Category Archives: NYC

Charles Bradley: Soul In America

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Not much more to say except: YES. THANK YOU. LONG OVERDUE. While everyone was mourning the loss of a Soul legend Whitney Houston this past weekend, Charles Bradley was busy trying to live his hard life the last 60 plus years. He was the break out Soul star in 2011 with his release No Time For Dreaming on Daptone, and his interesting story has been documented on film. This documentary will premiere at the SXSW Film Festival in March, and FMF can not wait to check it out. If you are a fan of Soul music, this is a film that should not be missed. This man’s music is incredible, and while releasing his debut record at 62, he has to be the oldest rookie since Satchel Paige took the mound. This is Soul music people: the good, the bad, the sad, and truly incredible.

Charles Bradley: Soul In America Documentary Trailer

Keep Diggin’!

Double L and the Big L Legacy

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I used be a partner in a way before it’s time store called Soul Sauce. I’ve spoken about it from time to time. We sold clothing, graff supplies, skateboards, records, magazines, books and anything else we were into. Skaters, DJs, writers, rappers, musicians and tons of others rolled through. We had turntables in the back of the store where everyone who spun could get on. One young buck who was a regular was this white cat named Double L (LL). He was a young dude, and on any day he’d show up wearing a leather eight ball jacket, doo rag, Tims, whatever was hot at the time (Mecca, Ecko, Girbaud, etc.), straight thuggin’ and all business. He would also bring records and a mic. He would get on the turntables and just kill it while rapping over instrumentals (my man had a stutter but still had a silky flow). He just played underground Hip Hop, and repped it all day every day. My dude would also make mixtapes to sell (complete with home made xeroxed covers). He’d put together nonstop mixes of The Best of OC, plus The Best of Double L (complete with his own raps)! It was a great time in music and just a great time in general in my life. I wish I had saved the photos When Double L wasn’t cutting up two copies of OC, he would work in groups like Rawkotics, and of course one of his favorites, Lamont Coleman aka Big L and the DITC crew. At the time, Big L was still alive, and his music was a topic that people would talk about in our lounge while listening to others DJ. I always dug Big L’s flow, and when news came through that he had been killed, it was a sad day at the Sauce. It especially hit Double L hard. Good things really never last, and by 2003 we had shut down the store, I moved on to touring nationally as a DJ, and I never heard from Double L again. I do remember though, Double L bringing in cassettes, specifically home made Stretch and Bobbito tapes that we would all listen to during store hours. Here’s one that I can remember LL bringing in, and one that was revisited by Chairman Mao, Stretch, and Bobbito a few weeks ago in San Francisco at a Red Bull Music Academy Lecture.

If Biggie didn’t die, would fast rapping Jay Z aka Jaz been as big as he is now? That’s for another post, but in 1995, Big L straight killed this freestyle on the Stretch and Bobbito show. Jay’s flow is quick, and nice, but it’s Big L that steals the show. Rest in Power Big L, who knows where you would have been if you were still alive? Probably competing as one of the greatest rappers of all time (no disrespect to Big Daddy Kane on this one).

Big L Freestyle on the Stretch and Bobbito Show 02.23.95

My fave line is still: “I’m so ahead of my time, my parents haven’t met yet…….”

Keep Diggin’!

Why Instrumental Hip Hop Doesn’t Suck: A Rebuttal

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I came across this article in the San Francisco Weekly by Phillip Mlynar stating that “Instrumental Hip Hop Sucks. Ban It Forever”. Now if you have been a follower of Flea Market Funk, you know that not only do we promote the vinyl from original artists that fuel instrumental Hip Hop, but support today’s producers and artists that make quality music. Some of them are strictly instrumental Hip Hop. In his article, Mr. Mlynar rips the entire genre (except DJ Shadow, for some reason he gets a pass and “is exonerated from the crime of instrumental hip-hop by virtue of his music being more correctly in the lineage of Steinski’s witty cut-and-paste experiments.”). He goes on to bash artists like DOOM, Diplo, RJD2, and Dilla. While this is America, and of course just an opinion of Mr. Mylnar, I am really offended, and appalled that a writer for a national weekly was allowed to publish such trash. What came across was an ill informed, horribly researched, personal witch hunt on music he doesn’t like. If you look back on the articles he wrote in 2011, they ranged from “The World’s Most Regrettable Hip Hop Tattoos” (oh wait I saw an ice cream cone on a guy’s face!) to multiple articles on Kreayshawn, some *surprise*, DJ Shadow, and a whole lot of lists that look like something ego trip list would publish. Let’s break down why this article doesn’t make sense.

“It’s music without a start or end, without peaks and momentum — it’s hip-hop without a money shot. Tragically, it also forgets what makes hip-hop so invigorating in the first place.”:

Obviously, there is no research in the this at all. Way before DOOM or Madlib released the instrumentals, way before he was on DJ Shadow’s dick (I’m surprised he didn’t refer to him as “Josh” in the article), there were instrumentals. DJ’s cut up the breaks, extended the groove, and made people dance. We all are aware of that. Let’s take it back to mid-80′s, when Delicious Vinyl was not yet started (although it was a concept without the label really), and the Dust Brothers were making instrumental Hip Hop. These guys made sample based instrumental records and played them way before they even had a record label off the ground. People danced to this on the weekly at clubs like Power Tools, where their originals were mixed in with Funk, Disco, Heavy Metal, and underground Hip Hop of the day. These instrumentals would become the back bone for one of the best sample based record ever, the Beastie Boys Paul’s Boutique. Were these mid 80′s tracks, played in the LA club scene way before the Beasties or Tone Loc or Def Jef rhymed over them without a money shot? If you think there is not one money shot in any of the songs on Paul’s Boutique, you’re nuts. They were some of the most creative instrumentals made, and were filled with more money shots than a Swedish Erotica Johnny Wad film. You can’t tell me that a record like DJ Z-Trip’s Shifting Gears, primarily an instrumental record (with a bit of rapping) has no money shot, or Cut Chemist’s The Audience Is Listening is a boring repetitive effort akin to “Chinese water torture”. What about newer producers like Tall Black Guy, Odisee, 14 KT, Small Professor, or vets like Price Paul and Jake One? There is no way you can even state that their music is boring and can only be understood by consuming massive amounts of weed. This is rubbish, and I haven’t even mentioned Jay Dee yet.

Going further, he states “that quaint, nostalgia-saturated scene has nothing to do with the modern idea of instrumental hip-hop”.

How does this have nothing to do with instrumental Hip Hop? It’s the backbone of it. It applies the same technique: sample based music. A reinterpretation of the music, chopped, cut and made into a different product. Highlighting (obvious or not) the original artist (sample) and using their creative artistic freedom to make a song of their own. It’s a natural progression from early Hip Hop, where rhyming over the beat had turned into another genre. OK, Hip Hop gave born to Trip Hop which then birthed Instrumental Hip Hop. What’s wrong with that? Like I said it’s a natural progression, a maturation of the raw, infancy of classic Hip Hop, into IMHO, a polished genre with no rhyming. Why did DJ Shadow get a pass because his record was more like Steinski’s cut and paste style? He’s not the only one who was influenced by him, but maybe the first who was vocal about it. Shadow has made a lot of instrumental Hip Hop, and just because Endtroducing (which is definitely championed here at FMF) was done more in the style of “The Lesson” type records, doesn’t mean his samples and beats aren’t repetitive. It also doesn’t necessarily mean that Madlib or DOOM, or artists like RJD2 or even Cut Chemist are not relevant. Both RJD2 and Cut Chemist have made records that give respect to the pioneers while creatively sampling records, obscure or not. Cut has transformed sides using Brazilian records that take you on a beat filled journey of ebbs and flows that you don’t need to get high to enjoy. RJD2 has sampled everyone from Elliot Smith to Sophy (Check out “1976″ to hear this gem), and is far from boring. These artists have pushed the envelope of IHH and done it with some beautiful creativity.

“DJs and producers seemed to decide that they were on a pre-ordained artistic mission to conjure up — ahem! — “atmospheric soundscapes” instead of getting on with their jobs and making rap tracks that bang.”

Webster’s Dictionary defines artist as the following:

art·ist
noun \ˈär-tist\
Definition of ARTIST
1
one skilled or versed in learned arts
2
one who professes and practices an imaginative art b : a person skilled in one of the fine arts
3
a skilled performer; especially : artiste
4
one who is adept at something

At last glance, all of these artists are skilled, and adept at something, in this case making beats aka instrumental Hip Hop. Why are any of these people less of a performer because they don’t have music that sounds like Wiz Khalifa or Kreayshawn? Who made the rule that there has to be some snappy lyrics to accentuate the beat? I know that I’m not the only person who shares the idea of ridiculous lyrics about flossing bling take away from a good beat. Could it be possible that theses artists’ “atmospheric soundscapes” appeal to a different audience than the aforementioned rappers? What is the definition of banger? Does it have to be accepted by a Top 40 audience, win a Grammy (something Wiz didn’t win last night thankfully), or be played to death in every sporting arena, Hot 97 playlist, or by celebrity DJ to be considered a banger? A banger is a tune or beat that, well, bangs. It may or may not be repetitive, I mean most instrumentals are. Most songs are for that matter, aren’t they? An IHH beat is quite different than the latest Top 40 garbage because it’s creative. Why is a repeated and beat into the public’s head “so called banger”, that makes the public feel like “this is what music should be” because it has lyrics, better than an IHH song? IHH is filled with creativity, something the lemmings that follow Top 40 lack.

“ When Shadow addressed the issue in “Why Hip Hop Sucks in ’96″, he was not just letting the listener know how bad Hip Hop was at that moment, but contributing to the foundation of a new genre in instrumental Hip Hop. ”

I guarantee that many people could not tell you who Dilla was, or understand the creativity he had. I’m sure many Hip Hop fans today know more about Weezy than Dilla’s contribution to music. Besides being one of, if not the best producer of all time, his legacy and style has influenced a whole new generation of producers. Do your research son. His contribution to classics from ATCQ, the Pharcyde, and more weren’t just rhyming over a banger, the beat stood out by itself. Technically it banged. It could be played on it’s own and still get a great reaction. Dilla’s beats did repeat, but who cares? They were some of the most creative beats out there. What about Pete Rock? Pete Rock has released a slew of instrumentals (Petestramentals anyone?), and DJ producer vets like DJ Cam, DJ Honda, and DJ Krush have made long lasting careers out of IHH. Who said that their job was to just make songs than bang? They’re artists, creative in their own right, who can make any music they want. They’re respected and like I said, have made long lasting careers out of doing things their own way, most times without lyrics.

