changing the way you listen..

Jean-Michel Basquait: King Pleasure | 2022 Exhibition NYC

OPENING | 9. APRIL 2022

Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.

Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.

Sir David Adjaye OBE will lead the exhibition design for Jean-Michel Basquiat: King Pleasure©. Renowned for designing many notable buildings around the world, including the National Museum of African American History and Culture, Adjaye Associates will transform the ground floor of the landmark Starrett-Lehigh Building with the remarkable story of Jean-Michel told through the lens of his family.

STARRETT
LEHIGH

601 WEST 26TH STREET,
NEW YORK, NY 10001 USA

ENTRANCE ON 27TH STREET

Altroy Jerome & Etapp Kyle @ PRST (Vienna, Austria)

PAUL JOHNSON (CHICAGO) | JAN 1971 – AUG 2021

Paul Johnson (Born: Jan 11, 1971, Chicago, Illinois, USA – Died: Aug 4, 2021) was an American house DJ and producer.

He released a vast amount of music for some of the most consistently underground dance labels before hooking up with Peacefrog Records. 12″ releases on the likes of Cajual Records / Relief Records and Dance Mania led to his debut album release “Bump Talkin'” in 1996. This and the follow up “Feel The Music” became two of the most talked about releases of their time.

His remix work for Stacy Kidd, Joey Beltram, Green Velvet, Armando, Ce Ce Peniston, Ron Trent, K-Alexi, and Steve Poindexter made its way into all the big jocks boxes, many of which remain there to this day.
He lost the use of his legs as a result of a shooting accident in 1987, and required a wheelchair for mobility.

(K-HAND) THE FIRST LADY OF DETROIT TECHNO

DJ and producer Kelli Hand, who as K-Hand was a prolific, versatile and much-admired figure in Detroit’s dance music scene, has died aged 56. A cause has not been announced, but her death was confirmed by close friends on social media and to the Guardian by her agent.

Hand was named “the first lady of Detroit” by the city’s council in 2017, acknowledging a career in which she was a rare Black woman in dance music production and DJing.

Born and raised in Detroit, Hand began taking weekend trips to New York clubs as a young woman in the 1980s, frequenting Paradise Garage and being inspired by the emergent sounds of house and techno. While working on the fraud team of a phone company, she began DJing in the late 80s, earning local residencies.
She started producing her own music and founded the label UK House Records – later renamed Acacia Records – to release it, with her debut EP, Think About It, coming in 1990. Techno stars Jeff Mills, Robert Hood, Mike Banks and Mike Clarke assisted on the recording. She continued to release tracks spanning jackin’ house, ghettotech and the pounding minimalism of Detroit techno, and her star spread to Europe where she began touring in the mid-1990s. The UK label Warp Records released a 1994 single, Global Warning.
She released the first of seven studio albums in 1995, and steadily continued to release music until 2020.

In 2016, she explained her approach to DJing and production, favouring hardware over software: “If it’s not on vinyl, it’s not final, that’s the bottom line,” she said. “Because you need that warm sound, that analogue sound – not the robotic mouse clicking sound. From 2000 it’s all been Einstein, twinky-twinky electronic computer-mouse-clicking music. A lot of people produce by putting things in blocks on a screen. Some people make good music doing that, but for me that’s not producing – you’re playing a computer game.”

The dance music community has paid tribute, with Mike Servito saying: “She was pioneering! You leave us with an inspirational Detroit music legacy,” and Octave One saying: “Our Detroit Sista will truly be missed.”

words by Ben Beaumont-Thomas @ The Guardian

DAMION LEE LIVE @ FLUC 29.07.2021

DAMION LEE | MEIN BESTES (12″) RELEASE PARTY!

Damion Lee is hard to pin down sonically. His sound has been described as everything from “Reggae Rapper” to “German pop”. But what are categories for? The music is what matters. He blends his reggae/rap influences from his previous project „Taktattackers“ – which he created along with Masu in 1999 – to capture his  music sensitivity and catchy vocal styling, which makes him a must-listen.

The MEIN BESTES LP (12″) captures Damion’s best work from 2007-2020 to manifest his first Vinyl LP release on Minimalsoul Recordings.

