Jazz

Nostalgia 77 – One Offs - Remixes & B-sides (2008)

2011-08-02T08:44:21Z

Nostalgia 77 – One Offs - Remixes & B-sides (2008)

CD1
01. Nostalgia 77 - Quiet Dawn (Example of Twelves Remix)
02. TM Juke feat. Alice Russell - Knee Deep (Nostalgia 77 Remix)
03. Nostalgia 77 - Little Steps (Instrumental Version)
04. Dirty Diggers feat. Nostalgia 77 - So Grown Up
05. Natural Self - Solomon (Nostalgia 77 Remix)
06. Kinny & Horne - Forgetting to Remember (Nostalgia 77 Remix)		play
07. Nostalgia 77 - Conventical (TM Juke Remix)
08. Nostalgia 77 - Sad Thing
09. Bonobo - In Between The Lines (Nostalgia 77 Remix Alternate Unreleased Mix)
10. The New Mastersounds - Your Love Is Mine feat. Corinne Bailey Rae (Nostalgia 77 Remix)
11. Elizabeth Shepherd - Reversed (Nostalgia 77 Remix)
12. Nostalgia 77 - Wildflower (Povo Remix)
13. Nostalgia 77 - Quiet Dawn (Bonobo remix)
14. Nostalgia 77 Octet - Freedom (Zombie Dance Mix Parts 1 & 2)
15. Nostalgia 77 feat. Alice Russell - Seven Nation Army (Grant Phabao Remix)

CD2
01. Nostalgia 77 Octet - The Hope Suite (Live)
02. Nostalgia 77 Octet - Nativeland
03. Nostalgia 77 Octet - Desert Fairy Princess (Alternative Take)
04. Natural Self - The Love Theme (Nostalgia 77 version)
05. Nostalgia 77 feat. Capstone & Lizzy Parks - The Moon			play
06. Nostalgia 77 - Eastwind (Instrumental)
07. Nostalgia 77 Octet - The Grass Harp
08. Nostalgia 77 - Stop To Make A Change (Instrumental)
09. Nostalgia 77 Octet - The Impossible Equation

Personnel:
Bass – Benedic Lamdin, Riaan Vosloo 
Double Bass – Riaan Vosloo
Drums – Graham Fox 
Electric Piano [Rhodes Piano] – Ross Stanley 
Guitar – Benedic Lamdin
Percussion – Benedic Lamdin, Milo Fell 
Piano – Ross Stanley 
Saxophone [Alto] – Jonny Spall 
Saxophone [Tenor] – Mark Hanslip 
Trombone – Trevor Mires 
Trumpet – Tom Allan 
Vocals – Beth Rowley

Nostalgia 77's "One Offs, Remixes and B-Sides" is Benedic Lamdin's 9th full length release on Tru Thoughts testament to his acute and original musical talent and prolific and inspired creativity. Having already garnered critical acclaim from the likes of Gilles Peterson (Radio 1) and the Guardian, he continues to raise his game.

This generous double CD is a diverse collection of rare gems, complete with an impressive roll-call of collaborators, which displays Lamdin's flair as producer, remixer, composer and more. Sit back for the perfect collision - between a host of instrumental pieces and a dazzling array of songs that show Lamdin's more recent move towards lyrical work - drawing on the stellar performances of eminent vocalists including Corinne Bailey Rae, Bajka and new Tru Thoughts signing Lizzy Parks.

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Nostalgia 77 – Songs For My Funeral (2004)

2011-08-03T18:33:07Z

Nostalgia 77 – Songs For My Funeral (2004)


    1 Processional
    2 The Conventicle		play
    3 Rain Walk			play
    4 Only Hush
    5 Metamorphosis
    6 The Mirror
    7 The Gates Parts 1 & 2
    8 Dirge
    9 The Funeral
    10 The Beginning

Performer [All Instruments] – Benedic Lamdin

Jazz and electronica are uneasy bedfellows. One is unpredictable, concerned with the moment, while the other is deterministic, concerned with texture and the extraction of emotions from binary code and varying voltages. Well, sort of.

