All the sudden y’all wanna blast my phone talking about merry Christmas.. Where the f*ck were u the rest of the year ???? Lames !! B.O Facebook – 12/25/11

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Goodbye 2011…thank god I made it thru alive…if you were a person I would have prob. punched you in the face a few times like you did to me but its all good, what doesn’t kill you def. makes you stronger….I learned a lot…

-M.V. Facebook 12/29/11

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Please stop quoting Marilyn Monroe you ugly c*nts – N.Y. – Facebook – 12/30/11

I interviewed Carolyn Harding for SouledUp.com in late 2006, at the time she was working on an album to celebrate her years in dance music.  the interview was incredibly enlightening. She is a master story teller and one of the artists that saw what we know as House music come into being.   Her new release “This Is Why I Sing” is a collaborative effort with producer Pirahnahead and singer Diviniti . This track will become another classic from this amazing artist. I thought this was worth re-posting here.

Carolyn Harding  has successfully navigated her way through all the industry changes from the 80’s into the 90’s to the present and she’s still standing.  She’s maintained her integrity by refusing to do music that doesn’t speak to her life experience. For some added insight into her life and times, I proudly present my interview with Carolyn Harding.

SU:  Carolyn how are you, I want to start by asking you how you got interested in dance music?

 CH: I was first introduced to dance music by my brother Ricky. Ricky was a member of the Paradise Garage. At that time I was singing pop, opera…you know with the chorus in high school. I didn’t really have anything outside of the local school experience with vocals. I was exposed to whatever the chorus teacher was exposed to basically.  Ricky would say “oh you can sing there’s this music that really moves people and you need to sing this.” We talked about it and talked about it and he pushed me into gospel. He made me join a church with him just so I could get the gospel feeling in me. Eventually I ended up somehow singing this music.

SU: So how did you get your start in the business?

CH: I was still in high school and I met a woman named Lori Butler in a local play. She thinks she discovered me as a vocalist. She introduced me to Manhattan and producers and writers. She got me into the Daily planet with John Gossbard and a writer named Mario Sprouse. It was over on 30^th Street, at that time it was a rehearsal studio eventually they got into recording. He wanted to be my producer it was my first production deal it wasn’t house music. It was it was some kind of pop R&B’ish thing; my brother is steady going “Carolyn you don’t need to sing that you need to be singing this other music.’

SU: Was he talking about house music?

CH: It didn’t have the name “House Music” at the time it was just this feeling that he really couldn’t put it into words. It was this thing that was going on at the Garage and that’s the style he wanted me to sing. It was almost like…just coming out of disco and getting into this thing they were doing at the Garage. It didn’t have a name yet but while working with John Grossbard of the daily planet I came upon the group cameo. They were in there rehearsing and I met Wayne Cooper from Cameo. Now he would be the first person to introduce me to a style of singing that would be conducive to house music.  It was about just being free enough to sing freely as I would in house music. So he would definitely be the one responsible for that. He taught me how to use my range but definitely Ricky my brother.

SU: Where did you go from there, how did you get the next break?

 CH: I started to apprentice in a studio in Queens called the Power Play studio. At this time I had graduated from high school I’m on my own and trying to get into the music business. So I’m assistant engineer to Patrick Adams, you remember the track “Push Push in the Bush” he did all of that. This was just around… this was the beginning of house music but I didn’t know it at the time. Now getting back to the Wayne Cooper connection Wayne pushed me into working with him singing background vocals. That got me in the door to singing background for people like Jocelyn Brown which was the beginning of house. Sal Soul Orchestra and all that, Greg Carmichael was the connection he was the producer that Wayne Cooper hooked me up with.

SU: Would you say you were witnessing the beginnings of house music at that point?

 CH: I didn’t know it at the time I didn’t know that was gonna be the beginning of house music. I got in as a background vocalist for them working with a Patrick Adams. One thing led to another, led to another somebody came in and said they needed a vocalist while I’m working in the studio. Patrick’s always pushing me on “let her do it she’s a singer.”  This guy came in Asunto Muller; he needed a female vocalist because his girl never showed up. He came in two days, girl never showed up. Patrick pushed me into singing; it was called “Gonna Get Your Love.” I’m not gonna say anything negative it was very nice but it just wasn’t what I was used to singing. I really wasn’t that comfortable but I gave it everything I had. Well Asunto Muller sold that record to Emergency records

SU: Were you surprised when you found out?

