http://robinmckelle.com

http://www.reverbnation.com/robinmckelle





Origine du Groupe : North America

Style : Jazz , Soul , Funk

Sortie : 2012

Par Francis Dordor pour
http://www.lesinrocks.com





Mayer Hawthorne, Robin McKelle : deux façons de s’inviter dans



les grandes traditions soul,



avec respect des canons ou malice.



Pour avoir décollé dans l’entourage des Herbie Hancock et Wayne Shorter, la voix expressive de Robin McKelle a vite inspiré des comparaisons flatteuses. On la jaugea à l’aune d’une Ella
Fitzgerald, d’une Sarah Vaughan et c’était déjà beaucoup à assumer pour cette petite New-Yorkaise blanche sans pedigree. Avec Soul Flower, la voilà qui se glisse dans un autre sillon, celui tracé
par Aretha Franklin, avec la même réussite.



Si ce quatrième album semble réciter par coeur toute la syntaxe de la soul de l’écurie Atlantic – celle des années Tom Dowd où chaleur rimait avec efficacité –, elle évite aussi tous les pièges
du remake tiroir-caisse à la Seal ou l’exercice de style scolaire façon Ben l’Oncle Soul.



Compositions inédites, dans l’esprit, mais jamais soumises à la lettre, reprises de standards qu’elle personnalise (dont un Walk on by au pas de charge), Robin se révèle excellente cuisinière,
faisant usage d’anciennes recettes de fabrication pour mieux y injecter une certaine dose d’intelligence et de passion contemporaine.



Mayer Hawthorne serait plutôt, quant à lui, une sorte de fashion vampire. Originaire de Detroit, il a débuté comme rappeur sous le pseudo d’Haircut avant de se replonger dans ce qui a forgé
l’identité musicale de sa ville, le son Tamla Motown. Sur How Do You Do?, il cherche souvent à recréer l’esthétique du prestigieux label de Marvin Gaye et des Supremes, sans oublier l’essentiel :
en retirer du plaisir.



Ce second album ressemble à ces ateliers de couture où de jeunes stylistes inventent des modèles en s’inspirant des collections du passé. Avec parfois des patchworks amusants quand il coud du
Smokey Robinson sur du Stevie Wonder (Finally Falling) ou épingle du Supremes avec du Spinners (Hooked). Gentil vampire, Hawthorne séduit par sa fraîcheur à défaut de convaincre par son
originalité.



Au milieu des années 80, le critique américain Nelson George avait inventé une étiquette pour un courant musical auquel Robin McKelle et Mayer Hawthorne peuvent se rattacher. Il appelait ça le
“retronuevo”. On connaît la valeur des étiquettes et leur tendance à valser. Mais c’est toujours mieux que “solde”.





Tracklist :

01 So It Goes 05:20

02 Tell You One Thing 03:58

03 Nothing's Really Changed 03:34

04 Fairytale Ending 03:49

05 Miss You Madly 05:09

06 Don't Give Up 03:41

07 Walk On By 03:11

08 To Love Somebody 04:06

09 Change 03:42

10 I'm Ready 04:48

11 Love's Work 04:29

12 I'm A Fool To Want You 04:49

http://www.podomatic.com/profile/mjarocker





Origine du Groupe : North America

Style : Remix , Reggae , Ska

Sortie : 2012

From http://mjarocker.podomatic.com



MJ A ROCKER IS HERE!



In honor of his recent birthday..!



Some of you thought it was a joke ... but it's very very real ... and finally here ... ! THE DRASTICS tribute to Michael Joseph Jackson .. imagine SIR COXSONE in the production seat instead of
Quincy and you're about half-way there ... Included are I Want You Back, Rock With You, Don't Stop 'til You Get Enough, Billie Jean, Smooth Criminal, and The Way You Make Me Feel ... These aren't
instrumentals or covers-per-se ... you just gotta hear it to believe it ...



