a resident of the great city of L.A. We were blessed to share the airwaves by the people who invited us who go by the name of Truthseekers Radio. If you want to hear some good nightly tunes every Saturday morning as you are driving home or just chillin and relaxing at home then we highly suggest you lend your ears to the good folks on this beautiful and eclectic radio show. 

In case you missed the show, just click or download the link right HERE. Thank you to Santana, Red, L, Sean and the rest of the crew for giving us a chance to share music with people over the radio. It was truly a great time and we hope to make more connections like this in the future. Check out their website at www.truthseekersradio.org.

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If you haven't heard, we have the one and only Dj Day this Sunday to celebrate our 2yr Anniversary show. We're excited to have him join us. Definitely one of my Top 5 Dj's of all time. The first time I heard about Dj Day was when I picked up his Gone Bad 12". After that, anything that a DJ Day stamp to it was automatically going into the music collection. Not only is he a talented producer but this cat can get down on the turntables as well. Download this set he did for Soul Strut a while back and you'll see the versatility that is displayed throughout the set. Keep in mind that this is all vinyl. Do not sleep..

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Freqnik & WDRE always bring heat and a unique style, this remix is no exception. 

Far from merely plundering rapapellas for a tasty hook, W.D.R.E. & Freqnik’s tunes are more of a faithful homage to the original, lifting the entire rhyme, verse by verse and plonking it jigsaw-like into a track it was never intended for, but fits as if it was made for the job .http://spaceinvaderradio.com/

The dudes FREQNIK & WDRE have a bunch of really different stuff up on their Soundcloud from Latin and Moombahton edits to more traditional hip-hop blends to cheesy/fun MASHTASTIC stuff as well. It’s all definitely worth checking out though so check the stuff above and if you like it hit their Soundcloud 
http://www.crossfadedbacon.com

Nowadays, I mostly listen to feel-good hiphop and most of that comes from the pre-gangsta rap era and that's where DJ Freqnik and WDRE come in, they've managed to breathe fresh air into some old school classics, bringing a smile to my face and forcing me to get up from behind my laptop and dance. 
Thelonius Funk 
http://www.1upyourday.com/

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If you've never heard of Wildcookie, it's a two man band consisting of Red Astaire a.k.a. Freddie Cruger (Gamm/ Homegrown) and Anthony Mills. I first heard about them listening through some Giles Peterson archives and now they have released an album of the utmost soulfulness and pitch.

It's available on all music websites like Tru Thoughts, Juno, Beatstreet, and/or your local record shop. Just do a little diggin and you'll definitely find it. This is one not to be slept on. 

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We are celebrating 2yrs of "Organic, soulful, funky, global, and groovy rhythms" this Sunday on Vibes & Stuff Radio and time sure does fly. Music has always been the main focus on the show and I've been lucky to have so many amazing guests to come by the studio and bless everyone at VNS on their interpretations of sound, rhythm, and music knowledge. Most of the people that have come through the broadcast are reasons I do the show and in many facets are huge inspirations in my approach to djing, culture, music, and the ability share eclectic and diverse sounds with the masses who choose to listen. Vibes has always been more like a "thank you" on my part to all who have played a role in my life on doing this whole dj thing. 2 years of doing this is truly about love for the music and our ability as artists to share it with everyone. 

In light of our celebration, we have invited a very special guest to join us in the festivities. He goes by the name of DJ Day and he will be in studio taking us on a music excursion of his crates and sound. If you have not heard Day spin or any of his production then you have been in a coma-like state but have no fear as your senses will be extemely heightened for our 2yr show.

So join us Sunday Feb 19th 4pm-9pm PST as we wrap another solid year on Vibes & Stuff Radio. Thank you to all who have supported, listened, and thank you to all the guests past, present, and future who have come by and allowing us 5 hours every Sunday to invade your living room and lives. 

Here's to music...

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J Dilla at his grittiest, most rugged & raw – in both the production and rhyme realm – with all beats and rhymes by the Dilla himself! This set originally opened our ears to a different side of Dilla, a harder hitting aesthetic, with beats and grooves from out of leftfield that draw you in and hypnotize. Ruff Draft was originally released as a vinyl only EP for the European market, and it was tough to get ahold of from the get go – so hats off to Stones Throw for giving it the reverent re-release it deserves – fleshed out with bonus tracks!

DONUTS (J DILLA)

A massive batch of instrumentals from J Dilla – one that strongly transcends the wordless hip hop genre – and perhaps his rawest, and most adventurous listening experience yet! The loopy soul samples, rich synth/electronic shine, and thumping bass and soul beats that Dilla largely made his name on are laced throughout, but he also takes things a step into stranger territory – with spacey elements that buzz as much as they groove! The cuts never less than soulful and funky, and never steps into Madlib's brand of the weeded out style, either. We love how raw this all feels, too! It's easily identifiable as the work of Jay Dee, but at the same time wholly unpredictable! One of the better Stone's Throw hip hop efforts in a while – instrumental or vocal!

