Kenny Dope Gonzales : Dance With Me

The parts featured in this song sampled the disco song "Dance With U", originally performed by Carrie Lucas. In 1979 Lucas released "Carrie Lucas in Danceland". The album was released on the record producer Dick Griffey's Solar Records label. Griffey brought in Jody Watley (Shalamar) for background vocals, Lakeside (co-producers and backgrounds) and Walter and Wallace Scott (The Whispers) for backgrounds. Organist Kossi Gardner wrote and played on the hit "Dance With You", which propelled the album to 37 in the U.S Dance Album chart.
Three-time Grammy nominated Kenny Dope, one of the most prolific artists of the modern music age, has been entertaining and astounding the masses alike with his fusion of house, hip-hop, Latin, jazz, soul, and broken beats. Known as a living encyclopedia of beats, Kenny Dope is a purveyor of sonic masterpieces.

LTJ Bukem : Sunrain

Viewed as an innovator in the drum and bass style, LTJ Bukem is known for developing an accessible alternative to that hardcore genre's speedy, assaultive energies. His style pays homage to the Detroit-based sound of early techno, but Bukem also incorporates still earlier influences, particularly the mellow, melodic sonorities of 1970s-era jazz fusion as exemplified by Lonnie Liston Smith and Roy Ayers. Early in his career, Bukem was identified for his response to the "almost paranoid hyperkinesis" of breakbeat-based house music, and specifically for his reservations regarding the overbearing force of the hardcore mentality. Bukem's music from the early 1990s onward represents his efforts to map out an alternative future for breakbeat house music by incorporating softer-edged influences culled from London's 1980s rare groove and acid jazz scenes. Music on Logical Progression reveals these influences, as does his approach on 1993's Music Enchanted, which features string arrangements and sounds from nature. His use of keyboards, live vocals and slow- motion breaks on these and future releases earned Bukem's music the tag intelligent drum and bass. While this designation caused controversy within the drum and bass community, it also influenced the popularization of hardcore music in the UK during the mid 1990s.

Stan Kenton & His Orchestra : The Peanut Vendor

Calling his music "progressive jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto". Kenton had succeeded in forming a radical and very original band that gained its own audience.

Timo Lassy : African Rumble

Timo Lassy : "The first two tracks released (African Rumble/High At Noon 12”, Ricky-Tick 2006) were important as a starting point. I remember considering other kind of compositions at the early demo stage of the first studio sessions, but I always felt most at home with those two. Of course the album reflects other shades and colours as well, it’s not just what you might call “dancefloor jazz”. I think it’s also pretty obvious that the kind of robust post-modernism you hear on the record is most definitely my thing."
"I think jazz going through a wonderful period of renaissance at the moment, and indeed, the mixing of different crowds is one of the present era’s most intriguing feats. There are, for example, critics here in Finland who don’t see the value in new jazz music that stems from the aesthetics of jazz’s “golden age”, but personally I am of the opinion that jazz should not be concerned solely with pushing the envelope. Sure, you could please a lot of critics doing that, but I aim to make good music both for myself and for the people."

Build An Ark : You've Gotta Have Freedom

One of the most righteous albums of the 21st century so far and an instant classic we'll be loving for years! Build An Ark are a seriously heavy soul jazz ensemble, with roots and traditions that stretch back to the most righteous days of the 70s underground. The brainchild of producer Carlos Nino and vocalist Dwight Trible and featuring work by soul jazz stalwarts that include Phil Ranelin, Nate Morgan, Derf Reklaw, Adam Rudolph, and others. All coming together in a fresh, new expression of the righteous ideals that first motivated their original work! Under the guidance of Nino, the group really gels together nicely. Working in a loose mode that's a nice change from the tighter cosmic 21st century soul of the European scene and returning to the organic, almost folksy forms that first emerged on 70s independent labels like Tribe, Strata East, and Nimbus. LA luminary Nate Morgan plays some great Fender Rhodes on many of the album's best tracks and singer Dwight Trible has a soulful range that's somewhere between the style of Terry Callier and Leon Thomas. This EP features 5 tracks in all including a massively beautiful remake of Pharoah Sanders "You've Got To Have Freedom".

Eliane Elias : The Time Is Now

Pianist / singer / songwriter, Eliane Elias is known for her distinctive and immediately recognizable musical style which blends her Brazilian roots, her sensuous, alluring voice with her impressive instrumental jazz, classical and compositional skills. Born in Sao Paulo, Brazil, Eliane Elias’ musical talents began to show at an early age. She started studying piano at age seven and at age twelve was transcribing solos from the great jazz masters. By the time she was fifteen she was teaching piano and improvisation at one of Brazil’ s most prestigious schools of music. Her performing career began in Brazil at age seventeen, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes who was also Antonio Carlos Jobim’s co-writer/lyricist. In 1981 she headed for New York and in 1982 landed a spot in the acclaimed group Steps Ahead.