While there are many who are managing to broker some kind of alliance between the two forms, the temptation for a lot of bedroom boffins is simply to fire up their samplers and nick what they want from some obscure jazz records. It's the easy way out; all the blood and fire (plus a spot of cultural cred)without the pain of actually having to deal with real musicians (though of course, you might have to deal with their lawyers if you're unlucky)...

As ever though it's the exceptions that prove the rule, and here's one. Nostalgia 77is one of the few to buck the trend and come up with something rich and strange. Like early Broadway Project or some of Four Tet's output,Songs For My Funeralmanages to graft a personal vision from whirring hard disks and the frozen contributions of long dead or forgotten saxophonists and funky drummers.

Unlike many of his peers, Nostalgia 77spurns the blissed-out ecstasies of Alice Coltrane or Pharoah Sanders in favour of a darker muse. Gloomy, impasssioned blasts of tenor snake their way over dread-full, slo-mo beats; dark, thrumming bass lines; wisps of guitar; clouds of vibes or a roomful of forlorn pianos ripple away miserably to themselves. Imagine a New Orleans funeral procession headed up by Albert Ayler or David Murray, with a heavily sedated funk rhythm section marking out time in the rear, and you'll be close.

Songs for my Funeral's bruised, sometimes angry sound offers more than the easy listening fusions of much Ninja Tune output, for example. Even when upbeat soul jazz grooves are hinted at (as on "The Beginning"), there's a humid, opressive vibe to the proceedings which unsettles rather than reassures. You're unlikely to hear it in your local Starbucks on a Saturday afternoon, which can only be a good thing in my humble opinion. Good stuff. ---Peter Marsh, bbc.co.uk

There comes that time in ones life as a music listener when all your personal favorite albums seem grossly inappropriate for that golden moment of hook up. How many of us have built our music collections around obscure and intimidating artists that most music listeners find….well difficult at first. Nostalgia 77 has come to our rescue with the latest album titled “Songs For My Funeral” on Tru Thoughts Records. Drawing upon familiar genres such as Jazz, Hip Hop, Gospel and Funk Nostalgia 77 brings these diverse music forms together into a sensual and relaxing album that is so refined and accessible that you could listen to this music with your mother or the priest down the road in good conscious.

Every song is a unique mixture of jazz and funk with slight influences of hip hop and gospel mixed in to increase the soulful feeling of the music. The real delight is in the artists controlled use of these elements. “Songs For My Funeral” weaves its way in and out of freestyle jams that are clear and crystalline. Feelings and emotions are easily communicated through simple bass lines, piano and even guitar and horns. The experience is one of a balance between musical jam and clarity. Definitely music to play when the lights are set low or when enjoying your favorite *censored*tail as the sun sets. Each song has a distinct emotive feeling and with the right friend by your side listening to this music could easily turn into slipping into something a bit more comfortable…

If you are an established fan of funk, jazz or other soul music this little gem may prove quite the delight for you. If you have flirted with these musical forms and would like to catch up with a modern artist Nostalgia 77 is your band. The music is equally accessible to the established Soul / Hip Hop listener or the neophyte. Persons who have shied away from Jazz in the past due to its open and free song forms will find this album to be a nice starting point. Though the songs meander about in a soulful bliss the song structures are defined enough that the listener is easily lead forward never left wondering what exactly they are supposed to be following in the music.