Grab your (12″) LP and more DAMION LEE merchandise at the show!

[DEUTSCH]
Damion Lee veröffentlicht seine erste Vinyl!

 // LIVE PERFORMANCE //

Damion Lee – ehemaliger Bäckermeister, Tontechniker, Videojournalist, Hotelfachmann, Entrepreneur und Geschäftsführer der Bäckerei Obermaier, über die das ZDF eine Doku Reihe drehte.
„War alles nicht meins“, sagt er heute.
Es war ein langer und emotional sehr schwieriger Weg, den folgenden Satz aus seinen Lungen zu quetschen:
„Ich bin ein Künstler“ Er kategorisiert seinen Sound mit drei Wörtern – Damion Lee Pop.

Die Presse schreibt : „Rap auf der Zunge, Reggae im Hirn und Soul auf seinen Stimmbändern“
Mit dem Einzug in das Achtelfinale bei X Faktor Deutschland 2018 und der Halbfinalteilnahme bei Starmania 2021 in Wien, bewies er den Nationen zwei Dinge. Erstens – seine Kompositionen können ehrlicher, gefühlvoller und schöner nicht sein und zweitens, covern macht bei diesem Ausnahmetalent keinen Sinn.
Die eingängigen Melodien und seine raue unvergleichbare warme Stimme, machen ihn zu dem was er heute ist.

Ein Unikat der, sollte er es schaffen aus seinem Tief empor zu steigen, großes werden wird – Europaweit. Vor allem seine Live Performance geht unter die Haut wie ein Tattoo. Nach drei eindrucksvollen Alben, „Mein Erstes“, „Mein Zweites“ und „Mein Drittes“ die er komplett in Eigenregie komponiert und produziert hat, folgt jetzt sein erstes Vinylrelease.

Musikalisch begleitet wird das Ganze von “die Bande”. Die vier Musiker
@Flo (Bass)
@Alex (Drums)
@Valentin (Keys)
@Flo (Git)
sind in Wien flächendeckend unter dem Namen “Spitting Ibex” bekannt. Alles dope, gut aussehende und extrem begabte Jungs!!!!!

// DJ LINEUP TO BE ANNOUNCED //

Venue: Fluc & Fluc Wanne
Praterstern 5, 1020 Wien, Austria
Thu, 29 Jul 2021

Doors: 07:00 PM
@damion_lee_official
@hohlikco
@minimalsouldistribution
 

Detroit’s Tim Baker (..lived until 04. April . 2021)

Tim Baker, the Detroit-born DJ and producer, died on Sunday 4. April 2021. Baker, born in Detroit, began DJing in 1984. A few years later, he’d secure a residency at the Nectarine Club alongside Jeff Mills. In the early ’90s, he launched a clothing line called Elephanthaus and began gigging around Europe, making a 1994 appearance at Tresor. Elephanthaus, a clubwear label, would eventually expand as a recording imprint, mostly serving as a home for Baker’s releases. He’d relocate to Chicago in 1998, launching a house-oriented label called Real Estate Records. Baker’s solo releases came out on labels like Ovum and Minifunk over the years, and he was a beloved father and supportive figure in the scene up to his passing.

Jazzdination Radioshow | Summertapes by Altroy Jerome

Jazzdination Summertapes – Altroy Jerome (www.minimalsoul.com )

Gene Russel – My Favorite Things(US version)
Painted Pictures – Woody (minimalsoul.com/)*
Rudolph Johnson – The Highest Pleasure
Innerzone Orchestra – Basic Math
Alice Coltrane – Blue Nile
John Coltrane – Summertime
Malik Alston Trio – Sweet Melody (minimalsoul.com/)*
Gene Russel – My Favorite Things (Japan version)
Roland Hanna Trio – Double Intentions
Phil Owen – Phil’s Tune
Archie Shepp – The Girl From Ipanema
Julian Cannonball Adderly & John Coltrane – The Sleeper
Roy Eldridge – Wrap Your Troubles In Dreams
Ramsey Lewis Trio – Black Orpheus Medley
The Awakening (Ari Brown, Arlington Davis, Jr., Frank Gordon, Ken Chaney, Reggie Willis, Steve Galloway) – Prologue Spring Thing
Lionel Hampton – But Beautiful
Roy Eldridge – Sweet Georgia Brown
Gene Russell – If You Could See Me Now
Rick Holmes & Roy Ayers – Remember To Remember
Tony Allen & Jeff Mills – Locked And Loaded
Amp Fiddler – Seven Mile
Lonnie Liston Smith – Mardis Gras

