http://www.lastfm.fr/music/Doris+Duke

Origine du Groupe : North America

Style : Soul , Funk , Jazz , Vocal

Sortie : 1969

- C'est quoi CLOSER SOUL - ça veut dire de la SOUL au plus près, je pense que cela se dirait comme ça. A l'os, on pourrait dire aussi



Doris Duke - I'm A Loser (1970, 128k)



Fermez les yeux, laissez la porte du salon ouverte.

La voilà qui entre, micro en main, elle chante pour vous. Pose sa main sur votre épaule. Tandis que les musiciens s'installent.

Ils en manquent, les voilà, les violons, se font tout petit et se placent au fond de la pièce. Pour le Piano, ça n'a pas été de la tarte.

Vous vous en foutez, elle chante pour vous,.

Enfin, tout le monde est là. Doris peut pousser sa voix qui fait les montagnes russes.

Elle raconte que son mec est parti, vous aimeriez la consoler, mais elle vous maintient assis.



Sérieux, c'est davantage que de la soul, davantage que de la deep soul. C'est de la CLOSER SOUL., et si vous n'avez pas une petite émotion qui se glisse en vous, au moins lorsque son chant
chuchote… Impossible, ce n'est pas vous.



Pour finir, un mystère: je n'ai pas gardé une trace de l'origine de ce disque, pourrait être mon dealer habituel (Revpop)? La médiathèque? Un Forumer?

En tout cas merci à elle ou lui.

Une fois de plus, avec cette musique, la journée sera belle, obligatoire.



J'ai peut-être trouvé un truc pour vous le faire télécharger: je n'ai pas mis en extrait "To The Other Woman (I'm The Other Woman)" son plus gros tube. D'autant plus que les extraits pourraient
ne pas fonctionner.



Bonne Journée.



par devant pour http://devantf.blogspot.com



Tracklist :

01. He's Gone

02. I Can't Do Without You

03. Feet Start Walking

04. Ghost Of Myself

05. Your Best Friend

06. The Feeling Is Right

07. I Don't Care Anymore

08. Congratulations Baby

09. We're More Than Strangers

10. Divorce Decree

11. How Was I To Know You Cared

12. To The Other Woman (I'm The Other Woman)

http://www.smoma.com

http://www.myspace.com/smomamusic

Origine du Groupe : Italia

Style : Nu-Jazz , Lounge

Sortie : 2009

From Official Site :

Smoma are three very talented italian musicians who got together in 2000 to perform. Tobia plays the keyboards and is the arranger, Andrea plays the trumbet and Simona is the lead singer with a
powerful voice. They porfermed live formore than 100 days a year amd are one of the most important band in the live italian band. They perform in the trendiest italian club. They play hits
arranged in chillout, lounge and soft dance style. Smoma is a fantastic Live-Trio

Tracklist :

01. The Sweetest Taboo "2009 Version"

02. On The Other Side Of The Horizon

03. De Mi VIda

04. Waiting In Vain

05. Secret

06. The Flight

07. The Devil Is Loose

08. All I Have

09. Love So Good Inside

10. All Alone

11. I Want Your Sex

12. All Around The World

13. Just You And Me

14. Give Me The Night "2009 Version"

http://aleciachakour.com

Origine du Groupe : North America

Style : Soul , Blues , Psychedlic

Sortie : 2010

From Official Site :

Brooklyn-based singer Alecia Chakour is a soul siren. Armed with a bellowing voice, she wraps her vocal chords around weighty issues of love, heartbreak and struggle with the timelessness of an
old soul reincarnate. Using soul’s great arrangement styles of yesteryear as fodder, Alecia coalesces punchy horns, gospel harmonies and an ardent R&B sound to make remarkably honest
music.



Backed by a stellar band, Alecia keeps it all in the family. Alecia Chakour & the Osrah (family in Arabic), brings together Alecia’s closest friends and family – all serious forces on the
music scene. Alecia’s brother plays guitar, her close hometown friends play drums, bass and keys, and the other guys are like brothers from another mother. This isn’t the Jackson 5, and there are
no choreographed dances (yet), but man, is there soul.



