http://www.jhelisa.com

http://www.myspace.com/jhelisaanderson

Origine du Groupe : North America

Style : Alternative , Acid Jazz , Nu-Jazz , Nu-Soul

Sortie : 1997

From http://artistwiki.com



Internationally acclaimed artist Jhelisa Anderson was born in Jackson, Mississippi, her father is a gospel radio show host, the Anderson family was a singing family with Jhelisa father on piano
and organ, she is the cousin of the equally famous singer Carleen Anderson



She began her career in 1990 in London the British band Soul Family Sensation released album "New Wave" on One Little Indian With lablemates Shaman Jhelisa then played two top ten hit singles
"Love Sex and Intelligence" and "Phorever People earning Jhelisa a platinum album with The Shaman She has also guested on Bjork "Debut" album



1994, after developing into an accomplished solo artist singing writing and producing during his first name Jhelisa she released her first album "Galactica Rush "on Dorado Records, followed two
years later with" Language Electric ", both highly acclaimed Shortly after she began recording with Bryan Ferry, Courtney Pine Massive Attack Chaka Khan, and Da Lata Jhelisa most famous track is"
Friendly Pressure "



Touring the UK Europe and Japan Jhelisa shared the bill with the legendary James Brown, The Roots Michael Franti and Roy Ayers In addition to his musical activities Jhelisa was a member of the
Italian film "The main character," starring British actress Tilda Swinton and was also one of the artists on Nitin Sawhney Tour in 2003 to open up for Sting and culminated in a successful
performance at Royal Albert Hall in London on såltut audience

Tracklist :

1. Language Electric

2. Sending You A Message

3. Freedom From Pity

4. Sell Me Away (who Will Protect Me From My Own People)

5. Bete Noir

6. That's Bullshit Woody

7. My Ego Needs Me Tonight

8. Everybody Jump Off

9. Story Of A Musician's Madness

10. Feelings Of Love

11. Live No Lie

http://www.myspace.com/natachaatlasofficial

Origine du Groupe : Egypt

Style : World Music , Electro Dub , Alternative

Sortie : 1995

Pour http://natlas.chez.com



 Le premier album solo de Natacha Atlas, Diaspora, est sorti durant l'été 1995 et les critiques ont alors rivalisé de superlatifs. Dans cet album, Natacha mêle la dance music mondialiste de
ses partenaires de longue date Trans-Global Underground, caractérisée par un solide beat et des influences dub, avec le style traditionnel de musiciens arabes comme
l'auteur-compositeur-interprète tunisien Walid Rouissi et le compositeur égyptien, virtuose du oud, Essam Rashad. Le résultat donnera un ensemble de chansons d'amour et de désir fusionnant
harmonieusement l'Est et l'Ouest.

Tracklist :

1.Iskanderia

2.Leysh Nat'arak

3.Diaspora

4.Yalla Chant

5.Alhambra pt. 1

6.Duden

7.Feres

8.Fun Does Not Exist

9.Dub Yalil

10.Iskanderia (Atlas Zamalek)

11.Diaspora (Balloon Theatre remix)

12.Fun Does Not Exist (Dolmus remix)

http://www.myspace.com/djqonline

Origine du Groupe : U.K

Style : DJ , Turntable , Electro Jazz

Sortie : 2000

Pour http://www.electrone.net



DJ Q, de son vrai nom, Paul Flynn est originaire de Glasgow en Ecosse et le second volume de ses aventures s’intitule TwentyFour7even. Ce supporter chevronné des Celtics issu d'une famille
modeste de trois enfants démarra dans la vie active en tant que poseur de plafond. Il claqua tout son argent dans son Home studio et obtint une signature sur Filter Records dans une ambiance un
peu jazzy (!).



Il fut signé par Ross Allen, le directeur artistique du label Blue, pour deux albums et une option sur le troisième. Dj Q ne s'inquiète pas pour cette option puisqu'il est l’artiste du label qui
a vendu le plus de disques (40 000 exemplaires).