*exclusively distributed by MSR Distro

Altroy Jerome @ Booth Hub in Vienna, Austria


Tracklist:
Underground Resistance – Amazon (Live)
Surgeon Meets Vice ‎– Creeper
Drexciya – Black Sea
Claude Young – Ghost
Deniro ‎– Painting 3
Stephan Brown – Much Respect
The Happy Clappies O.D.M.
The Vision – The Protector
Claude Young – Chronicles
Psychic Warfare ‎– The Force
S.B. Project – Untitled
Verbos – Nightmare Session
S.B. Project ‎– Primitive Streak Redefined
Karakter – Untitled
Jeff Mills – Alarms
S. Bicknell – Untitled
X-103 – Tephra
Surgeon – Electric Chicken
Jay Denham – Peacemaker
Oliver Ho – Untitled
Anthony Shakir – The Random Hustle
Jay Denham – I Can Feel It
Jeff Mills – Native High
S.B. Project – Untitled
Ratio – Gastrek
Jay Denham – Coup De’ tat
Steve Rachmad – Sidra
Aubrey – Ghost Mist
Anthony Shakir – Millenium Blues

Juini Booth @ The Sequester Series | 9. February 2021

Arthur Edward Booth is a legendary Buffalo-born American jazz double-bassist who has worked with a vast array of jazz masters, from McCoy Tyner and Freddie Hubbard to Albert Ayler and Sonny Sharrock. Booth began playing piano at about age eight, and switched to bass at 12. He worked with Chuck Mangione in his hometown before moving to New York City around 1966, where he played with Eddie Harris, Art Blakey, Sonny Simmons, Marzette Watts, Freddie Hubbard, Gary Bartz, and countless others.

BanBanTonTon | features Chris Coco & Luca Averna`s Sueño Mediterráneo

Chris Coco and Luca Averna`s Sueño Mediterráneo, on Minimalsoul Recordings, is actually more of a homage to the history of house, than a chilled-out affair. The opening Mare might be a mellow sundown Spanish stroll but the album’s ten tracks travel tempos all the way up to tribal-techno-esque bangers and back again. Touching on memorable proto Italo momentsearly Chicago relics, and `90s classics. Tunes that were no doubt staples during Chris` residency at Brighton`s Zap, The Coco Club. The distinctly danceable rhythms, topped with introspective melodies – deep with strings, sighs, sequences, and whistles – nostalgic echoes of rave. Garage divas, beatific bleeps, and the blissed out vibes of The Beloved’s Sun RisingHigh Waves is built on a beat borrowed from Vaughan Mason’s Raze. 

see whole feature at www.banbantonton.com

Remembering Armando Anthony “Chick” Corea

American jazz composer, keyboardist, bandleader & occasional percussionist.

He was born on 12. June 1941 and lived until 9. February 2021 .

Chick Corea / John Patitucci / Vinnie Colaiuta | Blue Note, Tokyo, 1992
https://youtu.be/27lwYRhjBtE
Roy Haynes – Chick Corea – Kenny Garrett – Christian McBride The unbelievable Drum Solo – Chick Corea Freedom Band August 2, 2010 / Marciac – France
https://youtu.be/0b3UG5qBoOk
Roy Haynes Quartet & Chick Corea – JazzBaltica 2005
https://youtu.be/w-XZu8DBLSs
THE CHICK COREA AKOUSTIC BAND. JAZZ SAN JAVIER 2018
Chick Corea (Piano) Carlitos Del Puerto (Bass) Marcus Gilmore (Drums)

MSR20 | 180g LIMITED EDITION (2×12″ LP)

// SHIPPING WORLDWIDE //

180g LIMITED EDITION | PRESS: [100x] (2×12″LP)

Minimalsoul™ is proud to present its only vinyl release of the year 2020. Needless to say, the Covid-19 pandemic hit us hard as it did with many other players within the underground electronic music community. Therefore, we decided to concentrate our efforts on a single release this year, considering its unique feature being our 20th vinyl-catalog release.

