RESPECT: DAVID WILLIAMS (RIP)
The 80′s like every great era before it had a definitive sound, David Williams played a pivotal role in forming that sound. From Quincy to Micheal to Madonna and countless others, Mr Williams and Tony Maiden (Rufus) had a very distinctive tone in their style of rhythm guitar playing that has been emulated by many musicians. Sadly, Mr. Williams has recently joined a higher calling. Mr. Williams left a body of work that will forever live in our dancing feet and hearts. Love, Good Energy, Strength and condolences to family and friends of Mr. Williams.
http://earbender.com/2009/03/david-williams-guitarist-with-michael-jackson-madonna/
+check for the guitar solo in Micheal’s “Billie Jean” during the bridge -)
Tighten Up presents..ERIK RICO | LA
March 18th 2009
Tighten Up
Presents:
A Live PA Set By:
Erik Rico (Lifenotes Music)
Born into a family of creative artists, Erik began his professional career 10 years ago as a self contained artist/producer on Sony’s Columbia Records after being discovered by American Idol’s Randy Jackson, then V.P. of Columbia Records. Prior to Jackson’s introduction to Erik, he had only briefly been producing, writing and arranging for independent hip hop and soul acts on the east coast. However, after only two years of being immersed in the confinements of corporate music, Erik felt his creativity could be better expressed elsewhere. He broke his contract with Sony, returned east and then to Europe in search of musical freedom.
Eventually, Erik returned to California in pursuit of his musical career as an independent producer/artist where he was tapped to do his first major label production, coupled with various multimedia projects encompassing network and TV shows, feature films for the Showtime network, PBS as well as a two year stint as sound designer for famed photographer David LaChapelle and currently with Producit Inc. whose clients include: All major TV & Film networks, international advertising agencies, private events and celebrity clients such as Elton John, Gene Simmons, Mariah Carey and Jessica Alba.
Opening DJ Set By:
Joel Matthew (Lifenotes Music)
With Residents:
Yosaku (Arision/GAMM) + Chaka (Selecao)
Serving Up: Soulful, Jazzy, Latin/Brazilian, House/Broken/Afro Beats
Every third Wednesday of the month @ 9pm
21+ $7 Cover
Zanzibar
1301 5th St
Santa Monica, CA 90401
(310) 451-2221
Map
RESPECT: Zach Zachery (RIP)
I send my love and energy to the family and friends of Mr Zach Zachery who was the premier Sax Player for the legendary powerhouse MFSB (Mother Father Sister Brother) that provided the soundtrack to The Legendary Philly Sound. I am saddened by the news that Mr. Zachery as of recent has joined a higher plane but his music will forever live within our hearts.
I remember as a kid listening to records like “Zach’s Fanfare” “Sexy” and counltess other Philly gems that this man blessed. His signature Big Band Swing style was one of the striking elements that made the Philly recipe so potent.
Thank you for the sweet sounds Mr Zachery. Rest In Paradise.
You’re Lying…Jamiroquai did not make this record..lmbao
My big brother use to rock this one before he would go out to party. Once he left the house I would sneak into his room and thumb through his 45′s and lp’s (My Mom was asleep when all this was happening. Otherwise, my mischievous ass would have been whooped until the future…yeah I said “whooped”..). This was one of the stand out records I never forgot, those were some good times that I really miss a lot. During this 80-81 era, Disco was peaking, it started taking on a more of a Boogie feel. Boogie begat Electro/Freestyle and so on but this was one of the staple records that ushered out the Disco era but kept some of its themes. At that time, no one was really calling it “Boogie” perse because that was a term used for its groove factor. The string factor was dead, the sound became more synth/bass oriented (ie Funkytown, Bounce Rock Skate, Good Times,etc) . Also by that time the Euro sound was forming as well. It was all Funk/R&B at the end of the day. As of lately, newbies of this sound have coined a cute little name called “Boogie” but there are some settle differences in the sounds (back then there were no such things as the “Boogie” charts. If so, I stand to be corrected..). The Rollerskating culture played a very crucial role during the late 70′s early 80′s and somewhat ushered out the lush Van Mccoy, Gamble-Huff sound in its traditional form. Thus, introducing the “Boogie Sound” (heavy keyboards, light rhythms, happy-go-luck lyrics, simple hooks) in a lot of the records being recorded, just as in the previous there were records that were crafted towards certain dances such as The Bump, The Hustle, The Latin Hustle, The Tilt, The Spank, etc. By the late 70′s, Rollerskating Culture was massive (I never mastered them blades,lol). At some point I will cover more on the subject of the Boogie craze, Disco, “Dazz” and much more .