Tru Thoughts Records remains a strong force in modern soul music and with the release of Nostalgia 77 they prove that they remain open to passing on to us the listeners the very best in the new progressive jazz and soul music field. Mixing classic techniques with current and modern grooves has never proven so invigorating and engaging as Nostalgia 77. Buy this album and feel the insignificant stress and worries of your life peel away in the face of the oncoming waves of funk and soul. Let the grooves move you. --- Malahki Horn

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Nostalgia 77 – The Sleepwalking Society (2011)

2011-07-30T08:24:57Z

Nostalgia 77 – The Sleepwalking Society (2011)


1. Sleepwalker
2. Beautiful Lie
3. Simmerdown
4. Golden Morning		play
5. When Love Is Strange
6. Blue Shadow		play
7. Mockingbird
8. Cherry
9. Hush

Personnel: 
Josa Peit (vocals); 
Benedic Lamdin (guitar, organ, percussion); 
Kaz Simmons (guitar); 
Natalie Rosario (cello); 
Mark Hanslip (flute); 
James Allsopp (clarinet, saxophone); 
Fulvio Sigurta (trumpet); 
Ross Stanley (piano, organ); 
Tim Giles (drums); 
Dave Smith (percussion).

Along with the ever-widening color palette of Nostalgia 77's investigation of jazz, creator and leader Benedic Lamdin has established himself as a producer of merit. In recent years, he's helmed two albums that have in turn directly influenced The Sleepwalking Society's direction: Lizzy Parks' excellent This and That, and British singer/songwriter Jeb Loy Nichols' gentle masterpiece Strange Faith and Practice. Lamdin introduces listeners to yet another fine vocalist: German songstress Josa Peit; he also composes or co-writes all these tunes, plays guitar, organ, and produces. Frequent collaborators Riaan Vosloo (bass and string arrangements), Tim Giles (drums), Mark Hanslip (flute), Ross Stanley (piano & organ), James Allsopp (saxophones and clarinet), Fulvio Sigurta (trumpet and horn arrangements), Natalie Rosario (cello), and guests round out this edition of Nostalgia 77. As an album, The Sleepwalking Society is perfectly balanced in construction and articulation. Peit's smoky, near vibrato-less alto walks an undulating line between Dinah Washington's slippery restraint and Nina Simone's ethereal middle-period contralto. Petit creates pure atmosphere with that voice; her phrasing underscores every line with poetic meaning. "Sleepwalker" is based on a minor-key blues shuffle. It features wonderful baritone saxophone and B-3 fills under Peit's taut, emotionally charged delivery. On "Beautiful Lie," she bridges the chasm in a jazz group that winds trippy Baroque folk and spine-slipping soul into the mix. "Golden Morning" is offered with a haunted, skeletal blues vibe; adorned only by an upright bass, a military snare beat, and a kick drum. "When Love Is Strange," with its angular funky breaks, mournful New Orleans-style horns, and a swelling B-3, is possessed of by an eerie sense of nameless, forgotten chanteuses singing in long-emptied Berlin jazz clubs left to ruin, without sounding nostalgic. "Blue Shadow"'s lithe funky backbeat is adorned by cello, clarinet, B-3, nylon-string guitar, and understated bassline until the chorus, when the brass kicks in hard. Peit swings the lyric from the bellybone until its drips from her mouth. The Sleepwalking Society is a stunner; a jazz-pop record with brilliant R&B and folk undertones woven throughout. Lamdin's pushed himself further than ever, melding disparate genres and arrangements effortlessly; and in the process, he's brought to light yet another stellar song stylist in Peit. ---Thom Jurek

Nostalgia 77 is the working name of Benedic Lamdin, a prolific producer who's produced 11 albums in a variety of guises since 2004. His music encompasses everything from sample-based compositions to collaborations with real, live musicians of the calibre of Keith and Julie Tippett, amongst others. The Sleepwalking Society, the fourth Nostalgia 77 album, very much falls into the latter category, this time placing the German singer Josa Peit centre-stage. Album opener Sleepwalker states its case with emphatic rhythm, bluesy vocals, winds and roaring organ while Golden Morning delights with its softly played snare drums, wood-toned double bass and Peit's hushed yet heartfelt vocals. Mockingbird features lyrical sax that falls like dappled sunlight on a melancholic ode to loneliness which slowly disappears into silence. Strings introduce Cherry and then pause to reveal plucked acoustic guitar and Peit's clear-toned lament before picking up the melody and carrying the song through to its end. The tonal colour of the entire album is a sepia-edged cyan: encompassing as it does a reflective range of jazz and folk-inflected blues that explores the uncertainty of life and the hurt of failed relationships. The Sleepwalking Society ends with Hush, an almost nine-minute threnody that wistfully sounds out one last aftermath at a stately pace. --- Colin Buttimer, bbc.co.uk