Cette artiste a de nombreux projets dont celui de produire des maxis pour Planet E, le label de Carl Craig.





Tracklist :

01 - Optimum thinking (7:38)

02 - San Frandisco (6:41)

03 - 100 not out (6:31)

04 - Helpline (5:47)

05 - ADTDC (A dedication to Derek Carter) (7:43)

06 - Pressure (5:46)

07 - Porn 3001 (3:02)

08 - Halls message (5:20)

09 - Way back then (6:42)

10 - The end of the beginning (8:18)

http://www.saulwilliams.com

http://www.myspace.com/saulwilliams

Origine du Groupe : North America

Style : Alternative , Indie

Sortie : 2011

Durée : 62min

Pour http://liveweb.arte.tv



Auteur, acteur, rappeur… Saul Williams est un personnage atypique. Acteur des cercles slam underground de New York, il est repéré par Marc Levin qui le fait intervenir dans son film Slam, en
1998. Film qui obtiendra le grand prix du jury à Sundance, et la camera d’Or à Cannes.



Dés Amethyst Rock Star, son premier album, en 2001, Saul Williams se révèle à l’étroit dans un cadre hip-hop traditionnel. Il s’aventure vers le rock, l’électro… Expérimentations qu’il concrétise
plus tard avec une tournée en première partie de papes du metal industriel Nine Inch Nail, et un 3e album The Inevitable Rise And Liberation Of Niggytardust produit par Trent Reznor (tête du
projet Nine Inch Nails). Un album brutal, mais toujours intelligent.





Plus souple et « pop », Volcanic Sunlight, paru en juin dernier confirme l’exigence et la classe de Saul Williams. Jamais là où on l’attend, mais toujours au sommet.





• Artistes : Saul Williams (Chant), Julien Chirol (Trombone+Sampler), David Sztanke (Claviers), Denis Teste (Guitare/Basse) • Réalisateur : Sylvain Pierrel • Cadreurs : Arnaud Cailloux, Eric
Demangel Arnaud Virat, Jérôme Valin, Alexis Doussaix, Jean Luc Courtel (Image grue), Alexandre Cousin (machiniste grue) • Son : Benoit Gilg, Louise Bardet, Raphael François • Production :
Supermouche

http://amsounds.com

Origine du Groupe : U.K

Style : Alternative Fusion , Psychedelic Funk, Retro Synth Pop

Sortie : 2011

By  Alan Ranta from http://www.tinymixtapes.com



In the opening monologue of The Big Lebowski, Sam Elliott says, “Sometimes, there’s a man — well, he’s the man for his time and place. He fits right in there.” Music is full of examples like
this, songs and albums that capture the essence of an era, from classical and romantic composers to late-60s psychedelia, 77 punk, 80s hair metal, early-90s grunge, late-90s drum-and-bass, and so
on. Yet every once in a while, an album comes along that stands outside of the time in which it was recorded, an album of such complex greatness and astounding joy that one may gloss over initial
listenings under the subconscious impression they’ve not just heard this music before, but lived with it for decades.



True, in some ways we have heard Celestial Electric before. London multi-instrumentalist Shawn Lee has professed a deep admiration for music made between 1967 and 1973, spending years
crate-digging and researching past recordings, a passion that continues to this day. The influence of that era has been demonstrated throughout Lee’s impressive solo catalogue (under the name
Shawn Lee’s Ping Pong Orchestra). The same can be heard on Celestial Electric, his highly anticipated full-length collaboration with slick Los Angeles vocalist and kindred spirit AM.



Shawn Lee and AM prove to be a perfect match. Largely responsible for the record’s sound, Lee is a bona fide genius. With such an expansive record collection to pull from, many artists can feel
either paralyzed by the weight of music history and resort to making crappy lo-fi psych chillwave or simply regurgitate those records, creating watered-down facsimiles or obvious mashups and
remixes. Lee instead manages to take and recreate precise slices of ephemerality and reconstitute them into astounding new forms, at once familiar and refreshing. But AM is not just along for the
ride. The timbre of his voice lands somewhere between bossa nova legend Antonio Carlos Jobim and Junip’s José González, the latter akin to minor 70s pop-star Gilbert O’Sullivan. His performances
with Tropicália founder Caetano Veloso and Serge Gainsbourg’s daughter Charlotte have built his reputation as a transcendental, world-class artist, and with this album, his reputation is
cemented.