CH: I was shocked this would be my first single with Emergency records. He came back to the studio and told me hey if I get the song sold you’ve gotta be the artist so I said “oh ok.”  They came down and told us it was sold to Emergency and they wanted to meet me in the office. That’s when I met Curtis Urbina I think he was the vice president and Sergio was the president of Emergency. I told them that I’ll sing the song but you have to guarantee me the opportunity to record a song that I really really like. I’m sure that it was just supposed to be a one off for them. I said I want to be able to record a song that I like, not necessarily for this guy. They were like…fine if you sing this for us then the next record you can have it, you can do whatever you wanna do. That was “Memories” the next record was memories.

 SU: How did you turn your desire to do a project you liked into reality?

CH: still working in the studios I was able to meet different producers, different people. One of the people I met was working with somebody who was working with the guy who did music for Colonel Abrams. My brother said “that’s the kind of music that Colonel Abrams music is the kind of music I’ve been telling you about, it’s what ya gotta do Carolyn.” So I said alright I got it I need to find the guy that does the music for Colonel Abrams. Somehow they led me to this guy Winston Jones, I don’t know what Winston did for Colonel Abrams but he was who they led me to.  I said to him look, I’ve never had a record out like this before I really like that Colonel Abrams sound. We have a record company that would put a record out if you would just produce the song for me and write the song.  I’ll sing it and it’s already got a deal” He didn’t know me from Adam and he was like oh alright. The guys in the studio were like… go ahead why not; we did it there in a studio in Manhattan. One of the guys who knew a guy, who knew a guy (laughs) worked at that studio and let us use the studio on spec. So everything was just on the hope that Emergency like d the song. And they did they liked it and that was the beginning.

SU: What was the response to the release of “Memories”?

 CH: They said it was an out of the box hit, I don’t think they did very much promotion at all. It got radio and it stayed on the charts where at that time dance records came in and out. It stayed on the charts for 21 weeks, at that time that was a big deal.

SU: Did you know it was being played in the dance clubs?

CH:  I found out quickly because at that time the booking agents were really booking me. They were booking me because DJ’s were playing the record. I got booked at the Paradise Garage a few times but I never ever saw Larry Levan.

SU: Really? You’re kidding

CH: It was a madhouse, all I remember is that I was being ushered around and moved around. I never could really get a good look at the place you know… I was never there to really just dance at that time. I was in around six o clock in the morning, trying to keep my eyes open (laughs). I would do the show and go home and go to bed, I never got a real good look at the place. By the time I got there they definitely knew that song though, my brother was like the number one fan he was right out front. You know I didn’t really have a lot of confidence in myself in what I was doing at the time. I was way out of my element.  I thought I  was this scrawny, skinny little kid all my life I didn’t think of myself as a voluptuous type of woman. I always thought of myself as a skinny little girl. The thing he said to me was…he said I looked voluptuous on stage and I performed like a real star. That made it click for me I didn’t think that before then, I had never seen myself like that.

SU: What was it like performing at the Garage for the first time?

 CH: I didn’t know what to wear, what I am gonna say, what I am gonna do. So I made a dress and I visualized how I thought I should look to perform in this club. I had an idea cause of Ricky; he had described it to me. It had these big shoulders, I put my hair up and I thought… I wanna be elegant you know not this Annie Hall look completely. I cut the dress out the same shape as I was I cut the front short and I let the back be a gown. That worked and the fabric was shimmering iridescent fabric so it over accentuated you know my hips and everything. It probably made me look a little more voluptuous than I actually was (laughs). When he said that I performed like a real star and I looked so voluptuous up there that gave me the confidence to say ok maybe I can hang out with these people. Meaning these beautiful women these Phyllis Hyman type women you know…they’re voluptuous. That was my idea of what I should try to look like but I didn’t t look like that.

SU: Did you write “Memories”?

 CH: Memories was actually written by this guy Winston Jones and it was perfect because I had just come out of a relationship that that song described. I thought, now that fit my life and I said to myself I will continue to sing songs that relate to my life. If they don’t relate directly to my life then I would like for them to be an inspiration in somebody else’s life. After “Memories” came “Moving On” which was a natural progression from a bad memory to now lets move on. Then I met this other guy and I said well all I need is time give me a little time. The next song was I need some time and it just progressed on and on and on like a story. There were a few left turns between back then and now, songs that didn’t have anything to do with me what so ever but for the most part that’s how I like for it to go.