In conclusion, I have to say that Mr. Mlynar is way off base with his article. He is entitled to his opinion, but I really think that he should have kept it to himself in this situation. Just because you don’t like IHH, this is no reason to say it should be banned. Producers like DJ Premier, if they never made another lyrical Hip Hop song again, could live on the strength of the instrumental. When you hear a Premier beat, you know it’s Premier. People listen to the music not to get high to (although it does goes on), but most do it because they appreciate the music and hard work that goes into making this music. IHH is an art, an art that has evolved through the evolution of Hip Hop itself via sampling, production and the further refining of the art by people like DJ Shadow, Premier, Dilla, Alchemist, Jake Uno, Cut Chemist, Prince Paul, Pete Rock, RJD2, Diplo, and many others. IHH is growing every day, and with such sites like Soundcloud, bandcamp, and others, will no doubt grow larger through the momentum in gains from people refining the art of beat making. Just because you don’t like some genre of music, doesn’t necessarily mean it’s not good. When Shadow addressed the issue in “Why Hip Hop Sucks in ’96″, he was not just letting the listener know how bad Hip Hop was at that moment, but contributing to the foundation of a new genre in instrumental Hip Hop. Since that time, many artists and producers have built on that foundation to creatively solidify a faction of a genre that continues to knock down sonic barriers and leave a lasting footprint in this life we call Hip Hop. “The banal, meandering stepchild of Hip-Hop” has reared it’s ugly head and declared it’s here to stay.

Grab This DJ Andy Smith Exclusive Mix!

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I am starting up the Guest Mix Series again over here at FMF. Last time I had a great bunch of mixes from everyone from Funky 16 Corners to the artist COOP to Jason Perlmutter to Supreme La Rock and more. This time I’ve reached out to some different DJs to put together a mix of whatever they like, not necessarily Funk and Soul. I’m doing this for two reasons: one, I want to have some Big Ups people give you some great mixes, and two, I wanted to start a sort of pledge drive here at FMF. I do not make money on FMF, everything is out of pocket and done for the love of the music. However, as my server costs are rising, it’s getting more expensive on the monthly. I’m asking you, the FMF readers, the faithful who have been here since the beginning, to donate.

You can donate by clicking this link and following the instructions on the page. Any little bit helps. Thank you for your continued support on FMF!

That being said, the first mix is from my man DJ Andy Smith out of London. Known for his genre smashing classic Document mix series as well as label specific vault digging mixes (Greensleeves, Trojan) and let’s not forget his Jam Up Twist party that plays all over the UK, Andy took some time to make a mix that will be up on FMF for a month exclusively before going public. It changes styles like Son of Bazerk, it’s fresh, and I’m hoping you are going to dig it as much as I did. More Guest Mixes to come. Stay tuned.

DJ Andy Smith Many Styles Mix

1) Let’s Rock – Feel (Vista Sounds)
2) Dyin’ To Be Dancin – Empress (Prelude)
3) Chill Out – Free expression (Vanguard)
4) The Art Of Drums – Macattack (Baad!)
5) Brooklyns In The House – Cut Master D.C (Be Bop & Fresh)
6) One For The Treble (Fresh) – Davy DMX (CBS/Tuff City)
7) The Party Scene – The Russell Brothers (Portrait)
8) Oily – Juggy (Sue)
9) Tutti Fruiti – Lee Austin (Polydor)
10) Egg Roll – (Unknown artist) – (Funk 45)
11) Move To Something Funky – BLVD Mosse (Scorpio)
12) Paper Chase – Krown Rulers (Soo Deff/Warlock)
13) I Aint Wid Dat (Inst) – Funk Master Wizzard Wiz (Tuff City)
14) Soupy – Maggie Threat (Dyno Voice)
15) Hard To Road To Hoe – Otis Lee (Soul Magic)
16) You Got To Have Money – The Exits (Gemini)
17) I Got A Woman – Ray Charles (Atlantic)
18) You Had A Woman – Geneva Vallier(Cash)
19) Love Bandit – The Cadets (Modern)
20) Bloodshot Eyes – Wynonie Harris (King)
21) Soon You’ll Be Gone – The Blues Busters (BRA)

Download or Listen To DJ Andy Smith Many Styles Mix from the FMF Guest Series

Keep Diggin’!

Buying Records On the Cheap Daily

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I got a tweet from John Book on twitter that I thought was interesting. NPR published an article by Egon about digging in the East Village here in NYC. It went on to explain that in today’s economy, it’s a buyer’s market for vinyl and that you can get some great bargains today because of it. Egon gave himself a $100 budget, reminiscent of his broke college day record buying, the days he didn’t have a lot of time or cash to buy records before he had to hurry catch the Metro North train back up to Connecticut. It was an interesting story, and since I’ve been getting a lot of requests for more of my digging stories (like I used to write), I figured I’d follow up on that request. From the list of records Egon got (Brazilian Jazz Fusion, Jazz on the Folkways label, 70′s Nigerian High Life, and a Scandinavian rarity) it looks like a good haul. Although I’d rather get 50 records for $100, most likely they would not be on the level of the records Egon got. I still get good records, don’t get me wrong, but they are not the Psych or Nigerian face melters, those are definitely found in the better record stores (which like to browse through also). I’m happy to write about records on NPR though, so get at me guys if you’re interested. Here’s an inside look of the on the cheap records I have dug up over the past week.

