Playlist # 1
January, 10th, 2013
Andy Palacio - Amunegu ( in times we come )
Soap & Skin - Spiracle
Rodriguez - Sugar Man
Willy Moon - Railroad Track
Freddie Gibbs & Madlib - Thuggin
Kölsch - Opa
Kid Koala - 4 Bit Blues
Desire - Don't call
Ian Brown - Set my baby free
Paror Stelar - Cat groove
Balthazar - The boatman
Lescop - La foret
Richard Hell and the Vodoids - Blank generation
Yoko Ono & John Lennon - Every man has a woman who loves him
Ben Mazué - Confessions d'un rap addict
JAMIE JONES
Jamie Jones has achieved in the space of a few short years what many producers try for a lifetime. Turning his hand to a variety of styles while still maintaining a strong signature sound, Jones has created an admired musical identity and a loyal global following.
One of techno’s rising stars, Jamie Jones is part of a new guard of house and techno djs who resonate as artists, party people, djs, and live acts. Raised in Wales (which most people don’t hold against him), Jamie’s university days in London helped launch his infatuation with club culture that would bring him to Ibiza during the summers.
Ultimately relationships forged and those island summers helped him become an integral cog in thriving music scenes in Ibiza and later East London, where Jones’s bustling djscandance warehouse parties and regular gigs at Fabric helped him make his mark in London during his winters. During the summer, gigs and residencies like the Space Terrace, Manumission’s Music Box Room, and later DC10 (a club he frequented as a one of the first regulars in his early days on the island) helped him gain a foothold in the Ibiza Scene while defining a sound that was uniquely, electronic, soulful, and bouncy, with a consistent groove. During one of these summers in Ibiza, he played his creation Amazon, to Freak n’ Chic boss Dan Ghenacia who signed it on the spot.
Amazon, when released, was well received and immediately drew Jones favorable comparisons to luminaries like Mathew Jonson and Carl Craig and went on to become the labels biggest selling record. Jamie followed that standout release with recordings on leading labels like Crosstown Rebels, Get Physical, Cocoon, Poker Flat and far too many more to mention. Consistent to his production quality are low wobbly basslines, dissonant and hypnotic keyboard lines, crisp snares, and the aforementioned steady groove.
Since Then, Jamie’s relationship with Crosstown Rebels has grown. 2009 saw him release Summertime EP, which went on to become the labels biggest selling single. He also had the unprecedented accolade of having 3 tracks in the Beatport top 10 concurrently. His Debut album ‘don’t you remember the future’ also on Rebels has been hailed by Press and Dance Music critics across the globe as the best electronic album of the year.
In 2009 I released my debut Album “Dont you remember the future” which has been one of the biggest dance albums of the year.
The clubs where you can catch me regularly are Fabric (London), D Club (Luasanne), Back 2 Basics (Leeds), Le Club (Valencia), Tenax (Florence)
Azari & III - Hungry For The Power [Jamie Jones Remix] by PurplePR
Ruckus Jamie Jones - Original Mix by Gouranga
VINICIUS DE MORAES
Vinícius de Moraes was a fundamental figure in Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time bossa nova and samba classics. As a composer, he wrote some good music, and as an interpreter, he left several important albums. From a musical family, he began very early to write poetry. At 14 he became friends with the brothers Paulo and Haroldo Tapajós. With Haroldo, he composed the fox song "Loura ou Morena," recorded by the two brothers in 1932 with success for Columbia. In 1929 de Moraes enrolled in law school in Catete, Rio. Between 1932 and 1933 he wrote lyrics for ten songs that were recorded by his partners: seven with Haroldo Tapajós, two with Paulo, and one with J. Medina (which was recorded by João Petra de Barros). In 1933 he finished his college studies and released his first book, O Caminho Para a Distância. In 1935 he had his second book (Forma e Exegese) awarded, and in the next year, he became a cinema censor for the health and education cabinet. In 1936 he wrote Ariana, a Mulher and in 1938 headed to England, with an English government scholarship to study literature at Oxford University, and wrote Novos Poemas. At that time he was married by proxy.