“Sueño Mediterráneo” meets our primary goals of then and now: expanding our sonic horizon and telling a story in music that focuses on the human being, the soul, and the essential things to appreciate in life. “Sueño Mediterráneo” is a two-hand effort by the Italian DJ and producer Luca Averna (elsewhere also known as Jay Green) and the UK House veteran DJ and producer Chris Coco.

Luca moved to Ibiza permanently a few years back, firmly wanting to live the isle differently, appreciating the rustical life of the western hills with his beloved wife, dog, turntables, vinyl records, and drum machines. Chris is an Ibiza regular since the 90s, and during the last two decades, he has become one of the most respected figures within the island’s Balearic scene.

After meeting a couple of years ago, they decided right away to produce music together, giving birth to this “Sueño Mediterráneo” project, with the desire to pay tribute to the 90s Italo Dream House, celebrate a newborn friendship, and their shared love for the White Island.

All tracks written & produced in 2018 by Chris Mellor and Luca Averna,
between Ibiza and London and using the following gear:
Roland® TR 606,626,707,909; Yamaha RX5, Yamaha DX7, Korg M1.
Additional Credits:
Guitar in ‘Mare’ By Micko Roche.
Bass Guitar in “Walearic Dub” By Yusuke.
Vocals in “Underwater” By Louis Van Johnson.
Vocals in “Il Tempio Dell’Amore” By Luca Averna.

Mastered by Rune Lindbaek.

Graphic design by Dextro.org.

KLF 2021 | SAMPLECITY TRU TRANCENTRAL

Detroit’s Underground Music Academy

Legends Mad Mike and Wajeed have an idea to build support for communities of marginalized music makers – right in the heart of Detroit. That effort might have gotten upstaged by the election, so now is the perfect time to dig in – and recall some of Detroit’s own history.

It’s not an accident that current political noise is all about discounting the votes of Detroit residents. You could easily see an echo in the music industry. So maybe it’s time for some resistance again.

Underground Music Academy is an idea that’s been floating around Detroit for some time now, but it’s getting a home and a plan at an essential time. The location is incredible – next to the storied Submerge record store, around the corner from the landmark Motown Museum, and in the former offices of the NAACP.
With all that Motown history, though, and his own place in American music, WAJEED says he wants to build something international – so take note, world readers. “This space will provide for not just our community, but people worldwide,” he recently told The Face. “Anybody who’s marginalized, that’s who we’re here for. Anybody who has been slept on and forgotten, that’s our priority,” he says.
Check out the full interview with Ash Lauryn from the end of October (and for sure, elections and pandemics might well have meant you slept on this – and we shouldn’t):
Underground Music Academy is ushering in a new generation of revolutionary artists

That’s exciting, particularly as there’s a void left by the Red Bull Music Academy – and a chance, perhaps, to steer instead toward community-driven, grassroots efforts instead of big brands. Mad Mike, for his part, was an epic part of what made RBMA so powerful; he’s just a fantastic teacher and inspiration, according to absolutely everyone I know who’s ever been in the same room with him.
So straight to the details:

What they’ll teach: “both studio skills and business acumen,” the creators promise, with a plan to make placing students and launching careers part of the curriculum. That’s in keeping with the history of Detroit (there’s a reason that “hustle harder” phrase got traction), and in what places like Submerge have done.

Where it’ll be: 2990 East Grand Blvd. Second Floor – that’s the North End

What they’re fundraising for: that space is purchased, but it needs renovation – plus a budget for a website and equipment. They have a really low funding goal, actually, so no reason not to help for anyone in the industry with some spare change – see below.