My budget is even tighter now, because I have a baby on the way in a few weeks, so I have been dollar bin shopping quite a lot. My man M.Fasis and I hit up Bleeker Bob’s dollar bin before last week’s Hot Peas and Butta JB Tribute party and I came away with some Motherlode, Gil Scott-Heron, Vincentico Valdes, and The Flying Machine 45′s left in the bin for a buck. I just can not pass up on records, I just have to get more creative and a bit more selective on what I buy. I buy records from private dealers and ebay once in a while (my last attempt on ebay I’m still waiting for: a super clean copy of “Ride Your Pony Girl” by Harry Ray on All Platinum. The seller is jerking me around of course. That’s why I’d rather dig) However, the deal with FMF is I like to find the stuff on the cheap. There is a Thrift store by me that has always come through. It has got me some good Hip Hop 12″s, and weird Jazz records in the past. Very hit or miss, I still check it on the regular. This past week was a dud, as my only pick up was Jimmy Z featuring Dr. Dre “The Funky Flute”. The video solidifies that this record is straight cheese, with Jimmy Z playing some funky flute way before Ron Burgandy let people know that the Yazz flute was nuttin’ to fuck with. Even pretty 80′s girls can’t help this record. To my luck, however, another consignment shop opened recently. When I went in sans portable, there were about 500 records sitting in the back of the store. I propped my ass firmly on whatever I could sit on and started to dig. What I came out with were some pretty great finds. I didn’t pay more than $3 a record, and for 30 bucks I got 10 records that were all quality.


Scholly D – Gangster Boogie

First up we have some Philly Hip Hop from ’86. Schooly D (mislabeled Scholly D here) on Place To Be Records out of Narberth, PA. PTB Records was busy also releasing “P.S. P.S.K. (I’ll Tell You What It Means!)” by the Philly Crew and other 12″ by Tic and Toc. Schooly went on to say this about the record: “Gangster Boogie was about getting over, smoking jays and pulling out 8’s and all that.” Fair enough. A good mint pull, even though it’s not the first pressing on Cut Masters (with the cool hand written bubble letters). I’ll take it.


Marley Marl – Scratch

I’ve reviewed this before, when I got one off of DJ Jack the Ripper. This 12″ features MC Shan, and is a great example of quality of the Marley Marl production we have all grown to love. All you other DJs are a bunch of jerks, a classic line jacked and used for tons of break records. I used to buy them like crazy. Do they even make break records any more?


Sammy Dread – Road Block Lp

On the whole, the Lp that Sammy was known for, other than the “Bad Boy” side. On Hit Bound and put out by Channel One, Sammy was backed by the Radics band. Features “Dreadlock Queen” and “Roadblock” among others. Besides the the good music, the cover, with Sammy on a Jah Rasrafari motorcycle is classic.


Patrice Rushen – Kickin’ Back Promo 12″

Out of all the records I got that day, this is my fave. I’ve never seen it on the field before, so for me it’s a good pull. A promo, and from what I have gathered, one of the first in a group of 12″ records put out (besides being a promo), this side has pulled high $200+ prices in the past. Not that that really matters to me, I just want to play the thing. A solid 7 minutes plus of Disco Funk from Patrice on Prestige.


Yamaha Skank – V/A Lp

I knew something was up with this record before I even checked to see the label. A Rupie Edwards/ Striker Lee production, this record is solid all the way through. Highlights include “Riding with Mr. Lee” by Chinna Earl Smith and “President A Mash Up De Resident” by Shorty the President, plus a gang of other good sides. No artist is even mentioned in the liner notes, which adds to the mystique of this Lp.


United Dreadlocks Vol. 1 V/A Lp

This Reggae compilation on Joe Gibbs Music features Dennis Brown, Gregory Isaacs, and Junior Ross & the Spear among others. Roots music is a beautiful thing, and when you’ve got Sly Dunbar, Tommy McCook and Lloyd Parks in the backing band, it’s damn near perfect. This record cover, lithographed by the Stephensons, is going up in my wall in a frame. Bless Bless.


Kangal presents: Tiger Meets Yellowman Lp

First up, I am a huge fan of this Lp art. Even if it sucked musically, I would still buy it. My next Reggae mix is going to have some sort of graphic like this on it. I love me some Yellowman, and it has the side “Titty Jump” on it, so that’s a bonus. I lean more towards the Yellowman side, but the Tiger side is growing on me. Both backed by the Saggitarius band, Reggae in ’86 was still relevant, and a lickle Dancehall never hurt anyone.


Liquid Liquid – Optimo Ep

A record I never come across, let alone on 99 Records. Cover design by the great Richard McGuire. Original 1983 pressing. Mint, still in the original shrink wrap. Fun baby.


Marcia Griffiths – Naturally Lp

This early Marcia Griffiths on High Note has “Feel Like Jumping”, as well as the Bob Marley cover “Lonesome Feeling”. Backed by a band that includes Ansel Collins and Sly Dunbar, and you can groove to this today just as easy as in 1978 when it was released.


Z-3 MC’s – Triple Threat 12″

Despite the cheesy The Snakecharmer’s Song sample, this human beat box filled mid 80′s 12″ is not a bad score. Put out on Beauty and the Beat Records, straight outta Elizabeth, NJ, it’s Hip Hop in it’s infancy, raw and untainted. Not sure, but I heard this crew was out of Baltimore, MD. All and all a good come up for $3.