Pooling their efforts into Celestial Electric, the duo have pulled off the nigh impossible: They have made an album that sounds now, blurring funk, pop, and “world music” genres beyond their
established capabilities, yet remaining so true to a classic aesthetic that the album could be dug out of a crate without a label and confound listeners to pinpoint its origin. The staccato
guitar line on “Somebody Like You” references The Clash; the synth flourishes on “Winter Sun” evoke The Steve Miller Band and Heart; the warm AM Gold trumpet and keyboard lines on “Down The
Line,” the obligatory chart cover of the Ozark Mountain Daredevils’ one-hit “Jackie Blue” from 1975, and all the tremendously catchy choruses add up to a classic album in both the vintage and
quality sense.



Yet, there are things like the synth work on lead single “Dark Into Light” that give the listener flashes of MGMT. The round bass sound on “Can’t Figure It Out” is a page out of Zero 7’s When It
Falls. The bass groove of “The Signal” is just a little more dance-punk than disco. All these elements bring the album well into the 21st century. Ultimately, Celestial Electric could only have
been made now, and it stands on its own merits. As the future sons and daughters of generations come to pass, the genius of Shawn Lee will be widely recognized. With AM up front, Lee is like The
Funk Brothers of Motown.

Tracklist :

01. City Boy

02. Lonely Life

03. Can't Figure It Out

04. Dark into Light

05. Different Forces

06. Jackie Blue

07. Somebody Like You

08. Promies Are Never Far From Lies

09. Down The Line

10. The Signal

11. Winter Sun

12. Callahan

http://tvontheradio.com

http://www.myspace.com/tvotr

Origine du Groupe : North America

Style : Alternative Rock

Sortie : 2011

Pour http://www.indierockmag.com



Un titre de Dear Science et trois du récent Nine Types Of Light au programme de cet EP live du combo de Brooklyn.

Tracklist :

1. Caffeinated Consciousness

2. Will Do

3. Red Dress

4. Repetition

http://royayersproject.com

Origine du Groupe : North America , V.A

Style : Electro Funk , Remix

Sortie : 2011

From http://royayersproject.com



For those of you who are familiar with royayersproject.com know about our beat submission posts, which feature producers who use Roy Ayers’ catalog to make original beats. Since our call for
beats in the beginning of the year, the response has been staggering. We have received submissions from all parts of the globe, different styles, various skill levels, and multiple genres. We
have been showcasing one (and only one) producer every Monday of each week since the first week of April, and we have had a great response from our site visitors, as well as other blogs that
support our submissions by reposting (shout out to producersiknow.com!). Fast forward four months later, we now present you with the first volume of our Beat Submission Compilation for free
download.

Each producer that has sent us a submission understands the greatness of Roy Ayers, and these producers featured on the first volume of the compilation displayed a sound and essence that was
superb. This compilation features the one instrumental that was highlighted on the blog, as well as instrumentals that were sent along with their original submissions that weren’t featured.

We would like to take this time to thank each and every producer/musician that as contributed to the Roy Ayers Project, and we encourage you to keep submitting! We will continue to highlight the
best of the best, as well as those who exemplify the Roy Ayers Project in the best light. 