Timeline: they say they’re trying to launch in 2021 with free online tutorials, and then opening the physical space in 2022. Here in Berlin, I’ve heard German DJ Sarah Farina getting really involved and has been sharing some encouraging developments – which is important as a link from Detroit to other scenes (especially as a number of Detroit-born artists have moved over here).

The mission: “As a lifelong Detroiter with over 20 years in the music business, I feel a great need to build a more inclusive electronic music community. Music will be the means for education, healing and building esteem.”
How to help: They’re fundraising on ioby.org, with a $25,000 goal – and they’re already halfway there. Even twenty bucks can buy them some paint.
If you don’t have money but you’re in Detroit, they’re also looking for volunteers to help with cleanup, organization, and painting.

by cdm.link

The 25th of August is Frankie Knuckles Day!

This is rare footage of Frankie’s street dedication from the city of Chicago on 25 August 2004 as Frankie Knuckles Way!

Frankie was born in 1955 in New York and played an important role in developing house music in Chicago during the 1980s, when the genre was in its infancy.

Knuckles moved to Chicago in 1977 and began DJing at the Warehouse, where he played tracks in a NYC style which included beat-mixing and the addition of percussion fills from a separate turntable in order to spruce up the sound. Frankie now rests in peace since 31. March 2014.


The Frankie Knuckles Foundation is a not for profit educational, and cultural organization dedicated to the advancement of Frankie Knuckles’ mission as the global ambassador of house music through media, conservation and public events continuing and supporting the causes he advocated.
 
The FKF is a recognized 501c3 and focused on these initiatives: music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Model 500 at Nuits sonores (2019)

Larry Heard & Robert Owens are Suing Trax Records

Chicago House Music pioneers Larry Heard and Robert Owens have filed a multi-million dollar copyright infringement suit against Trax Records and defendant Rachael Cain, according to court documents discovered today by 5 Mag.

On Tuesday June 23, 2020, attorneys Robert S. Meloni and Christopher M. Heintskill filed suit in Federal Court in the Northern District of Illinois alleging Trax Records has committed copyright infringement for tracks including “Can You Feel It,” “Washing Machine,” “Beyond The Clouds,” “Bring Down The Walls,” “Donnie,” “Distant Planet” and “Never No More Lonely.”

“TRAX’S TREATMENT OF THOSE ARTISTS ON ITS LABEL IS NOTORIOUS TO THOSE IN THE ELECTRONIC WORLD.” — ROBERT OWENS

“This case involves an all-too familiar story of the early days of the music industry,” the complaint reads. “Talented, but unrepresented, musicians hungry for their first break were lulled into a business relationship with an unscrupulous record company that made promises it never intended to keep and masqueraded as paternalistic benefactors for those artists – like a wolf in sheep’s clothing.”

A statement provided to 5 Mag by TaP Music Publishing after initial publication of this story quotes Larry Heard as remembering how disappointed he was that “my earliest ventures into the music business was with a label in the community that turned out to be dishonest, like with many other artists that we hear about all too often. We are simply seeking justice and fairness. Maybe, our efforts will shed light on the many predatory practices that have been in place for a long time in this industry.”

“Trax’s treatment of those artists on its label is notorious to those in the electronic world,” Robert Owens says in the same release. “Many of my friends and fellow artists have been similarly treated. Hopefully this lawsuit will end Trax’s reign of non-payment. I’m grateful to TaP for their support in bringing this long overdue claim.”

The artists’ complaint alleges that Trax “built its catalogue by taking advantage of the unsophisticated but creative house-music artists and songwriters by having them sign away their copyrights for paltry amounts of money up front and promises of continued royalties throughout the life of the copyrights.” The complaint alleges that Trax’s original copyright filings from 1986 and 1987 contained false information and demands the court to invalidate them. (Heard also filed applications for copyright for the same tracks at the same time.)

Between 1985 and 1987, according to the complaint, Heard signed four documents with Trax founder Larry Sherman, none of which transferred or assigned any copyright and which didn’t include “Donnie,” “Never No More Lonely” or “Distant Planet.” The suit also alleges Trax entered “knowingly false information” in applications for copyright registration for these tracks alleging all rights had been transferred by the authors. The suit alleges these rights were never transferred by Heard or Owens.