SU: How much artistic freedom did you have in those days?

CH: Emergency was always very fair as far as giving me freedom to sing what I felt like I should sing. They wanted me to be honest with the music and that was wonderful. From Emergency I went over to Profile because that was after Emergency shut down.  Profile gave me all freedom in the world as a matter of fact they gave me too much I ended up moving away.  I don’t think I ever delivered the next single I moved to Florida, when I got to Florida it was like …people started dying at that point. People like Larry needless to say he wasn’t the first. I think there some booking agents that passed first Eddie Rivera, you know people who were very instrumental in my career. People were disappearing and the momentum was slipping away from me.

SU: Was it getting harder to find people that you wanted to work with?

CH: I didn’t feel like I had the same support without these people in place there was a void. Then there were these other people who were trying to get me to do things their way.  Like people who owned the record stores wanted me to be their artist and they wanted to be the producer and I was like…you’re not a producer you own a record store.  My then husband, my first husband was involved in all that. Now he wanted to be a producer. So now he’s going to hook up with some of these other people that decided you don’t have to be with profile anymore we can do this. It was a big distraction needless to say I was coerced into getting a release from Profile. I decided I’m not gonna fight with you to keep from having to sing for you I’d rather not have a record deal if I cant do it properly. So I left and I know that really pissed of Cory Robbins, he was the owner of Profile.  Curtis worked so hard to make sure I had a label but again you know with the influence in my life at that time it was just so discouraging. Like I said I’d rather not be signed at all than to be pushed in a corner and forced to do material and work with people that I had no desire to work with what so ever. Their intentions were all wrong spiritually it wasn’t there. I shut right down; I’d rather sing in a library than have to record and have records out with these people

 SU: How did you feel about the industry through all of this, did this cause you to kind of sit it out for a bit?

 CH: Well my perception of the dance music industry was that the core of the industry was built upon real soulful people. People who meant it you know they didn’t do it because they got paid, they didn’t do it because somebody told em to. They did it because it was in them and I knew that wasn’t going to die anytime soon. Individual people might disappear but the soul of dance music would stay and I would have an opportunity to jump back in when the people around me were correct. I really wasn’t in a position to change that at the time so I did sit it out for a few minutes.  I kept singing back ground; I kept singing featured vocals for people. At that time artists were slowly being phased out and the producer was being phased in as the artist. They hadn’t even gotten to the DJ yet it was the producer now who wants to be the artist.  Then the DJ’s turned producers turned artists and people like me were hired vocals like a drummer or a guitarist. So I went with that I said to myself as long as people hear my voice. I don’t have to be the star; I don’t even have to be the writer as long as people hear my voice. I’m still in it and that was ok with me and to know that if its gods will then my place will eventually evolve.

SU: So is it safe to say you didn’t sit it out for too long?

 CH: At that time I was featured on just about anything possible from here to the other side of the world and back on whatever label was willing to put it out. They were saying that vocalists were over saturating themselves so it was making it hard for labels to push them as an artist. Meanwhile labels weren’t making a commitment to artists enough to stabilize them so they wouldn’t have to be featured all over the world. A couple of years went by and my brother ended up dying…passing away of AIDS. At that time my daughter was two and I had already left my husband. Well he left me actually (laughs) he left cause I wasn’t gonna sing for him and my daughter and I went on the road. Actually she was one when we started on the road and that was in 1990. While on the road my brother passed and I said no matter what I will always have a house record out in honor of my brother.

SU: Wow that’s such a special way to honor his memory

 CH: He introduced this to me and I love it and it’s a part of me. I don’t care what my career is I will always have a house record out somewhere in the world. You know, I never had proper management; I never had a real record deal where I had a full blown commitment to develop me as an artist. All I had was my voice and the will to make sure there was a record released some where some how some way. The only way to do that was to get a DJ or a producer to want me on their record. So I made sure I was at all the dance music summits. Anything that had to do with dance music, I would always show up. I would walk in and no matter what one somebody would say oh Carolyn I want to do a project with you. I’d say fine and there’s one for that year ya know (laughs) and it went like that every year from the 90’s right on up to now.