So for the people that were requesting some digging stories, here you are. If you do your research, have some patience, you too can get good records. I am in no, way shape or form claiming to be a record expert. I like what I like, and that’s good music. Egon is a music expert, running a label, reissuing lost gems, and constantly exploring different genres to expose these gems to the masses. I have the same philosophy here, as FMF tries to keep this music alive and well, while proving that you too, can dig for these records on the cheap, daily.

Keep Diggin’!

Eula Cooper Live! in Brooklyn

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Dope flyer by Soulmarcosa

For all you Funk and Soulsters in the Tri-State area, the good people over at Dig Deeper have got another hot show for you. In the past, they have brought you artists like Syl Johnson, Winfield Parker, Sugar Pie DeSanto, Willie West, Kings Go Forth, Marva Whitney, Darrow Fletcher and more. On January 28th they bring back Soul Sister Eula Cooper for the second time since 2008. Eula Cooper, known for her small string of sides released on Tragar and Note Records, as well as Atlantic, will be bringing her Georgia heat to the stage at Southpaw, backed up by The MAP Legends. Meah Pace will be the opener, and as usual, Mr. Robinson and DJ Honky will be spinning the Funk and Soul 45′s in between acts and late into the night.

Dig Deeper does a great job bringing these sometimes long forgotten Funk and Soul artists to NYC, many who have never performed here during their early careers. Their events have grown pretty huge, getting spotlighted in magazines like The New Yorker, and drawing audiences from pretty far. So if you’re in the market for some real, live, Funk and Soul, Dig Deeper have got your fix this weekend.

Dig Deeper
Southpaw
125 5th Ave
Brooklyn, NY
2,3 to Bergen/ B, Q to 7th
718.230.0236

Buy tickets to this event here.

Keep Diggin’!

Eula Cooper Live! at The 5 Spot in Brooklyn, NY 2008

Step Up Your DJ Bag Game

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When the dude says “Get on my level”, the dude is not joking. If he’s not opening for Lady Gaga, playing gigs in Dubai, or dropping knowledge over at CosmoBaker dot com, Cosmo Baker is traveling all over the world DJing. When you travel, you need a great bag. There was a shout out to Tucker and Bloom by Cosmo a while back, and now they have introduced the Cosmo Baker Signature North to South messenger bag.

“Being on the road over 150 days per year, I need a bag that is all business. Functionality is key but that doesn’t mean that one should sacrifice style. Together with Tucker & Bloom, we’ve created this DJ bag that not only works perfectly with my lifestyle. I’ll throw my laptop in, some vinyl and my DJ gear, a book, a change of clothes and toiletries, and I’m out the door. This bag works perfectly as to how I need it to, and keeps me looking fresh while I’m on the go ” – Cosmo Baker

Made out of Shell material 1680 denier black ballistic nylon with an interior lining 4 ply beige Taslan nylon, it’s built to take the tough knocks your bag takes when getting in and out of planes, trains, taxis and the like. With polished aluminum front side release buckles with a laser engraved logo on surface, leather trimmed in vegetable tanned leather, and double ring sliders made of brass casting with nickel plating, you will be on another bag level. It’s about time someone stepped up to the plate and made a decent travel DJ bag. Well played. Get your pre-orders in now.

Keep Diggin’!

Bonus:
Tucker & Bloom Cosmo Baker Documentary

Big Ups with Cosmo Baker from 2011

A Flea Market Funk 2011 Retrospective

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2011 has been a banner year here at Flea Market Funk. I’ve got a lot to be thankful for, and I wanted to go over a few highlights this year and shout out the people who have motivated me to keep doing what I’m doing, as well as pushing me to be better as a writer, DJ, and a person.

Flea Market Funk made the switch from Asbury Park, NJ to Brooklyn NY in early 2011. I need to thank my wife, first and foremost for getting me up to NYC, and for always pushing me harder to do more creative things and be a better person. Without her, this site would not have shaped up the way it has. She encouraged me, when I wanted to change the format and add my love of Hip Hop culture (sampling, producing, mixes, DJ culture and the like) to the site to just “go for it”. I believe that this added a whole new dimension to FMF. For that I thank you my dear, you are my best friend, and the best wife I could have ever asked for. This past year I started my most successful venture besides my mixes, the Big Ups interview series. I wanted to showcase the people I respect in this music game, and thank everyone who participated in it. I’ve got a great line up to start 2012, so please stay tuned for that. 2011 also brought my collaboration with Mr. Skeme Richards, The Nostalgia King, and the Hot Peas and Butta Crew. Skeme and I made the hook up, I DJ’d one of their events, and what can I say, he’s my brother from another mother. Look out for some HP&B x FMF collaborations in 2012. Salut! to one of the originators. This past year brought my successful residency over at the Ace Hotel here in NYC. I want to shout out the Friday night staff and booker for always making me feel at home, welcoming my creativity and choice of music throughout the Fridays. Whether I was playing Jay Dilla or Dawn Penn, or a Dre remix of the Rolling Stones, you all supported the night and promoted the hell out of it. I am looking forward to doing more with all of you in this upcoming year. I’d also like to shout out Richard Smith aka Spice of Slice-of-Spice Records, who is one of the hardest working men in the game I know. Churning out releases faster than Gareth Bale scores goals (and he’s a Spurs supporter), looking to hook up with some SOS in the ’12. I again wanted to thank the one and only Heavy Soul Brutha Dave, who has been a huge supporter of FMF as well as my mixes, and has promoted the shit out of me through his site, and Mixcloud. Looking forward to getting together with you in the future over a beer and talking music. Shout out to Terry Cole over at Colemine Records, for keeping the Funk flowing like they used to out in the Midwest. 2011 saw FMF get a shout out (and a link to) on BBC, for an article I wrote on Gilles Peterson and David Rodigan’s Sound Clash (and a retweet by Daddy Rodigan). There were also mentions by Dilla’s mother Maureen Yauncey, who promoted one of my mixes that featured her son, talk about honored! New connections were made with artists like Small Pro out of Philly, Jet Tricks of of the UK, The gang over at Our Label Records in Germany, and the great Jim Thompson from Brooklyn’s own Electric Cowbell Records. A huge thanks to Brett and the people at Nixon, who have kept me fresh dipped in Nixon gear, as well as their new line of headphones, which are top notch. If 2012 is anything like 2011 was, I’m going to be busy. I’ll be busy anyway, as my wife and I are expecting a son in February. I’m looking forward to teaching the little youth all about the music, which will be my best accomplishment yet.