The Herbaliser : Gadget Funk

It is truely a real joy to see these guys in a live set-up ! What a performance, time and time again ! More than 15 years into their musical journey, The Herbaliser just keep getting bigger, stronger and better.
The studio became their first instrument. Both avid vinyl collectors, Jake Wherry and Ollie Teeba began using the freshest sampling techniques, coupled with Jake's musical knowhow from playing guitar and bass. Later they added quest rappers and vocalists. Later still, a full live line-up of brass, strings and cinematic textures. DJ Malachi plus Easy Access Orchestra players Ralph Lamb and Andy Ross became regular Herbaliser collaborators.

4 hero : Hold It Down (Bugs In the Attic remix)

This massive dancfloor anthem appears on "The Remix Album", a compilation album featuring tracks produced and remixed by 4hero. The CD version was released as two discs: the first concentrated on remixes by 4hero of work by other artists; the second featured remixes of music originally produced by 4hero but remixed by other producers.
Bugz in the Attic is a collective of DJs and producers based in West London who are prominent in the broken beat music scene. The collective includes Orin Walters (Afronaught), Paul Dolby (Seiji), Kaidi Tatham, Daz-I-Kue, Alex Phountzi (Neon Fusion), Cliff Scott, Mark Force, Matt Lord, and Mikey Stirton. The group also has a label, BitaSweet Records, and a studio, The BitaSuite. The group also runs its own Co-Op club night at Plastic People in Shoreditch, London. They have released numerous singles as well as remixes and compilations. Their debut studio album Back in the Doghouse was released July 24, 2006, on V2 Records.

Koop : Come To Me

Koop is Oscar Simonsson & Magnus Zingmark.
When listening to Koops music it's somehow easy to believe that it's played by a small orchestra, but in fact the music is based on samples. Thousands of small clips from records puzzled together into new songs. All the drums, strings, horn sections and choires are actually sampled! This is a very time consuming way to make music (it's one of the reasons it takes such long time to make a koop album), but it's the only way to create the surreal Koop sound. One thing though, that for sure aren't sampled, is the vocals. Many singers has blessed the Koop albums with their talent, and on Koop Islands the singers are : Ane Brun, Yukimi Nagano, Hilde Louise Asbjornsen, Rob Gallagher and Mikael Sundin. Some fine musicians has also participated on the album playing solos, percussion and bass. Those are : Mattias Ståhl, Magnus Lindgren, Karl Frid, Nils Berg, Martin Höper, Ola Bothzén, Dan Berglund and Mats Lindfors. When playing live Koop transforms into a 7-9 piece swing orchestra including one or two singers, and the main mission is to make people move their feet. The line-up may vary from time to time so if you are looking for the personel on a specific concert please dont hesitate to drop a message. Koop themselves play piano/accordion (Oscar), sampler (Magnus), and wear dresses.

Trüby Trio : A Go Go

Another massive dancefloor filler has arrived !
Rainer Trüby, Christian Prommer, and Roland Appel are Trüby Trio, a group of German producers that doubles as diverse fusionists of all things worldly and jazzy. It didn't take long for their name to catch fire in the dance community; aside from receiving a bevy of remixing work on the strength of their initial reworkings, the threesome has released a number of their own productions on Compost, including the Carajillo/A Go-Go 12", which featured a remix by labelmates and jazz-house heavies Jazzanova.

The Five Corners Quintet : Trading Eights

The very first single and Ricky-Tick Records release out of 2003. Already a modern dancefloor jazz classic. Both tracks on the 10 inch vinyl feature a Finnish tenor sax heavyweight, Mr. Eero Koivistoinen. The Five Corners Quintet from Helsinki took the international dancefloor jazz scene by a storm. “Chasin’ the Jazz Gone By”, their debut for Ricky-Tick Records, a label that was initially conceived of as a vehicle for releasing the very first TFCQ vinyl single, proved out to be both an artistic and a commercial success story. For once and for all, the album proved that it is possible to look back while moving forward.

Alice Russell : High Up On The Hook

Alice Russell's second solo album has been highly anticipated. Having slowly but surely built up her reputation as one of the UK's finest soul singers, through her recordings with a number of artists and live appearances, she is now concentrating on her solo career 'My Favourite Letters' has been produced and co-written by TM Juke who has added his magic musical touch to Alice's gifted vocals. The album could be described as a kaleidoscope of soul music history with influences from Gospel, Hip Hop, Jazz, Northern Soul, Broken Beat, Electronica and Funk but a sound that connects the whole album. Alice has featured as guest vocalist on music for The Quantic Soul Orchestra, Max Sedgeley, Nostalgia 77 and Bah Samba amongst others and has also performed live alongside Roy Ayres and supported Lonnie Liston Smith, Femi Kuti and De La Soul.