“LARRY HEARD AND ROBERT OWENS HAVE FILED THIS LAWSUIT TO BEGIN THE PROCESS OF RIGHTING THE WRONGS THEY SUFFERED, IN THE HOPE THAT IT MAY INSPIRE OTHER SIMILARLY SITUATED AFRICAN-AMERICANS TO STAND UP FOR THEIR RIGHTS AS WELL.” — ROBERT S. MELONI

“During my 40 years of practicing law in the music business, it was not all that uncommon to see record labels failing to honor their agreements with artists, particularly African-American artists,” litigator Robert S. Meloni said in a statement. Going as far back as Fat Waller, who practically gave away his rights to his iconic song Ain’t Misbehavin’ for a flat $500 just to stay out of alimony jail, through Little Richard, who was forced to sue his record label in 1984 for $112 million since he had not been paid any royalties since 1959, to Jimmy Hendrix and his infamous “1% contract” with PPX in 1965, all the way up to the legendary Chicago house music artists Larry Heard and Robert Owens and Trax Records – the subject of this lawsuit – African-American musicians have been especially victimized.

“Larry Heard and Robert Owens have filed this lawsuit to begin the process of righting the wrongs they suffered, in the hope that it may inspire other similarly situated African-Americans to stand up for their rights as well.”

The complaint also alleges that multiple songs have been “materially edited, remixed, and otherwise altered without Heard and/or Owen’s knowledge or permission, including making derivative versions through the addition of other writers (including Cain). In fact, there are over one dozen versions of ‘Can You Feel It’ that were released by Trax Records alone.

“Heard has never received a single accounting or payment from Defendants for monies from the exploitations of his musical works.”

The filing actually quotes 5 Mag’s obituary of Larry Sherman, which read in part: Many of 5 Mag’s early profiles of some of Chicago House Music’s legends outlined the feeling by the then-young, often black artists of exploitation. Jamie Principle told 5 Mag in 2011 that he never had a contract of any kind with Trax, while DJ Pierre of Phuture, whose Acid Tracks was released on Trax, claimed he never received any royalties at all from the label for what became one of the best-selling tracks of all time.

The document goes on to quote Frankie Knuckles, Adonis and others on their problems with Trax Records’ business practices over the years, including Knuckles calling the Trax Records group “barnacles” and that “[a]nytime I got some new product coming out they try and piggyback on whatever that it is that I’m doing to try and make whatever they can make off of it.” Adonis recently held a crowdsourcing campaign to make up for what he claimed were 34 years of receiving “not one penny” from Trax for the rights to “No Way Back” and other music.

Reached for comment, Rachael Cain referred 5 Mag to her attorney Rick Darke of Duane Morris LLP.

“Rachael Cain has been fighting for a long time to get these artists paid,” Darke said in a statement. “She just hasn’t received the monies from the parties responsible in order to pay them.” The “parties responsible” refers to Rachael Cain’s “long legal dispute with a Canadian investor, Casablanca Trax, Inc.”

“Casablanca obtained the rights and licenses to music from artists like Heard,” the statement continues, “and later transferred the rights to another entity. Though Cain has since prevailed on appeal, the parties responsible have not paid up,” according to Darke, who says Cain had been fighting “for 15 years to get artists like Heard and Owen royalties.”

“Since the very beginning I have been championing House music, TRAX Records and our artists,” Cain said in a statement. “As an artist myself I can totally understand and feel their frustration. Since 2002 TRAX Records has had no control over the TRAX classic catalogue which we intend to rectify. I would like them to know I have not been in control of the classics and have been fighting to get them paid.”

When asked about Heard and Owens’ claims in regard to invalidating the copyright, Darke told 5 Mag by phone that he hadn’t had a chance to dive into the specifics of the filings yet but “would be surprised if they were accurate.”

Story by Terry Matthew | 5 Mag

19. June 2020 | Juneteenth

Juneteenth is a memorial day commemorating 19. June 1865. It is celebrated annually in memory of the liberation of African American people in the United States from slavery.

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