But this particular piece by Linx was THE JAM back then, Trust. This was one of many club jams that remains a staple to this day (KGFJ AM the grandfather of African American radio in LA was the only station that would drop it every now and then, it was strictly a club record), its progressive chords and mystic tones made me a believer from day one.
Biggups to British Soul!
I have the lp to this, but I need this single for real! This sounds more like a dub version, the lyrics are not in this version but I still dig the mix.
Save The Date| 2.20.09 | Chicago Night @ Play (Hollywood)
Save The Date 02.20.09: My Chi Town fam will be bringing it live and direct! I’ve had the great pleasure playing with Drack/Wize and you are in for a treat! Play some “Free Man” for me fellas!
In The Lab w/ BSTC
Marking the return of the ultimate “funky dance record” (as coined by the great Kenny Gamble) while celebrating various elements of Jazz, Funk, Soul and Disco (yes the “D” word); BSTC comes strong with some serious Chicago Funk/Soul in their latest debut offering “Music For a Saturday Evening”. Which made me an instant believer when I first recieved the promo 12′ (biggups to my man Dcee at Mahasa Music) of “Jazz In Outerspace”. I had a chance to catch up with founder and brainchild Andy C to talk about the group and its conception.
A-Ski: First and foremost I have to say that your debut is one of the most refreshing albums i’ve heard in a quite awhile. What was the inspiration and how did the concept come together?
Andy: The group came together while i was working with Tunji on some rap projects. While we were in the studio, we
came up with the songs BSTC and Jazz in Outerspace, during
the downtime. I let Tone hear it (All Natural Recordings),
he fell in love with the sound and we started working on
an EP, while working on the EP I reached out to Keanna and
asked her to write a song to an instrumental that we had and
from there the concept grew in to what it is today.
A-Ski: Where are you guys based out of?
Andy: Chicago
A-Ski: So that exlplains the serious funk factor?
Andy: Sure
A-Ski: Being that Chicago is one of the major architects behind Soul/Blues/Dance music, what are the elements of the Chi Town experience that continues to bring out so much intense talent?
Andy: Its cold outside, Chicago has a constant
evolving culture, that is definitely not merciful. So in order
to survive for any amount of time in this town in
entertainment, you must be able to roll with it.
Otherwise you wont make it, dosent hurt that we have cold
winters, it sort of gives you a deeper focus.
A-Ski: How did you guys come up with the name BSTC?
Andy: BSTC is an acronym for the blackstone theatre
collective, the Blackstone Hotel was home for many of the great
jazz and blues musicians of the 50′s and 60′s. Usually at the
end of the evening, other musicians would come down to the
hotel and have jam sessions with other musicians that
were in town, so i called the group the Blackstone Theatre
Collective, because thats what the album is. Instead
of the hotel, we all got together at different studios, in
different cities, and had jam session, to create the
album.
A-Ski: Do you feel the live element of music is coming back? Speaking of which who composed the horn arrangements?
Andy: Yes, the information age is in fact, bringing on a
musical renaissance, young kids are starting to show
appreciation for the music again, because they are
seeing the old shows and hearing many of the classic songs
that inspired me to pursue music. I see it becoming the
next thing in the States. As far as the horn arrangements
go, I did them on everything except Jazz in Outerspace (Tunji),
and Forty Days which was arranged by Tom Tom 2084 (legendary Producer/Arranger/Architecht of Chicago Soul) , who
arranged horn sections for the Chi Lites, the Dells, Earth, Wind &
Fire, and Phil Collins.
A-Ski: “Venus and Mars” is in my top 5 of favorite songs on this album, what is the story behind that song?
Andy: “Venus and Mars” came out of necessity. Tone called
and asked for a single that fit the vibe of “Jazz In
Outerspace”. So I went to the studio the next morning, and put it
together, Tunji and Marshall, and the LDB (lowdown
brass band), came in later on that week and laid their
parts.
A-Ski: Also the cover of “Forty Days” is beautiful and with a very different approach, what inspired you guys to tackle this classic?
Andy: This is one of my favorite records of all time
very grimy and very polished at the same time. I had done
some studio work with ZZaje before and I felt that they
would not only pay respect to the original song while making it
their own.
A-Ski: If you were on a deserted island and you had to the choice of grabbing 5 records, which ones would they be?
Andy: Jesse Gould-Out of Work, Stevie Wonder- Black Man, First Choice- Love Having You Around, Earth, Wind, And Fire-Fantasy, Fair but So Uncool, Minnie Ripperton-Memory Lane
A-Ski: Any tour dates?
Andy: As of now, no, but we are in the process of
putting one together for winter 2009
A-Ski: Whats the ultimate mission of BSTC?
Andy: For everyone to enjoy music TOGETHER!!
Album Review- BSTC: Music for a Saturday Evening