FREE DOWNLOAD

http://www.myspace.com/waiwan

Origine du Groupe : U.K

Style : Electro Jazz , Downtempo Hip Hop , Acid Jazz

Sortie : 1998

By 70's Baby Early 80's Child from http://90something.blogspot.com



Waiwan was one of the prodigal sons of Manchester trip hop and nu jazz scene of the 90s that gave us so many great artists, starting with Aim and ending with.. ehm, Waiwan. His only self-produced
album Distraction was released on short-lived Autonomy label, whose roster included only him and The Philadelphia Bluntz (will post their album Blunted At Birth soon). The lack of strong
distribution channel probably caused that it was soon forgotten despite his huge single hit Goddess. Which is a shame because Distraction is a small gem packed with fat beats, deep and dark
soundscapes and enchanting vocals (featuring Veba, The Muse of Manchester music producers). If you enjoyed the Grand Central albums posted here earlier, I swear you'll fall for this one too.





Tracklist :

1. The Deep

2. Nightmare

3. Ain't Easy

4. Yesterday

5. Goddess

6. Blue

7. Hindsight

8. Filtered Funk

9. Revenge

http://www.heathermoran.com

http://www.myspace.com/heatherannmoran

Origine du Groupe : North America

Style : Jazz

Sortie : 2005

From http://www.cdbaby.com



Born and raised in Illinois, Heather has been performing for most of her life. She studied voice as a child at New Trier High School and Northwestern University in Illinois. As an adult, she
studied Opera at Carnegie-Mellon University in Pennsylvania, and the University of Colorado. She eventually returned to Chicago to earn a BA in Musical Theater from Columbia College.



Over the past several years, Heather has divided her time between her two loves: acting and singing.



As an actor, Heather has worked with numerous theater companies in Chicago, but most extensively with the Factory Theater, a storefront community theater company in their fifteenth season with
over 70 productions under their belts. Heather is also a Second City alumna skilled in improvisational theater.



As a singer, Heather has performed in many settings: nightclubs, weddings, private and corporate functions, and most notably, on Navy Pier's two premiere dinner cruise ships, Mystic Blue and The
Odyssey. Venues she has appeared at include: Katerina’s, Andy's, Drury Lane, The Plush Room in San Fran, Park West, Katerina’s, Tivoli Ristorante, Bistrot Margot, Grant Park, Magnum's Steakhouse,
Davenport’s, Gold Star Sardine Bar, Martyr's, and Joy Blue. Heather can currently be seen singing jazz throughout the Chicagoland area with the Heather Moran Quartet. Heather is currently serving
as publicity co-governor of The Chicago Cabaret Organization of Chicago.



To hear and see more information visit her website at www.heathermoran.com



REVIEWS



"Ms. Moran's voice is hauntingly evocative of eras past but the spirit that emerges from these songs distinctly says, 'now' and 'today.' Here's a charming and compelling new jazz/pop presence...
you're sure to be hearing more from Heather Moran. Justice, not to mention good taste, demands it...Current Heatherland lies solidly in the tradition of bop and hardbop... and like a good jazz
horn soloist, she dominates her rhythm section...Ms. Moran exhibits a timber and conception that border temptingly toward unique... a torch singer with attitude?"

--Gordon Kopulos, Freelance Writer and Contributing Editor, Down Beat Magazine, 1972-1985



"...Even if she hadn't been evoking the style and era of Clooney, Heather Moran would have deserved the ovations she received for the bloom of her tone and the nuance of her interpretations..."
--Howard Reich, Chicacgo Tribune





“To me you use your voice like Frank Sinatra and here’s where I’m going with this. Sinatra, having worked with big bands, knew how you use his voice as an instrument…Heather Moran is an amazingly
talented lady.” Steve King, The Steve and Johnnie Show, WGN 720am





"...Moran is remarkably like Clooney in vocal timbre and diction. That, combined with Moran's dialogue with the audience as herself, respect for the lyrics and even the band, won the intense
singer-composer-audience connection that makes cabaret remarkable."(Rosie! A Tribute...) Carla Gordon, Cabaret Scenes



"Heather Moran brings to the table a stage (and offstage) personality that is all at once wide-eyed child and womanly woman. One moment she goofily explains to the audience how she forgot her
slip, while in the next she takes us through tender longing in a beautifully sung “Weekend In New England.” While all the ladies sing nicely, Moran’s pipes are, well, remarkable. She can pull
volume but not resonance way back to unfurl a ballad so it can resolve in a resonant crescendo of power and dramatic discovery. Unlike many singers with great chops, she doesn’t oversing; cabaret
is arguably lyric driven and Moran wisely holds on to that. On the comedy side, her timing is solid and her delivery uninhibited." (Manilow show)Carla Gordon, Cabaret Scenes

"One of the best Singers in Chicago..."

