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Melodies Record Club 001: Four Tet Selects
Jazz /
Vinyl record
“Melodies Record Club”, a string of DJ and artist curated mini compilations in loud 12” format. The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People.

On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!)

On the flip, we have Chris McGregor’s Brotherhood of Breath – MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music”.

Four Tet’s instalment is out early May in 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

The second instalment curated by Ben UFO is scheduled shortly, which will be followed over time by a string of releases including selections from Hunee, Mafalda, Floating Points, Anya & Julia from Javybz, Daphni, Josey Rebelle, Charlie Bones, Gilles Peterson… and more, stay tuned!


Play       Cue Sample


Click to listen - add to playlist or download mp3 sample.

Jackie McLean & Michael Carvin – De I Comahlee Ah (extended)
Chris McGregor’s Brotherhood Of Breath - MRA

Last FM Information on Four Tet

Please note the information is done on a artist keyword match and data is provided by LastFM.
Four Tet is the name used by Kieran Hebden (born 1977 in Putney, London, UK) for his experimental electronic music-oriented solo efforts, to differentiate from his work with post-rock band Fridge. Hebden's solo work typically utilises samples lifted from various sources including hip-hop, electronica, techno, jazz, and folk mixed with his own guitar playing. Four Tet shares some stylistic similarities with other musicians, such as Prefuse 73, who use computer editing techniques that give the music a staccato, cut-up feel. Hebden's music is notable for its rich, organic sounds and harmonious melodies as well as for eschewing the traditional pop-song format in favour of a more abstract approach. Kieran Hebden began releasing material as Four Tet in 1998 with the 36 minute and 25 second single "Thirtysixtwentyfive" on Trevor Jackson's Output Recordings label. Later that year, he released a second single, the jazz-influenced "Misnomer". 1999's "Dialogue", again on Output, was Four Tet's first full-length album release and fused hip-hop drum lines with dissonant jazz samples. This was followed by the double A-side single "Glasshead"/"Calamine", which was to be Four Tet's last release on Output. In late 1999, Warp Records released a tenth-anniversary compilation of remixes of Warp tracks; Hebden contributed a remix of "Cliffs", the opening track of Aphex Twin's "Selected Ambient Works, Vol. II". This relatively high profile exposure attracted a lot of new interest in Four Tet from fans of electronica and IDM, genres in which the Warp brand had a preeminent status. In 2001, Four Tet's second album "Pause" was released on Domino and found Hebden using more folk and electronic samples, which was quickly dubbed "folktronica" by the media & press in an attempt to label the style (often also applied to artists such as Isan, Gravenhurst and some of Canabrism's later work). The acoustic guitar track "Everything Is Alright" is the theme music for the National Public Radio talk show On Point, produced at WBUR in Boston, Massachusetts; it was also featured in a US Nike commercial in 2001-2002 and in the Sony Bravia commercial in 2005. "Rounds" was released in May 2003. It was Hebden's most ambitious album to date, incorporating diverse samples such as the mandolin on "Spirit Fingers", and even a rubber duck on the closing track "Slow Jam". Three singles were released from the album: "She Moves She", "As Serious as Your Life", and "My Angel Rocks Back and Forth". This last single was released as an EP featuring remixes by electronica duo Icarus and Isambard Khroustaliov along with additional Four Tet tracks "I've Got Viking in Me" and "All the Chimers". An accompanying DVD featured all of Four Tet's videos to date. At the beginning of 2003, Four Tet opened for Radiohead on their European tour. A remix of the song Scatterbrain from Radiohead's latest album "Hail to the Thief" was included on their 2004 EP "COM LAG (2plus2isfive)". A live album named "Live in Copenhagen 30th March 2004" was released in April 2004 as a limited edition, available only through the Domino Records website. In March and April of 2005, Four Tet performed two shows of improvisational music, in collaboration with jazz drummer Steve Reid, in Paris and London. He also appears on Steve Reid Ensemble 2005 album "Spirit Walk". This collaboration was extended into a series of international tours, and the release of two albums, "The Exchange Session Vol. 1" and "The Exchange Session Vol. 2" over the course of 2005 and 2006. His fourth studio album "Everything Ecstatic" was released on Domino on 23 May 2005. The video for the lead single, "Smile Around The Face", features actor Mark Heap. The album brought with it another shift in style, leaving behind the breezy "folktronica" of "Pause" and "Rounds" for a darker, more complex sound. On 7 November 2005, Domino has released a DVD version of "Everything Ecstatic" featuring video clips for each track of the album plus a CD with new material. Hebden has also remixed, under the Four Tet name, tracks by a wide range of artists including Madvillain, Bloc Party, Super Furry Animals, Beth Orton, Badly Drawn Boy, The Notwist, Boom Bip, Kings of Convenience, Explosions in the Sky, Radiohead, and Doves. Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