The Drastics are a stepping razor don't you watch their size....they're DANGEROUS!

http://www.lastfm.fr/music/Lorn

http://ninjatune.net/artist/lorn





Origine du Groupe : North America

Style : Ambient , Electronic

Sortie : 2012

From http://ninjatune.net



Lorn returns with a new full-length album, his debut on Ninja Tune, and it’s a huge stride forward since Nothing Else (released on Brainfeeder, June 2010). Listening back to his first album, Lorn
says it now seems “cold and strict.” Ask The Dust, on the other hand, is “haunted, oily, smeared,” and with this description he captures something of the intensely felt, visceral aliveness of the
music.



If Lorn began his musical career as a poet of alienation, then Ask The Dust (named after the 1939 proto-Beat classic novel of the same name by John Fante) sees his music develop a more human
energy. In particular, the use of his own singing voice (a process which began on the last track of Nothing Else, “What’s The Use”), which has added a new dimension to his often crunching and
brutal but never less than beautiful electronic music.



Take “Weigh Me Down,” where Lorn comes surprisingly close to glitched-out soul music. It would be easy to overlook while reaching for muscular superlatives, but his music is also supremely
melodic, where a tune like “The Well” (ostensibly “a soundtrack to being buried alive”) is memorable for a melody that nags at your brain long after the music has stopped.



“Dead Dogs” combines spectral choirs with explosive drumming, (one of three tracks with live drumming). “Chhurch” combines the feel of early electro with Lorn’s own highly developed aesthetic
(originally written on tour, GonjaSufi came up with lyrics to accompany it, but never recorded them anywhere else save his iPhone). But it’s on a tune like “Ghosst” that he shows the sheer energy
and raw drive he commands. It is exhilarating and slightly terrifying all at once.



Other highlights include, "This", a wipe of a hand across a chalkboard, so to speak. A simple sequence to reset things, a mantra to calm the nerves. "Diamond", was among the first written for Ask
The Dust, while Lorn was still up in northern Wisconsin, the last surge in his isolation, over the expanse of the lake in the house his grandfather built



Since the release of Nothing Else, Lorn has toured the world alongside the likes of Mary Anne Hobbs, Amon Tobin, and GonjaSufi to name a few. He became a devout owner of a B5 A4, and much like
his dedication to music and art, wasted no time tearing it apart in order to learn how to put it all back together again. Ask The Dust suggests he’s learnt to do much the same with his
emotions.





Tracklist :

01. Mercy

02. Ghosst

03. Weigh Me Down

04. This

05. Diamond

06. Everything Is Violence

07. The Well

08. The Gun

09. Dead Dogs

10. Chhurch

11. I Better

12. Ghosst(s)

http://www.robertofonseca.com





Origine du Groupe : Cuba

Style : Jazz World , Piano

Sortie : 2012

Par Paco pour http://delaluneonentendtout.blogspot.fr



Avec une petite dizaine d'albums à son actif, et des collaborations prestigieuses (Ibrahim Ferrer, Omara Portuondo, ou encore Orlando Cachaito López), Roberto Fonseca fait figure d'incontournable
de la musique cubaine actuelle. Sur son nouvel album « Yo », le pianiste de La Havane évolue toujours sur une base cubaine tout en s'envolant très souvent vers l'Afrique, en compagnie de Baba
Sissoko au n'goni, Sekou Kouyate à la kora, ou la chanteuse Fatoumata Diawara. Ils sont d'ailleurs réunis sur la merveilleuse communion africo-cubaine « Bibisa ». On retrouve aussi le chanteur
Assane Mboup, de l'Orchestra Baobab, sur « Quien Soy yo », et plus surprenant, Faudel « le petit prince du raï », qui pose ses mélismes sur le très free « Chabani ». Mais Fonseca peut aussi
prendre un virage rock avec une kora quasi Sanatanesque sur « JMF », ou cinématique avec un orgue Hammond très 70's sur « Rachel ». On n'oubliera pas « Mi Negra Ave Maria », composé avec sa maman
Mercedes Cortés, illuminé par le spoken word de Mike Ladd. Un album de grande classe, d'une fluidité remarquable pour notre plus grand plaisir !