Finally, I’d like to shout out all my DJ people: Larry Grogan, DJ Prime Mundo, DJ Bluewater, Devil Dick, mFasis, Rob None, DJ Andy Smith, DJ Shawn Francis, Neil Nice, and anyone else I have missed. Thank you all for the support, and for driving me to find these records and get them out there. Trying to get an AP 45 Sessions reunion up here in BK or NYC, so let’s make it happen. Lots of projects in 2012, including a second guest mix series, a pledge drive, and lots more. Bring it on! Have a soulful and funky New Year, and I will see you in the ’12.

Keep Diggin’!

On Point: The Ace Hotel Live Mix 13

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As the year draws to a close, my Ace Hotel Live Mix series has come up to volume 13. Drawing inspiration from one of the best 70′s car flicks Vanishing Point, On Point: The Ace Hotel Live Mix 13 is a culmination of songs that I’d love top have blasting if I was driving a super charged muscle car from SLC to SF, hopped up on goofballs and being led by a blind Soul DJ who knows just what to say. There are some Funk treats from the De Wolfe Librarie, Badder Than Evil, Rudy Ray Moore, plus a quick nod to Ralph MacDONALD, good Hip Hop from Damu the Fudgemonk, classic Pete Rock and CL Smooth remixed, funky Soul from the Pazant Brothers, The Mighty Ryders and Philly’s own Monica, a Bob James Cover from Taggy Matcher , a few Action Bronson original samples from Dry Bread (a Numero Group reissue) and Anglo Saxon Brown, smooth tunes from Tommy McCook, and the Menehan Street Band, fellow left coast Ace Hotel DJ/producer DJ Day from 2007, and some reissued mid 70′s sophisticated Soul from Jerline and Friends. A perfect Soundtrack to get charged up and then wind down to. Enjoy!

Vanishing Point Intro
De Wolfe Librarie – Silver Thrust
Damu The Fudgemunk – Faster Rhyme For Self
Badder Than Evil – Hot Wheels (The Chase)
Taggy Matcher – Nautilus
Pete Rock and CL Smooth – The Creator (Slide To The Side Remix)
DJ Day – Gone Bad
Monica – Chauffeur
Rudy Ray Moore – The Hitman
Pazant Brothers – Groovin’
Mighty Ryders – Evil Vibrations
Ralph MacDONALD – Jam On the Groove
Dry Bread – Words To My Song
DJ Shadow – This Time (suonho Now Is The Time Mix)
Renegades of Jazz – Seaside Suicide
Tommy McCook – Heatwave
Menahan Street Band – Make the Road By Walking
Galt MacDermot – Ripped Open By Metal Explosions
Anglo Saxon Brown – Call On Me
Jerline & Friends – Joy Trip Part 1
On Point Outro

Get On Point: The Ace Hotel Live Mix 13 from my Mixcloud page.

Enjoy!

Truth and Soul Announce New Lee Fields

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In the sad state of music today, where one has to wade through a lot of horrible stuff that passes for musicians these days, there is a silver lining. That silver lining is Lee Fields. On March 13, 2012, Truth and Soul Records will release Faithful Man, the follow up to the smash 2009 Lp My World. Backed by the hardest working band around, Truth and Soul Records house band The Expressions, this record is highly anticipated. If you are a fan of Funk and Soul, a fan of Lee Fields, or just a fan of good music, you’d be doing yourself a disservice by not picking his record up when it drops.

“ “In a curious case of musical evolution, the older Fields becomes, the closer he gets to perfecting the sound of soul that he grew up with as a young man ”- Oliver Wang

Mr. Fields carries the torch and keeps the flame burning for Funk and Soul music. He, along side bands like Sharon Jones and the Dap Kings, labels like Colemine, Starla, and Our Records (which we will profile here at FMF soon) among others, rise up among the bastion of bands who claim to be a throwback or reside on a major label as throwback. The reason Fields rises up is simple: Lee Fields is the real deal. He’s done his musical bid, moved around on over 12 record labels before coming to his permanent home of T&S. How many people can claim they have played with a bands like Kool and the Gang and Sammy Gordon and the Hip Huggers? Not familiar with Gordon? Check out “Upstairs at Boston Road” or “Jungle Bump” to get the sound, and you’ll see what I mean about Fields’ contribution to this music genre. He’s breathed Funk and Soul music, toured throughout the world and his 43 year old career shows no sign of stopping. If you’re just getting hip to Fields, I suggest you grab My World from Truth and Soul. If you’re lucky enough to be able to get your hands on some of his older 45′s, let’s say “The Funky Screw”, “Let’s Talk It Over”, or “I’m the Man”, you will hear a man who is Soul. This progenitor of the movement (Funk and Soul that is) is equally entertaining on tape as he is live, and translates well with both. This March, Fields once again shows the world what the genre is about. He can do that, because he not only plays the real part, he lived it his whole life.