With the development of World War I, he returned to Rio. In 1941 he began to write film reviews and critiques. Two years later he joined Brazil's diplomatic service, Itamaraty, also releasing the book Cinco Elegias. In 1946 he was sent to Los Angeles in his first diplomatic assignment as vice consul and released Poemas, Sonetos e Baladas. In 1950 he returned to Brazil due to his father's death. His first samba (with Antônio Maria) is from 1953, "Quando Tu Passas por Mim," a year in which he moved to France as Brazil's embassy second secretary. His play Orfeu da Conceição won the IV São Paulo Centennial Contest in 1954. In 1955 he wrote lyrics for some of Cláudio Santoro's chamber music pieces. That next year he staged Orfeu da Conceição, which was filmed by French writer Marcel Camus. He was then introduced to an unknown pianist, Antonio Carlos Jobim, who was commissioned with writing the music for the play. Jobim composed "Se Todos Fossem Iguais a Você," "Um Nome de Mulher," and several others, recorded by Odeon with Luiz Bonfá and others. Following a return to Paris in 1956 and another diplomatic assignment at Montevideo, Uruguay, in 1957 (when released Livro de Sonetos, followed by Novos Poemas II in 1959), he stayed there until 1960.
In 1958 Elizeth Cardoso released her album, marking the beginning of bossa nova. She included on it five compositions by the duo Tom & Vinícius: "Canção do Amor Demais," "Chega de Saudade," "Outra Vez," "Luciana," and "Estrada Branca." The album also brought João Gilberto and his "different beat" onto two tracks, "Chega de Saudade" and "Outra Vez." The careers of all of them had great impetus after that record, and the songs written by Tom & Vinícius became disputed by singers. In 1959 the movie Orfeu do Carnaval, based on the play Orfeu da Conceição, was awarded with the Golden Palm at the international movie festival of Cannes, France, and, in Hollywood, as the best foreign movie. In that time, he and Jobim composed "Eu Sei Que Vou Te Amar" and "Amor em Paz." In 1960 he wrote O Amor dos Homens. In 1961 he composed with Carlos Lyra "Coisa Mais Linda," "Primeira Namorada," "Nada Como Ter Amor," and "Você e Eu." In 1962 he wrote (together with Pixinguinha) the soundtrack for the movie Sol Sobre a Lama (Alex Viany), which included "Lamento"; he also met Baden Powell and wrote with him "Samba da Bênção," "Só por Amor," "Canção de Amor e Paz," "Pra Que Chorar," "Deixa," "Samba em Prelúdio," "Apelo," "Berimbau," "Consolação," and other great classics. After Powell's return from Bahia, where he dedicated himself to research the Bahian folklore, they composed the series known as the Afro-sambas: "Samba de Oxossi," "Canto de Xangô," "Canto de Ossanha," and others. With Carlos Lyra he wrote "Marcha da Quarta-Feira de Cinzas" and "Minha Namorada," included in his play Pobre Menina Rica. In August 1962, together with Jobim, João Gilberto, and Os Cariocas, he opened the show Encontro at the Au Bon Gourmet nightclub (Rio). That show represented the first audition of "Garota de Ipanema," "Insensatez," "Ela é Carioca," "Só Danço Samba," "Samba do Avião" (all with Jobim), and "Samba da Bênção." The same nightclub presented his play Pobre Menina Rica, which had music by Carlos Lyra ("Sabe Você," "Primavera," and "Pau-de-Arara"). The play launched the career of Nara Leão. He also released Para Viver um Grande Amor. In the next year he met Edu Lobo, with whom he would write "Arrastão" (which would win the I FMPB in 1965 with Elis Regina's interpretation), "Zambi," and "Canção do Amanhecer."