SU: Wow that’s impressive

CH:  You can find records for every single year from the 1980’s to now each year there was either one or three or four sometimes. One year I think I did six songs in all but they all didn’t come out that year but every year they came out.

SU: How did all that lead to where you are now?

 CH: We’re talking about from 86 to now, with all I just told you every now and then Curtis would give me a call. He’d say how ya doin, what are ya doin somebody needs a vocalist. He would hook me up, partner me with a project and that led up to this. Ok there was “Memories” and then there was Soul Solutions in the 90’s. Curtis hooked me up with Soul Solutions then he would disappear for a while. Then this year Curtis called out of the blue, same thing hey what are you doing and I said I’m ready what’s going on? I’m still singing I started my own company Carolyn Harding music. He knew that I was involved in that. Providing live entertainment for whatever wedding, corporate events I don’t care whatever. So he knew I was doing that and he said are you recording? So I said I just happen to have a song that I just recorded. He said he and a guy named Thomas Speigal were developing a new record company and they need an artist that they would like to develop to do an album. He said they want somebody who’s seasoned enough just to do it and not have a whole lot of drama. So they immediately thought of me. I was honored that they’d think of me and I sent them my song which is called All Because Of You.

SU: Did you write that one?

 CH: I wrote it with my brother Bob Harding we call him B-Wise, they loved it and they signed it. We decided to go ahead with the album so now we’re on our fourth song of the album the first release is called “All Because Of You.”  It’s been on the web for a couple of months now on Deep Haven Music. When I first heard him say it, it sounded like he said Deep Heaven and I said oh yeah I’m in you know deep heaven (laughs). But then I realized it was Deep Haven which was fine I was already in then. They said they wanted Neo-Soul; this would be the first time I’ve had the opportunity to sing anything outside of house music and have it recorded and distributed to the world. So I thought that was excellent and I said well as long as we can do a house remix I’m good, I’m good to go.

SU: Was it hard to get them to agree to that?

CH: They were like of course absolutely we wouldn’t think of it any other way. So every song we do Neo-Soul will have a house remix and we’re just building from there. I will always be connected to house music no matter what I sing.

SU: Do you get to use any of your technical knowledge when you’re working on your music?

CH: I’m pretty much assistant on everything at this point it helps me to have that knowledge, helps me as an artist and a vocalist. Now that technology has changed and everything is more computerized I’ve moved right along with it. So when I’m in the studio now I’m thinking more technically than I am as an artist. It’s not all what I’m singing it’s how it’s being recorded. I can communicate clearly and understand exactly what’s happening in the studio technically so that it’s efficient. I just move right through it I’m not inhibited by change in technology. In other words and I know how it used to be done. I have that old school method as well as the new school method together so it’s more efficient.

SU: besides singing you have other creative interests, how important are those elements in making up who you are?

CH: I would say honestly, all of those other elements are me I cannot function on a day to day basis unless I have one or two of those elements happening. I’m a mother , I’m a wife, I’m a singer , I’m an artist, I’m a little handy woman type of individual, a seamstress, clothing designer whatever. You know in my day to day if I’m not involved in one of those activities I’m climbing the walls.

SU: What is you’re creative process like with regards to your songs and how you put them together?

CH: I hear my songs in my head all the time but I have to wait for somebody to strike up the studio before I can lay it down. I don’t know when it’s going to stop I cant take a chance that God is gonna a give me this ability and make it last for another 40 years. I’m half way there already I have to do it while God has given me the opportunity or I’m saying to God who are you, I’m gonna do what I wanna do, I can’t say that I gotta do what he gives me to do

SU: What’s you’re perception of the music business these days?

 CH: The business is changing yet it’s pretty much still the same it’s changing because of technology. I think that change is the best thing that could have ever ever happened to dance music. Now with the new technology we have the ability to be broader, we’re not underground anymore we are universal. It’s not underground music anymore, with the ability to get this music out all over the internet satellite radio cable radio you know there are so many means of getting people to hear what it is that we’re doing. It’s easier now for us to express, it wasn’t like that 20 years ago it was way underground and now this is a whole new generation. People think I don’t have music out still because it’s not the same people so they don’t necessarily know who the heck I am. They might have heard one song and a lot of these kids don’t know anything about “Memories.” They heard “What Is Love” which was just two or three years ago.  I just got an email the other day from some kids they think that’s the greatest song they ever heard can I send them the lyrics.  I thought wow these are new kids they don’t know anything about what I’ve done before.