Here’s my review of Lee Fields and the Expression Live at Central Park Summerstage this past summer here.

Lee Fields- “You’re The Kind Of Girl”

Download the track, “You’re The Kind Of Girl” from Rolling Stone.

Keep Diggin’!

Big Ups with Akalepse

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Today’s Big Ups is a special one, as I get 10 questions answered from Brooklyn’s own DJ Akalepse. Lepse has been holding down NYC for a long time, throwing proper DJ parties with real music, while also producing and putting out some of the best Funk and Soul music with the acclaimed record label Truth and Soul. His weekly Wednesday night at LPR alongside Rich Medina has had heavyweight guests that included J-Rocc, DJ Spinna, Crazy Legs, Dwele, Easy Mo Bee, and many more, if you thought you could take the night lightly. It is my distinct pleasure to be able to bring him to the pages of Big Ups.

Check Out Akalepse on Facebook.

Read more about Props and Akalepse here.

Follow Akalepse on Twitter.

Respect to Akalepse for taking part in this series. Keep Diggin’!

Ralph MacDONALD – Jam On The Groove

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R.I.P. Ralph MacDonald 1944-2011

This weekend, we lost another great musician, Ralph MacDONALD. Ralph was a great drummer and percussionist, and I have to admit, every time I see a copy of this record (no matter what: 45, Lp or 12″), I get it. Here’s New York City’s own Ralph MacDonald with “Jam On the Groove” on Marlin Records was 1976.

Born in Harlem, NYC in 1944, music was always in MacDONALD’s blood. His father was the Calypso performer MacBeth the Great, so he was close to the Calypso movement in New York City that reached world wide. In his late teens he worked hauling steel drums for a friend who worked for Harry Belafonte. When someone didn’t come to work, he stepped up brashly and played. He was even boastful enough to approach Belafonte and tell him he knew nothing about Calypso, which prompted Belafonte to ask him to write a song. The results were a good amount of tunes on Calypso Carnival. Partnering up with William Eaton and Bill Slater he formed Antisia Music, a publishing company. They would go on to write “Where Is the Love” for Roberta Flack, which went on to sell over 10 million copies. MacDONALD was in, and he wrote for many performers, including Paul Simon, Billy Joel, Grover Washington, Jr., and a song on the Saturday Night Fever soundtrack. We all know how much that record sold (over 47 million and counting), and would earn 2 Grammys for the NYC native. MacDonald was not one to stop writing or performing, and when he wrote a side called “Just the Two of Us” in 1976 that appeared on Washington, Jr.’s 1980 “Winelight” record, it would be his greatest success. MacDONALD also had been a percussionist for Jimmy Buffet for quite a while, and continued to write, record, and tour up until his death.

For those of you who are unfamiliar with MacDONALD, the most notable use of this record was in Double D and Steinski’s “Lesson 3″. It’s quite a famous break, and with this Disco/ Calypso feel drum pattern and various percussion throughout (I think I heard a triangle in there). Ralph MacDONALD was one of those guys that maybe you didn’t know of, but he was always involved in music. His publishing and writing were where he made his bread and butter, but there is no denying how good the drums are in “Jam On the Groove”. Rest In Power Ralph MacDONALD, and a huge Salut! from Flea Market Funk.

Listen to Ralph MacDONALD – Jam On The Groove from the Marlin Records LP Sound of a Drum

Keep Diggin’!

Gift Wrap: The Ace Hotel Mix Twelve, Holiday Style

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Christmas and the holidays only come once a year and here’s an all live mix to blast while you decorate the tree or dance at your holiday party. With holiday tracks from Bootsy Collins to Binky Griptite to Lee Perry to John Lee Hooker, plus staples from Kurtis Blow, Run DMC, Clarence Carter and more. The twelfth edition (like the 12 days of X-Mas) to the Ace Hotel Live Mix, get your funky holiday groove on with some Funk, Soul, Reggae, Hip Hop and even some Brazilian rhythms. Happy Holidays from DJ Prestige and Flea Market Funk!

Xmas Intro
Bootsy Collins – Winter Funky Land
James Brown – Santa Claus Goes Straight To The Ghetto
Zapp & Roger – Please Come Home For Christmas
Lee Scratch Perry And Sandra Robinson – Merry Christmas
The Aggrovators – Santa Claus Dub
Al Green – Winter Wonderland
Snoop Dogg Feat Daz Dillinger, Nate Dogg, Tray Dee And Bad Azz – Santa Claus Goes Straight To The Ghetto
John Lee Hooker – Blues For Christmas
Binky Griptite – Stone Soul Christmas
John Holt – Happy Xmas (War Is Over)
Dinah Washington – Silent Night (Brazilian Girls Remix)
Soul Saints Orchestra – Santa’s Got A Bag Of Soul
Clarence Carter – Back Door Santa
Run DMC – Christmas In Hollis
Busy Boys – Funky Fresh Christmas
Otis Redding – Merry Christmas Baby
Electric Jungle – Funky, Funky Christmas
Freddy Mcgregor – Feliz Navidad
Kurtis Blow – Christmas Rappin’
Carla Thomas – Gee Whiz Its Christmas
The Emotions – Black Christmas
Michigan And Smiley – Drummer Boy
Eek-a-Mouse – Christmas A Come
Xmas Outro

Get Gift Wrap: The Ace Hotel Mix Twelve, Holiday Style now!