Returning to Paris, he worked for UNESCO until 1964. Meeting Francis Hime upon returning to Brazil, they composed "Saudade de Amar," "Sem Mais Adeus," and "Eu Te Amo, Amor." Together with Dorival Caymmi he presented a show at the Zum-Zum nightclub, which was a major success. Recorded live, it was released by Elenco. Quarteto em Cy, four singing sisters he discovered, was launched at that show. At the I FMPB, "Valsa do Amor Que Não Vem" (together with Baden Powell) won second place in the interpretation of Elizeth Cardoso. He collaborated on the script of the movie Garota de Ipanema and had a second season for his show with Dorival Caymmi. Also in 1965 he released O Mergulhador. In 1966 he participated (with Maria Bethânia and Gilberto Gil) in the show Pois É at the Teatro Opinião, which presented Gil's compositions. His "Samba da Bênção" (with Baden) was included on the soundtrack of Claude Lelouch's movie Un Homme et une Femme, winner of the Cannes movie festival. He also wrote Para uma Menina com uma Flor. In 1968 he was summarily fired after 26 years of work from the Itamaraty by the discretionary powers of military dictatorship. In that year, he toured extensively through Europe (with Chico Buarque and Nara Leão) and Argentina (with Dorival Caymmi, Quarteto em Cy, Baden Powell, and Oscar Castro-Neves). In 1969 he performed at Punta del Este, Uruguay, with Maria Creuza and Dori Caymmi. In that year he also became the partner of Toquinho (de Moraes' most frequent partner and biggest friend, they would record 20 LPs together), with whom, along with Marília Medalha, he opened a show in 1970 at the Teatro Castro Alves (Salvador). Also with them, he performed at the La Fusa nightclub (Buenos Aires, Argentina); in January 1971 Toquinho and de Moraes would again perform there, this time with Maria Bethânia. Still in 1970, taking a hit by Garoto written 20 years before, he wrote (together with Chico Buarque) the lyrics for "Gente Humilde." His book Arca de Noé would yield ten years later several TV stagings with music by Toquinho, which was released on two LPs: A Arca de Noé (Ariola, 1980) and A Arca de Noé, Vol. 2 (Ariola, 1981). In 1971 an LP with his compositions (with Toquinho) "Tarde em Itapoã" and "Como Dizia o Poeta" was released by RGE with great success. It brought a great number of invitations for touring in Brazil and abroad. Always successful the duo came out with "Maria-vai-Com-as-Outras," "Testamento" (1971), "Regra Três" (1972), and others. With Toquinho and Clara Nunes, he presented the 1973 show O Poeta, a Moça e o Violão at the Teatro Castro Alves, Bahia.
Vinicius de Moraes + Samba de bênção by bonjour+brazil
Vinicius de moraes & toquinho - garota de ipanema6 by inaglam
PAUL KALKBRENNER
Paul Kalkbrenner is a DJ, musician and producer who became one of the leading lights on the German electronic music scene. Kalkbrenner was born in Leipzig in Eastern Germany in 1977, and began studying the trumpet when he was eight. In 1989, as the Berlin Wall came down and East and West Germany were reunified, the East eagerly embraced new freedoms, and the electronic music scene was an unexpected beneficiary as the people set out to express themselves and embrace the high-spirited nature of the music. Kalkbrenner had already begun performing at youth clubs in Leipzig by this time, and he immersed himself in East Berlin's booming club scene. In 1994, he began DJing at a number of clubs, and worked as an editor and technician for German television networks to finance his recording and production efforts. As his skills increased, he began spinning his own recordings rather than relying on other people's music, and in 1999, he signed a contract with BPitch Control, a respected EDM label founded by Ellen Allien. His debut EP, Friedrichshain, was released that same year under the name Paul dB+, and after a handful of well-received singles, Kalkbrenner's first full-length album, Superimpose, was released in 2001 under his proper name. After establishing himself as a top recording artist and live DJ, Kalkbrenner expanded into the world of filmmaking, working with director Hannes Stohr on the film Berlin Calling, in which Kalkbrenner played the leading role, composed the score, and helped Stohr craft the story.