Tracklist :

01. Roberto Fonseca - 80's (6:24)

02. Roberto Fonseca - Bibisa (4:33)

03. Roberto Fonseca - Mi Negra Ave Maria (5:21)

04. Roberto Fonseca - 7 Rayos (5:29)

05. Roberto Fonseca - El Sonadoresta Cansado (5:05)

06. Roberto Fonseca - Chabani (5:11)

07. Roberto Fonseca - Gnawa Stop (5:17)

08. Roberto Fonseca - El Mayor (1:22)

09. Roberto Fonseca - JMF (4:49)

10. Roberto Fonseca - Asi Es La Vida (4:31)

11. Roberto Fonseca - Quien Soy Yo (3:42)

12. Roberto Fonseca - Rachel (3:37)

13. Roberto Fonseca - Bibisa (Remix) (4:08)

14. Roberto Fonseca - 80's (Remix) (3:56)

http://www.gabrielle.co.uk





Origine du Groupe : U.K

Style : Nu-Soul, R&B

Sortie : 2007

By Ben Wood from http://www.bbc.co.uk



This album isn’t going to change the world, but it’s a very pleasant surprise.



For many people (including me), Gabrielle has always seemed a mite middle of the road, her well-crafted soul-pop winning her a permanent berth on daytime radio alongside Celine, Mariah and
co.



However, maybe the relative failure of her last album Play To Win has inspired the formerly eyepatched one to take a few more risks. Her voice - more conversational than the foghorn favoured by
many modern R’n’B singers – is still instantly recognisable. But on Always, it is wrapped around a more eclectic, better-produced, funkier set of songs.



The production takes it out of Magic FM land and into more interesting waters. And maybe it’s the influence of the sainted Kanye West, but there’s a definite early 70s soul vibe. However, the
lyrics are still a slight weak point, tending towards the prosaic and the therapy-speakish at times.



The first single from what the singer has described as her ‘break-up album’ is “Why”, quoting Wild Wood and featuring the voice and guitar of Mr Weller himself; while Gabrielle’s voice seems
raspier, with a touch of Macy Gray. The prominent strings introduce one of the album’s central motifs.



“Always” is another tale of a shattered relationship, its updated ‘70s soul feel strengthened by harp, cooing backing vocals, hip-hoppy beats, and a chiming guitar hook.



“Heartbreaker”’s Primal Screamesque rock/soul stomp is more evidence of the unexpected. This unashamed party track starts with a beat filched from Bobby and co’s “Rocks”, while “When We Were One”
is another meditation on loss, as hip-hop beats mesh with strings once more.



“Closure”’s break-up blues places churchy organ against a funky backbeat. It’s simple, dignified and effective, Gabrielle refusing to over-emote, and demonstrating that less is more.



“Every Little Teardrop” seems to take its melody from Lenny Kravitz’s “It Ain’t Over ‘Til It’s Over”. It’s not the album’s strongest track, but that’s no crime in such company. This album isn’t
going to change the world, but it’s a very pleasant surprise.





Tracklist :

01 - Always       

02 - Heartbreaker       

03 - Why       

04 - Remember       

05 - Every Little Teardrop       

06 - I'm Not In Love       

07 - Love Me Like You Do       

08 - Wiser       

09 - All I Want       

10 - It's Breaking My Heart       

11 - Cold Sober Moment       

12 - Show Me Love       

13 - Closure

https://www.myspace.com/commix





Origine du Groupe : U.K

Style : Drum & Bass

Sortie : 2012

From Wikipedia :



Based in Cambridge, Commix originally comprised George Levings, Guy Brewer and Conrad Whittle. As a DJ/production team, they began working together in 2002 and the trio released a series of
12-inch singles on the Aquasonic, Tangent Recordings, Good Looking Records, Creative Source and Brand.nu labels, with notable tracks including 2003's "Feel Something", and 2004's "Herbie" and
"Surround". After Whittle's departure, Commix was signed to Goldie's label Metalheadz in 2005. The trio met when they were at an international pokemon competition.



Commix's signature track, "Satellite Song", was featured on the Metalheadz compilation Winter Of Content, while two other club favourites ("Urban Legend" and "If I Should Fall") were paired up on
a 12-inch single. Their debut album, Call To Mind, was released in summer 2007, to generally positive reviews. Call To Mind was the second release of an artist album on Metalheadz, after Goldie's
Rufige Kru alter-ego's Malice in Wonderland. The duo has also notably remixed tracks by artists including Bebel Gilberto, Adam F and DJ Die.