Benedic Lamdin, sztandarowy artysta oficyny Tru Thoughts, dzieli obowiązki między pogłębianiem swojego wizerunku wizjonera integrującego brzmienia klasyczne z nowoczesnymi, a kontynuacją tradycji jazzu nieskażonego elektroniką. I tak eksperymenty z muzyką nowoorleańską nagrywa pod banderą Nostalgii 77 natomiast jako Nostalgia 77 Octet zajmuje się poszerzaniem swojego dorobku stricte jazzowego, gdzie fortepian, gdzie partie dęte, kontrabas i perkusja swingująca. ‘The Sleepwalking Society’ udowadnia, iż rozdwojenie jaźni nie odbija się negatywnie na twórczości tego zdolnego londyńczyka, a wręcz przeciwnie – jest źródłem wielu ciekawych produkcji. Najnowsza płyta Lamdina to krok w nowe dla niego rejony, które bynajmniej trudno nazwać nieodkrytymi. Rezygnując z wyrazistych, synkopowanych partii pianina i wartkich solówek na trąbce, które dominowały na ostatniej produkcji studyjnej ‘Everything Under The Sun’ oraz jeszcze bardziej oddalając się od ponurych, mocno samplowanych melodii wypełniających ‘Songs For My Funeral’ zdecydował się zwolnić tempo i skierować brzmienie zespołu w stronę fuzji chilloutu z nu-jazzem. Album ten bliski jest twórczości Bonobo, czego nie można jednak nazwać naśladownictwem. Poszukując nowych elementów, jakie mógłby zaszczepić w swojej muzyce, Lamdin zabrnął w klimaty od dawna eksplorowane przez tego uwielbianego w Polsce DJa pozostając jednocześnie wiernym jazzowej myśli przewodniej. Podchodząc w ten sposób do nagrywania nowego materiału Nostalgia 77 była właściwie skazana na sukces. Całość została mądrze skomponowana. Ośmiominutowy, instrumentalny ‘Hush’, dopełniający pozostałe utwory utrzymane w lżejszej, piosenkowej formie wyróżnia się zadymionym Nostalgia 77 nagrała album wyciszony, otulony sennym klimatem niedzielnego popołudniaklimatem filmów Noir - z ledwo słyszalną, szumiącą w tle elektroniką, mógłby śmiało uzupełnić ścieżkę dźwiękową do ‘Chinatown'. Wokalnym kompozycjom zaś daleko jest od zlania się w jedną, nierozpoznawalną całość, gdyż każda z nich prezentuje inny odcień jazzowego pomyślunku grupy. Zamykający płytę ‘Golden Morning’ atakuje marszowym motywem wybijanym na werblu wspartym nerwową grą na smyczkach, a klasyczna aranżacja partii wiolonczeli w ‘Beautiful Lie’ brzmi równie ciekawie, co potężnie kroczący 'When Love Is Strange'. Składniki użyte do nagrań nie są żadną nowością – piękny kobiecy śpiew głęboko zakorzeniony w muzyce gospel, cicho warczące organy Hammonda, szybko wpadające w ucho motywy gitarowe i rasowe partie solowe instrumentów dętych. Sukces kryje się jednak za odpowiednimi proporcjami, które na ‘The Sleepwalking Society’ są bliskie ideału. Nostalgia 77 nagrała album wyciszony, otulony sennym klimatem niedzielnego popołudnia. Nie tak przebojowy jak produkcje Bonobo, jednak równie melodyjny i wciągający.

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