Born in the small town of Amherst, MA, home to five colleges and a quirky musical community, Alecia grew her musical roots within an intellectual and nurturing environment. Her father, Joe
Cocker’s former musical director, and an influential soul and blues musician in his own right, opened Alecia’s world to the soul greats. Alecia spent time with her father at sessions and shows
taking in powerhouses such as Ray Charles, BB King, Matt “Guitar” Murphy and Bonnie Raitt. At home, Alecia found comfort listening to artists like Candi Staton and Otis Redding on her family’s
record player. “In soul, you never feel like folks are trying to be too slick or sexy or too anything. They are just singing to let it out,” says Alecia.



Deemed a vocal wunderkind, Alecia was nearly signed to a major label at age 16. When asked to sing gimmicky pop songs instead of the gritty soul she loved, Alecia realized their intentions were
more rooted in sales than music. With her big dreams dangling seemingly within her reach, Alecia made the difficult decision to forgo a major label relationship and instead forge her own
path.



Alecia went on to become an educator, teaching tap dance and music at Brooklyn schools and programs throughout the Northeast. She collaborated with musicians across all genres– from rappers to
psychedelic rockers, Broadway divas to legendary blues crews, crooners to jazz heads and opened for the legendary James Brown and KRS-One. She has been featured on Fader.com, BlindifortheKids,
SoulCulture, Nu-SoulMag and more.



Out of the spotlight, Alecia is strongly informed by her cultural heritage. “I come from a very mixed background,” says Alecia. Particularly when speaking about her father’s Arab background and
her mother’s Jewish background, “I feel so connected to all sides of myself, and I think it’s beautiful to be able to celebrate these two very similar yet distinct cultures. I feel compelled to
step out and be proud of my heritage and represent our powerful diversity.” (NR)

Tracklist :   

1.Walk On 03:47

2.Ghost 05:16   

3.Down 03:26   

4.Hard Times 03:34   

5.Like You Me 04:11   

6.Giving Up 06:58

released 18 October 2010

Alecia Chakour (vocals)

Alex Chakour (guitar)

Sam Cohen (guitar, pedal steel, percussion)

Makaya McCraven (drums)

Jaron Olevsky (bass, guitar, rhodes)

Igmar Thomas (trumpet)

Darby Wolf (organ, wurlitzer, clavinet)



Special guest appearance by papa Mitch Chakour (piano)



Engineered at Bank Row Recording by Justin Pizzoferrato

Additional recording by Sam Cohen at Bozo's and Alex Chakour at The Chak

Mixed by Justin Pizzoferrato and The Osrah

Mastered by Ian Kennedy at New Alliance East

http://www.ojosdebrujo.com

http://www.myspace.com/ojosdebrujo

Origine du Groupe : V.A Spain

Style : Alternative Fusion , World Music , Electro World

Sortie : 2010

From Official Site :

"Tras 10 años de carrera discográfica y algunos más de andanza artística como Ojos de Brujo; habiendo recorrido los cinco continentes, con varios premios bajo el brazo y habiendo tocado el cielo
en varias ocasiones, ahora queremos despedirnos a lo grande; un disco con colaboradores especiales (10 años-Corriente vital) y una última gira internacional 2011 como broche de oro a un camino en
el que hemos aprendido mucho y que nos ha llenado de felicidad y grandes experiencias en todos los sentidos. Nos llega el momento de parar y que sujan otros proyectos del colectivo.



Esperamos que celebréis este aniversario también con nuestros conciertos el próximo año y queremos dar las gracias a todos los artistas que han colaborado en este disco, así como a los que nos
habéis acompañado en el camino hasta ahora.