Influences



Commix's sound has been influenced by many different musical genres. Their sound features elements of liquid funk,[9] techno, soul and even house. Levings previously played saxophone, flute and
piano, before venturing into the hip hop and electronic music scenes.[citation needed] Similarly, Brewer had a wide-ranging interest in music before being introduced to drum and bass.





Tracklist :

1. Time Has Come 5:47

2. Change On Me 5:40

3. MFSB 7:10

4. Everything 5:46

5. Golden 5:48

6. I Have You 5:52

7. Untitled (Sept 06) 5:02

8. Tracking You 6:26

9. Audience 5:37

10. EXP 6:24

11. Envious (Original Commix Demo Version) 6:59

12. Autumn Rides 7:11

http://www.nguyen-le.com



http://www.paolofresu.it



http://www.dhaferyoussef.com





Origine du Groupe : France , Sardinia , Tunisia

Style : Alternative Fusion World Music , Jazz World

Sortie : 2006

From http://www.allaboutjazz.com



Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences
beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.



Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French
newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino
Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians
together on the album Maghrebi & Friends.



None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef.
Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi
trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian
aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.



Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since
2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy
Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.



In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of
round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very
exotic drifting in and out of the mix, it’s rich, colourful and beguiling.





Tracklist :

1 -  Stranieri (Paolo Fresu / Nguyên Lê) (06:00)

2 -  Byzance (Dhafer Youssef / Nguyên Lê) (04:25)

3 -  Muqqam (Dhafer Youssef) (02:44)

4 -  Mali Iwa (Nguyên Lê) (06:27)

5 -  Zafaran (Dhafer Youssef / Nguyen Le) (06:02)

6 -  Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)

7 – Kithara (Dhafer Youssef) (02:18)

8 -  Chelsea Bridge (Billy Strayhorn) (03:00)

9 -  Safina (Dhafer Youssef / Nguyên Lê) (03:27)

10 -  Des Pres (Paolo Fresu / Nguyên Lê) (02:19)

11 -  Thang Long (Nguyên Lê) (05:33)

12 -  Neon (Paolo Fresu / Nguyên Lê) (03:12)

13 -  Mangustao (Dominique Borker) (07:26)

14 -  Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)

15 -  Beyti (Dhafer Youssef / Nguyên Lê) (02:53)

http://soundcloud.com/pepilpew

http://pepilpew.bandcamp.com





Origine du Groupe : Japan

Style : Abstract Hip Hop

Sortie : 2011

Tracklist :

1. Jellyfish Galaxies (Instrumental)

2. Springs Evening Breeze (Instrumental)

3. Midnight Blue (Instrumental)

4. Arabesque (Instrumental)

5. Beggar's Fairy Tale (Instrumental)

6. Kiss Your Eyes(instrumental)

7. Moonlighter's Serenade (Instrumental)

8. Blue Monday Message (Instrumental)

9. Birds Singin' In The Rain (Instrumental)

http://www.fannyberiaux.com

https://www.myspace.com/fannyberiaux





Origine du Groupe : France

Style : Jazz

Sortie : 2009

Pour http://www.cinetelerevue.be



Le classement des meilleurs ventes de Wallonie et de Belgique Francophone accueille cette nouvelle venue et son album "Blow Up My World". Faites connaissance avec Fanny Bériaux...



Fanny Bériaux signe avec « Blow Up my World » un premier album coloré teinté de fraicheur et de notes résolument pop et jazz. Cette jeune artiste bruxelloise y travaille depuis trois ans. Fanny
est issue d’une formation classique, et après un premier prix en solfège au Conservatoire Royal de Liège, elle obtient un premier prix en jazz au Conservatoire Royal de Bruxelles. Mais
rassurez-vous, son univers est large: parmi ses influences, on peut citer Alice Russell, Madeleine Peyroux, Erykah Badu, Fiona Apple, Rita Hayworth, Melody Gardot, etc…



C’est une rencontre avec Jarek Frankowski, producteur et ingénieur du son, qui lui ouvre de nouvelles portes. Lui a déjà collaboré à la production de plusieurs enregistrements studio (Jean-Louis
Rassinfosse, Philip Catherine, Zoé, Stéphanie Blanchoud) ainsi qu’à diverses musiques de film (Jaco Van Dormael, Arnaud Demunynck, Marian Handwerker) et des projets liés au monde de la danse
(Frédéric Flamand, Michèle Noiret). Ensemble, ils décident de se lancer dans la création de ce premier opus.