January, 10th, 2013
Andy Palacio - Amunegu ( in times we come )
Soap & Skin - Spiracle
Rodriguez - Sugar Man
Willy Moon - Railroad Track
Freddie Gibbs & Madlib - Thuggin
Kölsch - Opa
Kid Koala - 4 Bit Blues
Desire - Don't call
Ian Brown - Set my baby free
Paror Stelar - Cat groove
Balthazar - The boatman
Lescop - La foret
Richard Hell and the Vodoids - Blank generation
Yoko Ono & John Lennon - Every man has a woman who loves him
Ben Mazué - Confessions d'un rap addict
JAMIE JONES
Jamie Jones has achieved in the space of a few short years what many producers try for a lifetime. Turning his hand to a variety of styles while still maintaining a strong signature sound, Jones has created an admired musical identity and a loyal global following.
One of techno’s rising stars, Jamie Jones is part of a new guard of house and techno djs who resonate as artists, party people, djs, and live acts. Raised in Wales (which most people don’t hold against him), Jamie’s university days in London helped launch his infatuation with club culture that would bring him to Ibiza during the summers.
Ultimately relationships forged and those island summers helped him become an integral cog in thriving music scenes in Ibiza and later East London, where Jones’s bustling djscandance warehouse parties and regular gigs at Fabric helped him make his mark in London during his winters. During the summer, gigs and residencies like the Space Terrace, Manumission’s Music Box Room, and later DC10 (a club he frequented as a one of the first regulars in his early days on the island) helped him gain a foothold in the Ibiza Scene while defining a sound that was uniquely, electronic, soulful, and bouncy, with a consistent groove. During one of these summers in Ibiza, he played his creation Amazon, to Freak n’ Chic boss Dan Ghenacia who signed it on the spot.
Amazon, when released, was well received and immediately drew Jones favorable comparisons to luminaries like Mathew Jonson and Carl Craig and went on to become the labels biggest selling record. Jamie followed that standout release with recordings on leading labels like Crosstown Rebels, Get Physical, Cocoon, Poker Flat and far too many more to mention. Consistent to his production quality are low wobbly basslines, dissonant and hypnotic keyboard lines, crisp snares, and the aforementioned steady groove.
Since Then, Jamie’s relationship with Crosstown Rebels has grown. 2009 saw him release Summertime EP, which went on to become the labels biggest selling single. He also had the unprecedented accolade of having 3 tracks in the Beatport top 10 concurrently. His Debut album ‘don’t you remember the future’ also on Rebels has been hailed by Press and Dance Music critics across the globe as the best electronic album of the year.
In 2009 I released my debut Album “Dont you remember the future” which has been one of the biggest dance albums of the year.
The clubs where you can catch me regularly are Fabric (London), D Club (Luasanne), Back 2 Basics (Leeds), Le Club (Valencia), Tenax (Florence)
Azari & III - Hungry For The Power [Jamie Jones Remix] by PurplePR
Ruckus Jamie Jones - Original Mix by Gouranga
VINICIUS DE MORAES
Vinícius de Moraes was a fundamental figure in Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time bossa nova and samba classics. As a composer, he wrote some good music, and as an interpreter, he left several important albums. From a musical family, he began very early to write poetry. At 14 he became friends with the brothers Paulo and Haroldo Tapajós. With Haroldo, he composed the fox song "Loura ou Morena," recorded by the two brothers in 1932 with success for Columbia. In 1929 de Moraes enrolled in law school in Catete, Rio. Between 1932 and 1933 he wrote lyrics for ten songs that were recorded by his partners: seven with Haroldo Tapajós, two with Paulo, and one with J. Medina (which was recorded by João Petra de Barros). In 1933 he finished his college studies and released his first book, O Caminho Para a Distância. In 1935 he had his second book (Forma e Exegese) awarded, and in the next year, he became a cinema censor for the health and education cabinet. In 1936 he wrote Ariana, a Mulher and in 1938 headed to England, with an English government scholarship to study literature at Oxford University, and wrote Novos Poemas. At that time he was married by proxy.