Last FM Information on Chris Mcgregor

Please note the information is done on a artist keyword match and data is provided by LastFM.
Jump to: navigation, search Christopher McGregor (24 December 1936 – 26 May 1990), was a South African pianist, bandleader and composer. Chris McGregor was born in Somerset West, Western Cape, where his father, Murray McGregor was teaching at Hottentots’ Holland High School. Both his father and his mother, Marjorie, were graduates of the University of Cape Town (UCT), where he would later study music. Two years later the McGregor family moved to the Transkei, a move which pro-foundly influenced Chris’ musical development. After schooling in the Transkei Chris, who had already at the age of five begun music lessons, went to UCT to read for a B. Mus degree. It was while at UCT that the sounds he had heard in the Transkei came alive in a new way for him as he was exposed to the music of the Cape townships. Very soon he was paying attention to the likes of “Chris Columbus” Mra Ngcu-kana, “Cup and Saucer” Nkanuka and Dollar Brand (Abdullah Ibrahim) on the local scene, while listening to Charlie Parker, Thelonius Monk and Duke Ellington on records. While at UCT Chris started to put together groups to play jazz concerts at UCT, as well as jamming in local clubs, like the Ambassador’s, the Vortex, and others. Other names who played on these sessions with Chris were reedman Morris Gold-berg and trombonist Dave Galloway. In 1962 Chris took a group from Cape Town to the Castle Lager Jazz Festival at Moroka-Jabavu Stadium in Soweto, where the group came second in the small group section. More importantly, the festival brought together, although in different groups, Dudu Pukwana, Louis Tebugo Moholo, and Mongezi Feza. It was a meeting with long-range consequences and great meaning for South African music. In 1963, having moved permanently to Johannesburg, Chris obtained sponsorship from a brewery company to put together a big band which, while it only lasted for three weeks, produced an album which is a classic of South African music called Jazz: The African Sound. In 1964 the organisers of the Antibes Jazz Festival in France heard a tape of the group Chris had formed after the success of the big band and invited the group, by then known as The Blue Notes, to the festival in August of that year. After a nation-wide tour to raise the funds necessary for the trip to France, the Blue Notes, by then comprising, in addition to Chris, Dudu Pukwana on alto, Nikele Moyake on tenor, Mongezi Feza on trumpet, Johnny Mbizo Dyani on bass and Louis Tebugo Moholo on drums, left via Mozambique. Their distinctive sound was never heard live again in South Africa. Their 20-minute blow at Antibes was well received by both the listeners and the critics. Down Beat gave them very positive mention in its October 1964 report on the festival. After the festival the Blue Notes worked for some time in Zurich before moving to Britain in late 1965 where they shook up the rather staid British jazz scene in a major way. Gigs at Ronnie Scott’s and other places kept the group together but soon other in-fluences and forces were at work which made the individuals in the group go their own ways and form their own alliances with other musicians. This led to a rich web of contacts and musical experiences with the individual Blue Notes meeting and playing with leading musicians from both sides of the Atlantic. In this way the blending of South African musical traditions with what was going on in the improvised music of the United States and Europe, which had begun back home, was given extra impetus and depth. A kind of critical mass was achieved and the Blue Notes were at the forefront of a whole new musical experience which continues to make waves 40 years later. In this creative ferment Chris was hearing musicians who excited him and with whom he could work and his constant dream of a big band to put his ideas into practice began to be realised. These British based musicians included John Surman, Harry Beckett, Evan Parker, Marc Charig and others. An exciting gig at Ronnie Scott’s brought together “Chris McGregor and Friends”, a big band mixing South African and British musicians. With this band Chris was at last able to explore and put into practice the many ideas he had as a result of the many different experiences he had been exposed to. This gig was greeted with rave reviews and Chris looked for ways to keep the band going. In 1969 he formed the Brotherhood of Breath, using members of the big band formed around the South African rhythm section of himself, Harry Miller on bass and Louis Moholo on drums. This band got its first recording break in 1970 with RCA using it for the launch of their new Neon label. This was followed in 1971 with a second RCA album entitled “Brotherhood.” In 1973 Chris and his family moved to the south west of France in search of sun-shine and space. They purchased an old mill house, the Moulin de Madone, in the commune of St Pierre de Caubel, departement Monclar D’Agennaise. Here the family lived in rural peace and made a sound base for Chris to return to after the rigours of the road with the band. In the late 70s the Brotherhood faded from the scene for a while and Chris did a lot of solo and small group work with musicians he liked. In the early 80s the Brotherhood got a new lease of life through the Angouleme Music Festival which put up the money for the band to practice for a few weeks around the festival. By the late 80s the band was well-established on the festival and concert circuits and made thousands of new fans all over Europe, playing a lively music that had strengthened its ties to its African roots without shedding the lessons it had learned along the way. This was an exciting band with great soloists adding excitement to the disciplined and tight ensemble work. A tour with Archie Shepp in 1989 started to open doors for Chris and the band, and by early 1990 a US tour was on the cards. It was while working on arrangements for this tour that Chris became very ill and cancer was diagnosed. On 26 May 1990 he died after a brief but intense and pain-filled battle with the disease. The Brotherhood was at the time on tour in Europe and continued the tour as a memorial of Chris. He described his music as being inspired by African village music: "the key isn't improvisation, yet the music is very alive - there's such a mix of old and new, solo and group." [1] He also recorded three albums of solo piano improvisations. Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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