Tracklist :

01 - Corriente Vital (Radio Edit) [Feat. Chicuelo]

02 - Todos Mortales (Feat. Roldan De Orishas)

03 - Nueva Vida (Feat. Bebe)

04 - Ley De Gravedad (Feat. Jorge Drexler)

05 - Corre Lola (Feat. Amaral)

06 - Lluvia (Feat. Najwa Nimri)

07 - Baraka (Feat. Manolo Garcia)

08 - Sultanas De Merkaillo (Feat. Miguel Campello De Elbicho)

09 - Get Up, Stand Up

10 - Na En La Nevera (Feat. Estopa)

11 - Ventilaor R-80 (Feat. La Troba Kungfu)

12 - Corriente Vital (Feat. Nitin Sawhney)

13 - Interludio Flamenco (Feat. Chicuelo)

14 - La Machine (Feat. Juno Reactor)

15 - Zambra (Feat. Juno Reactor)

16 - Corre Lola (Feat. Los Pericos)

http://www.lastfm.fr/music/D.O.%2BMisiani%2B%2526%2BShirati%2BJazz

Origine du Groupe : Kenya

Style : World Music , Zouk , Soukouss

Sortie : 1989

Daniel Owino Misiani was the leading figure in Benga from

West Kenya. This 1989 album was direkt metal mastered

from digital tapes and sounds just maginificent. Click on the

backsleeve to read further useful information and enjoy the Benga !



by moos  for http://globalgroovers.blogspot.com  THANKS !!!



Tracklist :

1   Isabella Muga

2   Rose Akoth

3   Margret Odero

4   Piny ose mer

5   Nakuru bor

6   Otieno Anyango

7   Wouth iye tek

8   Dora mamy

http://www.myspace.com/Quantifier

Origine du Groupe : Poland

Style : Abstract Hip Hop , Trip Hop , Downtempo , Intru-Beat-Jazz

Sortie : 2010

Autumn has kicked in over here like it should: The days grow shorter quickly, the temperature has dropped and grey skies dominate the view every time you look out the window. Most people hate it,
but it’s the perfect opportunity to chill at home. Light some candles, pour some red wine and keep a blanket handy at all times. And ofcourse, don’t forget suitable music. And I found the perfect
trip-hop EP as soundtrack for your sofa-surfing needs: Quantifier‘s  “Dark Street”.



In poetry autumn is generally associated with themes like transition, melancholy and self-reflection, and there’s almost no better genre to represent this season than triphop. ” Dark Street” not
only has a fitting title, it also carries a vibe that has been unmatched since the late 90s. Slow beats are dragging eerie sampled string ensembles slowly forward while rhodes and e-pianos play
hauntingly playful melodies over the magical sound of rhythmic ride cymbals. Add some occasinal threathening horns and you’ll feel the stormy weather even with the curtains closed.



Sometimes chilled and lovely (Old Gramophone), sometimes dark and creepy (Now’s The Time), but always beautifully moody. Quantifier has built this release on samples of traditional jazz
instruments which gives it a really natural feel.



Get the EP at Bandcamp. You can download it for free, or you can choose whatever amount you’d like to donate for this solid release.



by niwa  for thebeats.nl

Tracklist :

01 -  Suburban Night  03:57

02 -  My Brunette  03:42 

03 -  Old Gramophone  04:19 

04 -  Little Secret  02:02 

05 -  Twice 02:42

06 -  Now's The Time  04:51

http://fr.wikipedia.org/wiki/Jimmy_Smith

http://en.wikipedia.org/wiki/Jimmy_Smith_(musician)

http://www.allaboutjazz.com

Origine du Groupe : North America

Style : Jazz

Sortie : 2008

http://www.myspace.com/justicesystem

Origine du Groupe : North America

Style : Hip Hop Jazz , Groove

Sortie : 1994

As one of the few "hip hop bands" on the scene when they emerged in the early 1990s, Bronx outfit Justice System was often compared to the Roots, a likening that probably worked against them as
much as it worked in their favor. While their tight jam arrangements and juxtaposition of poetic rap with full-bodied band orchestrations was certainly reminiscent of their Illadeph
contemporaries' approach, Justice System had their own sound and were musical innovators in their own right. Their 1994 MCA debut "Rooftop Soundcheck" captures a young, visionary collective with
a focused sound, smart production, and top-notch batch of material.