With the development of World War I, he returned to Rio. In 1941 he began to write film reviews and critiques. Two years later he joined Brazil's diplomatic service, Itamaraty, also releasing the book Cinco Elegias. In 1946 he was sent to Los Angeles in his first diplomatic assignment as vice consul and released Poemas, Sonetos e Baladas. In 1950 he returned to Brazil due to his father's death. His first samba (with Antônio Maria) is from 1953, "Quando Tu Passas por Mim," a year in which he moved to France as Brazil's embassy second secretary. His play Orfeu da Conceição won the IV São Paulo Centennial Contest in 1954. In 1955 he wrote lyrics for some of Cláudio Santoro's chamber music pieces. That next year he staged Orfeu da Conceição, which was filmed by French writer Marcel Camus. He was then introduced to an unknown pianist, Antonio Carlos Jobim, who was commissioned with writing the music for the play. Jobim composed "Se Todos Fossem Iguais a Você," "Um Nome de Mulher," and several others, recorded by Odeon with Luiz Bonfá and others. Following a return to Paris in 1956 and another diplomatic assignment at Montevideo, Uruguay, in 1957 (when released Livro de Sonetos, followed by Novos Poemas II in 1959), he stayed there until 1960.
In 1958 Elizeth Cardoso released her album, marking the beginning of bossa nova. She included on it five compositions by the duo Tom & Vinícius: "Canção do Amor Demais," "Chega de Saudade," "Outra Vez," "Luciana," and "Estrada Branca." The album also brought João Gilberto and his "different beat" onto two tracks, "Chega de Saudade" and "Outra Vez." The careers of all of them had great impetus after that record, and the songs written by Tom & Vinícius became disputed by singers. In 1959 the movie Orfeu do Carnaval, based on the play Orfeu da Conceição, was awarded with the Golden Palm at the international movie festival of Cannes, France, and, in Hollywood, as the best foreign movie. In that time, he and Jobim composed "Eu Sei Que Vou Te Amar" and "Amor em Paz." In 1960 he wrote O Amor dos Homens. In 1961 he composed with Carlos Lyra "Coisa Mais Linda," "Primeira Namorada," "Nada Como Ter Amor," and "Você e Eu." In 1962 he wrote (together with Pixinguinha) the soundtrack for the movie Sol Sobre a Lama (Alex Viany), which included "Lamento"; he also met Baden Powell and wrote with him "Samba da Bênção," "Só por Amor," "Canção de Amor e Paz," "Pra Que Chorar," "Deixa," "Samba em Prelúdio," "Apelo," "Berimbau," "Consolação," and other great classics. After Powell's return from Bahia, where he dedicated himself to research the Bahian folklore, they composed the series known as the Afro-sambas: "Samba de Oxossi," "Canto de Xangô," "Canto de Ossanha," and others. With Carlos Lyra he wrote "Marcha da Quarta-Feira de Cinzas" and "Minha Namorada," included in his play Pobre Menina Rica. In August 1962, together with Jobim, João Gilberto, and Os Cariocas, he opened the show Encontro at the Au Bon Gourmet nightclub (Rio). That show represented the first audition of "Garota de Ipanema," "Insensatez," "Ela é Carioca," "Só Danço Samba," "Samba do Avião" (all with Jobim), and "Samba da Bênção." The same nightclub presented his play Pobre Menina Rica, which had music by Carlos Lyra ("Sabe Você," "Primavera," and "Pau-de-Arara"). The play launched the career of Nara Leão. He also released Para Viver um Grande Amor. In the next year he met Edu Lobo, with whom he would write "Arrastão" (which would win the I FMPB in 1965 with Elis Regina's interpretation), "Zambi," and "Canção do Amanhecer."