Nina Simone : Funkier Than a Mosquito's Tweeter

Of all the major singers of the late 20th century, Nina Simone was one of the hardest to classify. She recorded extensively in the soul, jazz, and pop idioms, often over the course of the same album; she was also comfortable with blues, gospel, and Broadway. It's perhaps most accurate to label her as a "soul" singer in terms of emotion, rather than form. Like, say, Aretha Franklin, or Dusty Springfield, Simone was an eclectic who brought soulful qualities to whatever material she interpreted. These qualities were among her strongest virtues; paradoxically, they also may have kept her from attaining a truly mass audience. The same could be said of her stage persona; admired for her forthright honesty and individualism, she was also known for feisty feuding with audiences and promoters alike.

Erik Sumo Band : Show Me The Light

Allround musician Erik Sumo, who in real life is called Ambrus Tövisházi, successfully introduced himself with his debut album "My Rocky Mountain" five years ago. Back then Pop, Dub, Jazz and Hungarian Folk-elements were crossed with extremely catchy melodies. By now, the Erik Sumo Band is a seven-strong project and the new album "The Trouble Soup" is a bubbling cauldron of great Pop-anthems. Explosive synthesizers, Eastern Bloc-ado, Indie and Progressive in three-minute operas, that could have been penned by the Flaming Lips or the B 52's. It's crystal clear, the Hungarian Pop saga has to be rewritten.

Curtis Mayfield : Freddie's Dead

"Freddie's Dead" was the first single from his 1972 soundtrack album for the film "Super Fly". The single was released before the Super Fly album, and in fact before the film itself was in theaters. The song peaked at 4 on the U.S. pop chart and 2 on the R&B chart.
The song laments the death of Fat Freddie, a character in the film who is run over by a car.
Like most of the music from the Super Fly album, "Freddie's Dead" appears in the film only in an instrumental arrangement, without any lyrics. The song's music is featured prominently in the film's opening sequence and also recurs at several other points. Because of this usage the song was subtitled "Theme from Superfly" on its single release (but not on the album).

Lady Linn And Her Magnificent Seven : That's Allright

Lady Linn and Her Magnificent Seven are a jazz-pop ensemble from Ghent, Belgium. They experienced top ten success with their first album of original songs, Here We Go Again (2008), after several years of performing classic jazz covers.
After a couple self-titled underground releases in 2003 and 2005, Lady Linn and Her Magnificent Seven released the Shopping (2006) single on Zephyrus Records, the title track of which was the group's first original song, arranged, composed, and written by Lady Linn herself. The group then proceeded to record an entire album of originals, Here We Go Again (2008), produced by Jeroen de Pessemier, a colleague of Lady Linn's in Bolchi. Released by V2 Records, the album became a top ten hit in Belgium.

Young-Holt Unlimited : Soulful Strut

Formed in Chicago in 1965 as the Young-Holt Trio with Eldee Young on bass, Red Holt on drums and Hysear Don Walker on piano. Young and Holt both studied at Chicago’s American Conservatory Of Music. They later joined the Ramsey Lewis Trio and were featured on two of the group’s best-known singles, ‘The In Crowd’ and ‘Hang On Sloopy’ both in 1965. The bass player and drummer then broke away to pursue their own direction. In 1968 pianist Walker was replaced by Ken Chaney. Soon Chaney was out and the act was reconstituted as the Young-Holt Unlimited. Under that name, the act hit in 1968 with the million-selling ‘Soulful Strut’, a US pop Top 5 hit. This instrumental was, in fact, the backing track to a Barbara Acklin single, ‘Am I The Same Girl?’, but with Floyd Morris’ piano part replacing the vocal line. Ironically, neither Young, nor Holt, was on the record as the instrumental was by the Brunswick studio band. Despite that, Young-Holt Unlimited continued to make technically precise, but rather sterile records before the group’s two mainstays decided to rejoin Ramsey Lewis in 1983. Young-Holt Unlimited’s recordings have been extensively sampled by R&B and hip-hop artists.

Watts 103rd St Rhythm Band : Spreadin' Honey

The name, Watts 103rd Street Rhythm Band was originally coined by Los Angeles producer and Keymen Records owner Fred Smith in 1967. However, between 1967 and 1968, the Watts 103rd name applied to three, arguably four different personnel configurations before settling into the final band who played on every Watts 103rd album from 1968 forward.
Smith produced a theme song for KGFJ radio personality, DJ Magnificent Montague. The song became so popular that Smith released it as a single in 1967 and created the name, Watts 103rd St. Rhythm Band for the studio group who had recorded it. Purportedly, the players on the single included Wright, James Carmichael, Leon Haywood, Bobby Womack.
There is some confusion because, after "Spreadin' Honey" became a success, Montague re-released the single on the MoSoul label (a Keyman subsidiary) and credited to a different group altogether, the Soul Runners. It has been long assumed that the Soul Runners were simply an earlier line-up of the Watts Band however, according to Wright, the two groups had nothing to do with one another whatsoever.