JAY LOVE JAPAN (J DILLA)

The long awaited Jay Love Japan EP from from the dearly departed J Dilla – a 9 track, mostly instrumental set originally slated exclusively for the Japanese market – and one Dilla's last projects! This is Dilla in a mostly uptempo vibe, with soulful strings and vocal samples and blunt, snapping beats. There are a couple vocal appearances from Detroit fellows – Baatin of Slum Village and Ta'Raach – plus additional scratch work in a couple spots by Exile and and Ricci Rucker. Ultimately, this is an all too brief set of trademark Dilla beatcraft – but we'll take what we can get

THE SHINING (J DILLA)

The long awaited Jay Love Japan EP from from the dearly departed J Dilla – a 9 track, mostly instrumental set originally slated exclusively for the Japanese market – and one Dilla's last projects! This is Dilla in a mostly uptempo vibe, with soulful strings and vocal samples and blunt, snapping beats. There are a couple vocal appearances from Detroit fellows – Baatin of Slum Village and Ta'Raach – plus additional scratch work in a couple spots by Exile and and Ricci Rucker. Ultimately, this is an all too brief set of trademark Dilla beatcraft – but we'll take what we can get

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Dilla 45 (Dj Erok)

History feat Mos Def

Cold Steel feat Phat Kat

Runnin feat Pharcyde

Reunion feat Slum Village

Fall In Love Remix feat Flying Lotus

Baby feat Madlib & Guilty Simpson

Okay Feat Frank & Dank

Lightworks feat MF Doom

Certified feat Guru & Bilal

Let’s feat Slum Village

Raw Addict feat Jaylib

Best Kept Secret feat J88

Pause feat Frank & Dank

Mcnasty Filth feat Jaylib

Love feat Lawless Element

Act Like You Know feat Platinum Pied Pipers

One Little Indian feat Little Indian

1nce Again feat A Tribe Called Quest

Whutchawant feat 5 Elementz

When The Cheering Stops feat Az

Stakes Is High feat De La Soul

The Light feat Common & Erykah Badu

Sometimes feat Brand New Heavies

4 Moms feat A Tribe Called Quest

Listen feat Heavy D

Saturday Night feat Brand New Heavies

Supa Shit feat Que D

Dedication To The Suckers feat Phat Kat

Dynamite feat The Roots

Thru Ya City feat De La Soul

Eve Remix feat Spacek

One-4-Teen feat Bahamadia

Are You Ready feat Slum Village & Jazzy Jeff

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When someone dies young, cultural norms tell us to celebrate the life that was, rather than mourn the death that is all too present. It can sometimes feel like a bromide against emotions that may feel too disturbing, too raw and real. We are also greatly inclined to lionize the achievements of those who pass seemingly before their time. But when hip-hop producer J Dilla died at age 32 in 2006, both of these sentiments strangely rang true.

A reverent but joyous remembrance of J Dilla and his music began when he passed away from complications due to an incurable blood disease five years ago today — February 10, 2006 — and it has continued steadily since. For many in the hip-hop, soul and electronic music community, overstating the importance of the work he left behind is nearly impossible.

 If anyone lived to make beats, it was J Dilla, born James Dewitt Yancey on Feb. 7, 1974, near Seven Mile Road in the Conant Gardens neighborhood of north Detroit. In 2009, Stones Throw Records declared February to be “Dilla Month,” an observance that, evidenced by the spate of Facebook and Twitter activity recently, is gaining traction among fans.

A self-described nerd, J Dilla allegedly wanted to be an Air Force pilot at one point in his life. His father, a jazz bassist, encouraged his son’s early engagement with music, and his opera-singer mother, affectionately known as “Ma Dukes,” made sure to carry that support through to the end. The talents he developed would eventually cross into the terrain of legend.

According to those he worked with, J Dilla could map out entire songs in his head before even finding the materials to make them. He was a perfectionist and also someone who treasured rawness in music, spending well upwards of 12 hours a day in the studio, but often laying down the beat for an individual song in 15 minutes or less. In an anecdote attributed to musical collaborator Erykah Badu, she relates Dilla telling her she could pick any record she could find and he would be able make a beat from it.

A wide roster of recording artists benefitted from J Dilla’s unique productions skills in the mid ‘90s, from A Tribe Called Quest to Janet Jackson. Even while never receiving credit for producing Jackson’s Grammy-winning single, “Got Till It’s Gone,” musicians’ demand for his work never flagged. His signature sound appears on the Pharcyde’s “Lacabinacalifornia,” Busta Rhymes’ “The Coming,” Tribe’s “Beats, Rhymes and Life,” Common’s breakthrough album, “Like Water for Chocolate,” as well as a slew of other singles and remixes for the likes of De La Soul, Brand New Heavies and Macy Gray, among many others. He also collaborated with artists like Madlib, Pete Rock (his early idol), Kanye West, Q-Tip and ?uestlove.

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A gramophone record, commonly known as a phonograph record (in American English), vinyl record (in reference to vinyl, the material most commonly used after about 1950), or colloquially, a record, is an analog sound storage medium consisting of a flat disc with an inscribed, modulatedspiral groove. The groove usually starts near the periphery and ends near the center of the disc (the opposite of the spiral of pits in the CD medium, which starts near the centre and works outwards). Phonograph records are generally described by their diameter ("12-inch", "10-inch", "7-inch", etc.), therotational speed at which they are played ("33⅓ r.p.m.", "78", "45", etc.), their time capacity ("Long Playing"), their reproductive accuracy, or "fidelity", or the number of channels of audio provided ("Mono", "Stereo", "Quadraphonic", etc.).

Gramophone records were the primary medium used for music reproduction for most of the 20th century, replacing the phonograph cylinder, with which it had co-existed, by the 1920s. By the late 1980s, digital media had gained a larger market share, and the vinyl record left the mainstream in 1991. However, they continue to be manufactured and sold in the 21st century. The vinyl record regained popularity by 2008, with nearly 2.9 million units shipped that year, the most in any year since 1998^[3] and the format has continued to slowly regain popularity. They are especially used by DJs and audiophiles for many types of music. As of 2012, vinyl records continue to be used for distribution of independent and alternative music artists. More mainstream pop music releases tend to be mostly sold in compact disc or other digital formats, but have still been released in vinyl in certain instances.

DJing with 45rpm records (hard sell intro) from Ben Stokes on Vimeo.

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