-- Nick Digilio, WGN Radio 720



""Rosie! A Tribute..."...One of the Top Ten Cool things to Do in Chicago..."

-- Byline, Chicago Sun Times

Tracklist :

01. Is You Is or Is You Ain't My Baby

02. Lover Man

03. Come Rain or Come Shine

04. Angel Eyes

05. Miss Celie's Blues

06. Sooner or Later

07. Lullaby of Birdland

08. From This Moment On

09. A Day in the Life of a Fool

10. The Way You Look Tonight

11. Cry Me a River

12. That's All

http://www.barringtonlevy.com

http://www.myspace.com/barringtonlevy

Origine du Groupe : Jamaica

Style : Raggamuffin , Rub-A-Dub , Reggae

Sortie : 2002

Wikipedia :



Né le 30 avril 1964 à Kingston en Jamaïque, Barrington Levy est un chanteur de reggae qui a débuté au sein du groupe Mighty Multitudes. En 1979, à l'âge de 15 ans il enregistre plusieurs hits
produits par Hyman "Jah Life" Wright et Henry "Junjo" Lawes sur les riddims des Roots Radics qui sont considérés comme des morceaux précurseurs du style dancehall : Ah yah we deh, Shine eye girl,
Looking my love et Collie weed.



Son premier album, Bounty Hunter qui parait la même année est un grand succès. Les enregistrements qui le suivent, pour le label Volcano de Junjo Lawes, pour Jah Life à New York ou pour le label
Powerhouse de George Phang, installent Barrington Levy au rang de star du dancehall avant ses 20 ans.



Après un petit passage à vide au début des années 80, il rencontre Jah Screw, producteur et ancien selecteur du SturGav sound, et enregistre le hit Under me sensi en 1984. Jah Screw reprend la
carrière de Barrington Levy en main, en produisant des morceaux plus cross-over comme Here I come qui est encore aujourd'hui la chanson la plus connue aux États-Unis, en Angleterre et en
Europe.



En 1995, Barrington Levy renoue avec le succès dans les dancehalls avec une série de combinaisons produites par Jah Screw : il combine notamment avec Bounty Killer (Living dangerously), Cutty
Ranks, Lady Saw et Spragga Benz. C'est encore une combinaison, cette fois-ci avec le rappeur Shyne, qui le ramène en 1999 sur le devant de la scène dancehall et hip-hop.



Après 25 années de carrière, Barrington Levy est donc encore au top à tous les points de vue : il est plébiscité par les fans de roots, les plus gros sound systems passent ses morceaux et il est
apprécié par de nombreux fans de hip-hop.



Voici une liste, non exhaustive, de quelques uns de ses plus grands tubes : Shine Eye Gal (Up Park Camp riddim), Collie Weed (Conversation riddim), Bounty Hunter, A Yah We Deh, Under Me Sensi
(African Beat riddim), Looking My Love (Real Rock riddim), Murderer (Hot Milk riddim), Be Strong, Here I Come (Revolution riddim), Sensimilla, Englishman, Look Youthman, Sweet Reggae Music (Far
East riddim), Rock & Come In (Stalag riddim), Prison Oval Rock, Too Experienced (reprise de Bob Andy)...A noter que sa chanson "Here I Come" est présente sur K-Jah West, une radio de reggae
virtuelle dans le jeu GTA San Andreas.

Tracklist :

1 Re Murder

2 While Your Gone

3 Come

4 Ragga Muffin

5 On The Telephone

6 Open Book

7 My Bible

8 Romantic

9 Collie Weed

10 Get Up Stand Up

11 Girls I Like

12 Giimmie The Grass

13 Black Roses

14 Murderer