Keep Diggin’!

Benefit for Jonathan Toubin aka DJ Night Train

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Jonathan Toubin and I have never met. We’ve been in the same circles, played the same clubs, and spun similar records. This past year we both had residencies at the Ace Hotel in NYC, Jonathan on Tuesday nights, me on Friday nights. He was a guy who I always said, “man we have to hook up and do a show, of course, all 45s”. It was one of those things that is on my list, but hasn’t happened yet. Even though we don’t know each other personally, we are brethren in the record sense, and he needs your help. In a complete and utter crazy event, while on tour in Portland, OR, Toubin was injured when a taxi crashed through his hotel room. A one in a million chance. Apparently the cab driver had a diabetic seizure, which caused the driver to lose control and plow through the first floor room Toubin was staying in. He was scheduled to play at the club Rotture on Thursday for the 5th Anniversary party I’ve Got a Hole In My Soul, and was listed in critical condition after the accident.

Tonight at the Motor City Bar & Home Sweet Home, they will hold benefits to help Jonathan and his medical bills. Here are the details:

HOME SWEET HOME

8PM – 9PM Ethan Miller
9PM – 10PM Andy Animal/Danny Goldshtein
11PM – 4AM Josh Styles/Billy & Miriam of NORTON RECORDS

There will also be a raffle for a bunch NORTON RECORDS merchandise!

$10 suggested donation! ALL MONEY GOING TO JONATHON!

——————
MOTOR CITY

10PM – 4AM Drew Redmond/Jerry Lee

Suzanne Rogaleski will be donating a private trapeze lesson to raffle winner!

MORE STUFF TO BE ANNOUNCED!

Here’s the Facebook page with more details.

Here is the Pay Pal e mail to donate to Jonathan directly.

Also, his booking agent released this message:

“Hi, this is Michelle, Jonathan Toubin’s friend and booking agent. If you are interested in organizing a benefit for Jonathan as I’ve been hearing a lot of people are, please direct your emails/ideas/ requests to this e mail address. We’ll be organizing benefits via that email account. Thanks for your support.”

We here at FMF are keeping Jonathan Toubin in our thoughts and wish him a speedy recovery.

Keep Diggin’!

Eddie “Lockjaw” Davis Quintet – The Chef

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My other passion besides music is food. Over the last few years I have gotten into cooking, and love to get into the kitchen deep, just like the crates, and put together something special for my family. Over this holiday, my wife and I hosted our first Thanksgiving, and cooked up a complete, home made dinner for about 10 guests. From brining to whipping to blanching, it couldn’t have turned out better (and we have left overs for days!). Today, I’m going into the Jazz Cookbook of the Eddie “Lockjaw” Davis Quintet with “The Chef” on Prestige Records from 1958.

Eddie “Lockjaw” Davis was born in New York City in 1922. He never tok a music lesson, picked up a saxophone, and never looked back. Becoming notable at Clark’s Uptown House in NYC in the 1930′s, this tenor saxophone virtuoso found his musical roots in the Blues and Swing, and would go on to become an influence to more than one sax player. Davis would make his mark early in big bands led by himself, as well as Cootie Williams, Lucky Millinder, Louis Armstrong, and Andy Kirk, but became pioneer of the Soul Jazz sound. His pairing with organist Shirley Scott ushered in the genre in the 50′s, (they proved that the organ was not just a novelty instrument) and the tenor sax/ organ duo made moves their own way.

“ Playing with Eddie is a pleasure, not a job at all ” – organist Shirley Scott, 1960

Although the two would part company, unfortunately Davis could never get back to that place or sound he achieved with Miss Scott. Instead, he jumped ship with over to Count Basie and the high profile Prestige label, where he played with him throughout the 60′s and 70′s. Davis also led bands as well, and would release “battle” records with Johnny Griffin, both exposing a range of sounds and styles. Taking a break at one point to become a booking agent and the manager of his former boss Count Basie, Jaws finished up his career playing Europe with Basie and artists like Norman Granz (who featured Ella Fitzgerald) and taking part in recording and live sessions up until his death in 1986. Jaws was a legend of the tenor saxophone who could play many different styles, battle like no other, and left a mark in Jazz (particularly Soul Jazz) that future players will reference for a long time.

“The Chef” is exactly the type of side that I put on when I’m in the kitchen. Scott’s B3 grooves while Davis’ smooth tenor moves like a chef’s knife through a nice filet. Help from George Duvivier on bass (an NYC Jazz vet who worked with Billy Eckstine and Bud Powell among others), drummer Arthur Edgehill (Horace Silver and Kenny Dorham vet and a ‘descendent of the Roach-Clark-Blakey mold’ ) and Oakland, CA’s Jerome Richardson on flute and tenor sax add the spices that Chef Jaws needs to keep this recipe smooth. I’d highly recommend this Lp, as well as all of Jaws’ collaborations with Shirley Scott. A cool introductions to the genre of Soul Jazz. This is a great side, and a god piece of Jazz to cook to as well. Keep Diggin’!

Listen to or Download Eddie “Lockjaw” Davis Quintet – The Chef from the Prestige Lp