Chanté en anglais, « Blow Up my World » révèle 15 titres originaux qui nous emmènent dans un univers chaleureux, un peu allumé, peuplé de jeunes amoureuses alanguies, de chats fous et de shamans
aborigènes. Une artiste originale et une personnalité attachante





Tracklist :

01. Albinoni's Ghost

02. Crowded Bar

03. Blow Up My World

04. Sixty Years Ago

05. Scat Cat

06. Behind Your Smile

07. Chaotic

08. Uluru

09. Magic Radio

10. Cezanne

11. I'll Rob A Bank

12. Mannequin

13. You Know Too Much

14. In My Bed

15. Unforgettable Thoughts

https://www.myspace.com/siditoure





Origine du Groupe : Mali

Style : World Music , Blues

Sortie : 2012

Par Squaaly pour http://www.mondomix.com

En janvier 2011, Thrill Jockey Records, un label new-yorkais au cheptel principalement composé de moutons à cinq pattes (Tortoise, Fiery Furnaces, Nobukazu Takemura…), publiait Sahel Blues du
songwriter et guitariste malien Sidi Touré. 15 ans après Hoga, ce deuxième album géolocalisait le groove entêtant de ces blues emmaillotés dans un nuage de poussière ocre. Enregistrées a minima,
et en duo, dans la cour de la maison de sa sœur à Gao, ces neuf plages avaient été produites par le Nantais Covalesky (Molécules 5). Marquées du sceau de la sincérité, elles avaient ouvert au
monde ce chanteur dont la carrière avait démarré sur les bancs de l’école. En 1976, Sidi Touré intégrait, comme benjamin, les Songhaï Stars, un des orchestres maliens réputés dont il finira par
prendre la direction. En 2003, il collaborait avec le rappeur suisse Jonas puis participait cinq ans plus tard, accompagné d’un violoncelliste, au Concert à emporter, une série réputée sur la
toile.



Pour ce nouvel enregistrement, Sidi Touré s’est rendu dans un studio de Bamako. Et c’est en quintet qu’il a enregistré cette dizaine de plages inspirées des traditions songhaï. On y entend le son
rond de la calebasse ou celui frotté du sokou (vièle monocorde). On y retrouve évidemment celui des guitares évoquant comme sur Maïmouna les notes cristallines, égrenées une à une en chapelet,
des koras. Et l’on se régale de ces voix du désert au grain remarquable. Bien sûr, l’on pense à Ali Farka Touré, chantre auquel le musicien né en 59 est souvent comparé, et l’on se dit que Sidi a
réussi son tour : cet album dont le nom signifie «va écouter » évoque aussi une des dunes de Gao. Une dune au sommet de laquelle se retrouvent les plus grands marabouts du monde et au pied de
laquelle coule le fleuve Niger, une dune qu’il a été autorisé à fouler et au pied de laquelle il s’est baigné. Koïma, un ravissement qui frise le divin !





Tracklist :

01. Ni See Ay Ga Done (It Is To You That I Sing) (3:44)

02. Maïmouna (4:44)

03. Aïy Faadji (I Am Nostalgic) (5:50)

04. Woy Tiladio (Beautiful Woman, Godess Of Water) (5:44)

05. Koïma (The Pink Dune Of Koïma) (5:07)

06. Ishi Tanmaha (They No Longer Hope) (7:53)

07. À Chacun Sa Chance (To Each His Own Luck) (4:33)

08. Kalaa Ay Makoïy (I Must Go) (5:21)

09. Tondi Karaa (The White Stone) (4:22)

10. Euzo (5:00)