On "Rooftop Soundcheck," Justice System's sound is equal parts jazzy and funky. The easygoing grooves and instrumentation would certainly garner comparisons to the original Roots crew, but
"Rooftop Soundcheck" bears a much more full-bodied and choreographed sound than "Do You Want More?!!!??!" Driven by the sturdily flowing basslines of Coz Boogie and Eric G's energetic percussion,
the music is smooth yet lively, marked by a crisp studio polish. I've heard some criticize this record as overproduced, but I find the group's balanced sound to be a strength—each of the
instruments and sound elements is clearly distinguishable and comprises a tight, fluid sound. Guitarist Wizard C-Roc laces the songs with his rich funk licks, and the invaluable Mo' Betta Al
holds it down on both the tenor sax and Rhodes piano, often on single songs. Individually Justice System is composed of some immensely talented instrumentalists, but together their results are
truly extraordinary, bearing a tight and seamless quality rarely found in such hard-jamming bands, and their extended instrumental breaks and interludes provide countless highlights throughout
"Rooftop Soundcheck." The LP thrives on its live sound and heavy-swinging arrangements, and the group proves its versatility by exploring a wide range of tempos, moods, and outside
contributors—the sly, contagiously upbeat "Just Because" is based upon a killer muted trumpet part, while the deliciously moody "Soulstyle" plays like a rolling thunderstorm with its sparse bass
and percussion and snaky sax echoes.



The punchy, abrasive Folex and the smooth, cerebral Jahbaz make for ideal complements, trading literate, abstract rhymes ripe with the vernaculars of New York's historic neighborhoods and hazy
jazz clubs. With thick accents, vivid descriptions of such borough staples as the Hudson and Bronx Rivers, and wistful shouts to old favorites Coltrane, Gillespie, Thelonius, Bambaataa, Simon and
Garfunkel, Flash and Caz, and Red Alert, they form a bright yet distant mood for the album, brilliantly creative yet somehow reverent of a far off time and realm. Sporting the chemistry of Phife
and Tip and the stylistic vision of Camp Lo's Geechie Suede and Sonny Cheeba, Folex and Jahbaz celebrate the sheer power of live music and their abilities to rock any crowd, all the while
boasting artistic spirit that makes it easy to envision them as scat artists or poets had they been born in decades past. "Rooftop Soundcheck" was digitally reissued as "Sounds of the Rooftop,"
which might be an even more apt title—the warm, mellow vibes make this an optimal listen for a summer evening, and the record oozes with the sounds of a busy, culturally rich city that might best
be absorbed on a clear night from a towering rooftop.



The driving "Due Our Time" and "Trouble On My Mind" are the openers, immediately swallowing the listener with Eric G's expansive rhythms and the band's refreshing chord progressions as Jahbaz and
Folex supply dizzying onslaughts of quotables with inspiring levels of conviction:



"Day after day I awake in the AM

Think of ways to survive, get my strength from a shaman

It's the same old, same old, the clock keeps tickin'

Got a few plans to get paid, but they never kick in

Damn another heartache, damn another heartbreak

So many people sleepin' while I'm just steady creepin'

Through the cracks and the holes tryin' to get some juice

Did a show or two so that I could get loose

With the band behind me, cold rock a party

C plays the line, girls shake their body

I can see it, I can see it, pray so this'll be it

Hopin', wishin', thinkin', so see it"



After the twangy "Flexin' tha Ill Funk" and exuberant "Dedication to Bambaataa" comes the single "Summer in the City," a warm weather anthem colorfully portraying a hot July Saturday giving way
to a mild midsummer's evening, moving from the park to the basketball court to the street and back to a house party:



"Put your Timberland boots back under your bed

And buy yourself some Nike Wait-a-Minutes instead

So we can play ball for a little fun

I'll rock the sport full court or even just twenty-one

The playground is the place for mad kids to gather 'round

Freaks, I mean queens, on the side lookin' rather phat

So give me that booty back and take my beeper number

So we can swing the whole damn summer"



While the block party vibe of the original is more immediately irresistible, I actually prefer the subsequent "Sunshine Blend," a sparser arrangement buoyed by a staticky drum loop with laidback
pipes and trumpet. "The Ill River Expedition" is less sunny but equally visual, allowing shine for both the MCs and the band with an extended instrumental outro. The tempo kicks up on the playful
"Justice Funkin'," the rich, snarling jazz of "Take It to the Stage," and "Just Because," a lighthearted player's avowal:



"I did not hear her call me, I had the headphones on me

Sippin' on some coffee listenin' to some Sade

Ten AM on the dot, coolin' at my favorite spot

All my problems are forgotten as I'm shakin' to the sound

On the ground I dropped my Discman, damn, what a switch, man

She looked at me and this man froze in his toes

She said, 'Ayo Jahbaz, man, you're the one that has that

Summer in the City, yes, I've seen the video'

I said, 'Now hold up, wait a minute

A video a minute and I do want to get with it

'Cause your body is bodacious, my schedule's kind of spacious

I'll put you in between my Vibe and Source interviews'

But then my beeper blows up, damn, I gotta close up

Shop, I'm dedicated to my hip hop

Not frontin' I'm flossin', from Broadway to Shaw, son

My name is John Dawson and I got to move on, so kick it"



The aforementioned "Soulstyle" may be the record's highlight, a delightful groove that's as eerie as it is exhilaratingly smooth. Jahbaz shines rapping softly in double time:



"Versatility in verse, or is it straight originality

I quote a black poet 'cause he stocked up on reality

Justice System terrorist, the people wanna get with this

B-boy fashion, vocal vibe mentality

In my neighborhood the word is that Jahbaz be gettin' props

Praise and accolades because the skills I have are tops

Like a stallion, sportin' my medallion

Justice System funkin' like a stack of rotten scallions

I wear the funk like a fashion plate

So you can recognize the program from state to state

You can by the whole album but just like the dils-nick

Please don't bite the style, now chill kid, chill kid"



Despite a fiercely loyal club following, Justice System struggled to find airplay and was quickly dropped by MCA, relegated to the indies for subsequent efforts. With just a few reissues since
its 1994 release, "Rooftop Soundcheck" remains a criminally overlooked record years ahead of its time; an expansive, stylish exhibition in superb songwriting and spectacular playing with hardly a
second of skip material. Listeners still sleeping should graciously accept a late pass and prepare to lose themselves in the sounds of the rooftop.



by Pete T. for  www.RapReviews.com



Tracklist :

1. Due Our Time

2. Trouble on My Mind

3. Flexin' tha Ill Funk

4. Dedication to Bambaataa

5. Summer in the City

6. Santana

7. Ill-River Expedition

8. Justice Funkin'

9. Jacquelina

10. Just Because

11. Soulstyle

12. Take It to the Stage

13. Summer in the City [Sunshine Blend]

http://www.myspace.com/monoklemuz

http://www.myspace.com/galunspace

http://www.12rec.net

Origine du Groupe : Russia

Style : Electro-Pop , Breakbeat , Electronique , Abstract , Psychedelic

Sortie : 2010

12rec est sans doute le netlabel que j’ai le plus cité dans mes chroniques ces dernières années parce que c’est tout simplement le plus régulier en terme de qualité et peut-être aussi le plus
passionnant dans ce qu’il propose. La preuve encore une fois avec cet excellent album signé de l’association entre le russe Vladislav Kudryavtsev (Monokle) et le chanteur Sergey Galunenko
(Galun). Cette duo donne quelque chose de totalement convaincant dans un style que l’on pourrait situer entre Bibio  et The Notwist, ou le mélange des breakbeats de la poptronica. La qualité
des compos est assez impressionnante et me fait dire que cet album risque bien de figurer au top 10 de fin d’année des productions netaudio pour 2010.