Returning to Paris, he worked for UNESCO until 1964. Meeting Francis Hime upon returning to Brazil, they composed "Saudade de Amar," "Sem Mais Adeus," and "Eu Te Amo, Amor." Together with Dorival Caymmi he presented a show at the Zum-Zum nightclub, which was a major success. Recorded live, it was released by Elenco. Quarteto em Cy, four singing sisters he discovered, was launched at that show. At the I FMPB, "Valsa do Amor Que Não Vem" (together with Baden Powell) won second place in the interpretation of Elizeth Cardoso. He collaborated on the script of the movie Garota de Ipanema and had a second season for his show with Dorival Caymmi. Also in 1965 he released O Mergulhador. In 1966 he participated (with Maria Bethânia and Gilberto Gil) in the show Pois É at the Teatro Opinião, which presented Gil's compositions. His "Samba da Bênção" (with Baden) was included on the soundtrack of Claude Lelouch's movie Un Homme et une Femme, winner of the Cannes movie festival. He also wrote Para uma Menina com uma Flor. In 1968 he was summarily fired after 26 years of work from the Itamaraty by the discretionary powers of military dictatorship. In that year, he toured extensively through Europe (with Chico Buarque and Nara Leão) and Argentina (with Dorival Caymmi, Quarteto em Cy, Baden Powell, and Oscar Castro-Neves). In 1969 he performed at Punta del Este, Uruguay, with Maria Creuza and Dori Caymmi. In that year he also became the partner of Toquinho (de Moraes' most frequent partner and biggest friend, they would record 20 LPs together), with whom, along with Marília Medalha, he opened a show in 1970 at the Teatro Castro Alves (Salvador). Also with them, he performed at the La Fusa nightclub (Buenos Aires, Argentina); in January 1971 Toquinho and de Moraes would again perform there, this time with Maria Bethânia. Still in 1970, taking a hit by Garoto written 20 years before, he wrote (together with Chico Buarque) the lyrics for "Gente Humilde." His book Arca de Noé would yield ten years later several TV stagings with music by Toquinho, which was released on two LPs: A Arca de Noé (Ariola, 1980) and A Arca de Noé, Vol. 2 (Ariola, 1981). In 1971 an LP with his compositions (with Toquinho) "Tarde em Itapoã" and "Como Dizia o Poeta" was released by RGE with great success. It brought a great number of invitations for touring in Brazil and abroad. Always successful the duo came out with "Maria-vai-Com-as-Outras," "Testamento" (1971), "Regra Três" (1972), and others. With Toquinho and Clara Nunes, he presented the 1973 show O Poeta, a Moça e o Violão at the Teatro Castro Alves, Bahia.
Vinicius de Moraes + Samba de bênção by bonjour+brazil
Vinicius de moraes & toquinho - garota de ipanema6 by inaglam
PAUL KALKBRENNER
Paul Kalkbrenner is a DJ, musician and producer who became one of the leading lights on the German electronic music scene. Kalkbrenner was born in Leipzig in Eastern Germany in 1977, and began studying the trumpet when he was eight. In 1989, as the Berlin Wall came down and East and West Germany were reunified, the East eagerly embraced new freedoms, and the electronic music scene was an unexpected beneficiary as the people set out to express themselves and embrace the high-spirited nature of the music. Kalkbrenner had already begun performing at youth clubs in Leipzig by this time, and he immersed himself in East Berlin's booming club scene. In 1994, he began DJing at a number of clubs, and worked as an editor and technician for German television networks to finance his recording and production efforts. As his skills increased, he began spinning his own recordings rather than relying on other people's music, and in 1999, he signed a contract with BPitch Control, a respected EDM label founded by Ellen Allien. His debut EP, Friedrichshain, was released that same year under the name Paul dB+, and after a handful of well-received singles, Kalkbrenner's first full-length album, Superimpose, was released in 2001 under his proper name. After establishing himself as a top recording artist and live DJ, Kalkbrenner expanded into the world of filmmaking, working with director Hannes Stohr on the film Berlin Calling, in which Kalkbrenner played the leading role, composed the score, and helped Stohr craft the story.