par Netlabels Revue



Tracklist :

01 Happy Sun

02 Colding

03 Two Times

04 Globus

05 Fine Care

06 Air Krispella

07 Crossed Fingers

08 Justalite

09 Get At Will

10 Long

11 Smolder

12 Means

http://www.kidcongopowers.com

http://www.myspace.com/kidcongoandthepinkmonkeybirds

Origine du Groupe : North America

Style : Alternative Rock

Sortie : 2009

Kid “Congo” Powers est une légende. Vous l’ignoriez ? Il est donc grand temps de vous dispenser un petit cours d’histoire du rock’n’roll !



C’est en 1979 que Kid « Congo » rencontre un certain Jeffrey Lee Pierce, amateur de bourbon, poète, beatnik et musicien à l’occasion. Les deux comparses se découvrent une aversion commune pour la
new wave et un goût prononcé pour le désert du Texas, pour les fantômes qui y rôdent et les plantes curieuses qui y poussent. Pierce l’initie rapidement à la guitare des grands maîtres du Delta
que sont Charley Patton ou Son House, et tous deux se lancent dans la fondation d’un des groupes de punk rock les plus mythiques de l’ouest, j’ai nommé The Gun Club.



Avec une franchise émérite et un son plus qu’approximatif, le groupe fait figure de précurseur du desert rock et de fer de lance du psychobilly naissant, aux cotés de Television et des Cramps. Ce
sont ces derniers que Powers rejoint en 1981 en remplacement de Bryan Gregory. S’en suivent alors d’innombrables tribulations entre l’Europe et les States fin 84 lors desquelles il enregistre,
entre autres, Las Vegas Story avec un Pierce de plus en plus ravagé. Il finit par atterrir à Berlin où il accompagne les Bad Seeds d’un certain Nick Cave pour plusieurs albums (dont le très bon
Tender Prey). Ce n’est que dans le courant des années 2000 que Powers monte son projet solo créant les Pink Monkey Birds.



Après le très garage Berlin Insane IV, Powers nous propose le très rythmé Dracula Boots, qui concilie, avec sagesse et méthode, rock « chicano » et R&B 50’. « Sagesse » parce que Dracula
Boots peut prétendre au titre d’album « éclairé » ; Powers plonge abondamment dans l’immense culture que son parcours implique : il reprend « I Found A Peanut » des Thee Midniters, le « Funky Fly
» de Bo Diddley et grappille ainsi un peu de tout ce qu’on peut trouver entre le rock tex-mex, la soul, le garage crasseux, et le funk.



« Méthode » parce que Powers a su s’entourer de très bons musiciens ; la section rythmique de chaque titre et tout bonnement clinquante et la basse est groovante au possible (voir le génial «
Pumpkin Pie »). Le tout est enregistré sur scène avec l’écho naturel d’un gymnase : Dracula Boots à l’allure d’un trip au mescal devant un film d’horreur ! Même la balade la plus simple (« La
Llarona ») est dégoulinante de reverb !



Bien campé sur des bases solides, Dracula Boots est loin d’être une révolution, mais il développe une énergie assez conséquente qui en fera remuer plus d’un ; c’est décidément une constante chez
In The Red Records : quand ce n’est pas du tout bon, c’est du très bon et dans tous les cas, ça bouge énormément.



par http://www.goutemesdisques.com

Tracklist :

1 Lsdc 3:35

2 I Found A Peanut 2:32

3 Hitchhiking 2:05

4 Funky Fly 2:54

5 Black Santa 3:53

6 La Llarona 3:37

7 Buck Angel 2:38

8 Pumpkin Pie 2:11

9 Bobo Boogie 3:39

10 Rare As The Yeti 3:15

11 Kris Kringle Ju Ju 3:04

12 Late Night Scurry 5:00