SU: Does the album have a name yet and what are some of the influences that shaped the songs?

CH: The album is not yet named however it is already diverse within Neo-Soul because we’re coming from three different angles. You know that one young lady; Aaliyah, I loved her voice so I think I wrote one that’s reminiscent of her vibe. That one is called “Don’t Stop” I think about her when I sing that song. With the others I’m not thinking about any other singer I’m just singing. I have one about my husband “All Because of You” that’s the first single I had him on my mind when I wrote it. I didn’t write it down it just came I just sang it. Earlier I told you everything has something to do with my life and if I didn’t actually experience it isn’t something that I would wish to share. That’s what you’ll get from the album.

SU: Well I can’t wait to hear it, Carolyn thank you so much for doing this I really appreciate it.

SHELTER REVISITED:

GIMME SHELTER

At 9pm Saturday April 22^nd, 2006 Club Shelter kicked off its 15th anniversary party in its brand new home. The new era of Shelter began with Quentin Harris, Timmy Regisford and Sting International. This was the same DJ line up as the Miami party. I knew that tons of people would come out for the opening, so I shied away from the place until morning. It was 6:45am Sunday morning when I got out of the subway at Hudson Street in Manhattan. It had been raining since Saturday evening and I had about four blocks to walk. So there I was on my way to 150 Varick Street, the location of the new Shelter, formerly called “Standard.” Approaching the corner of Vandam and Varick Street I could see people standing at the entrance. There was no sign, the only thing that gave away its presence the black velvet rope and the music that you could just hear over the rain.

What was different from the 39^th Street location was that you entered through the lower level. On the lower level, Shelter artist/DJ Joey Vega had people dancing to Louie Vega’s “Sunshine.”  Near the bar others were sitting, standing and taking a break from the heat of the dance floor. I had missed Quentin Harris; I heard he graced the turntables from 9pm-1am. About 30 minutes after I got there I saw my buddy Olawale packing up is dance gear and getting ready to leave. What I heard from him was that the music was great, the energy was high and it was hot as hell. “I’ve been here since 2am” he said. “I’m done.”  While I got ready to go up to the dance floor I had the chance to talk to a few more of my Shelter buddies. As I looked towards the back of the lounge I spotted recording artist and DJ Ultra Nate. Ultra was with DJ Lisa Moody and some  friends talking and  enjoying the cooler temperatures of the lounge. Ultra is a veteran Shelter-head and made the trip to New York directly after her weekly party in Baltimore MD. A lot of people had come early, now they were in recovery mode. It was almost 8am and people were still arriving. Having been warned about the conditions that awaited me upstairs I opted for spending a little more time in the lounge.  When I felt I was ready I made my way towards the stairs that would take me up to the dance floor.

On the main floor the music and the heat were intense; looking up at the booth I could see Timmy on the decks. I couldn’t believe how crowded it was, hell it was packed. Brass Construction’s “Movin” was pumping from the speakers and everyone was going nuts. Instinctively I added my voice to the collective chorus of “Got myself together yeeeaah” that thundered through the club. So now it was time to dance, all I had t do was find some room. I found a space on the floor in front of the DJ booth just as Timmy hit us with Michael Watford’s “Holdin On.” He followed that up with “Brighter Days” by Dajae. At this point I was feeling the heat and my shirt was starting to feel less than dry. There were very few dry shirts on the dance floor, but it didn’t affect the energy of the crowd. The Shelter regulars defied the heat and humidity and kept dancing until exhaustion forced them to take refuge in the lounge. It was an incredible marathon of great music, did I mention the heat? Anyway, the Djs never let up and they just kept it coming. Tracks like Man Friday’s “Love Heartache.” and Russ Brown’s “ Find a Way” made it hard to leave the dance floor. It wasn’t all classics though, Sting and Timmy blended current and classic tracks with superb skill. Timmy’s earlier mix of Kem’s “Without You” seemed to hold the people spellbound as they sang the words in unison. Two hours later I was still dancing and in the groove of the Jones Girls, “You Gonna Make Me Love Somebody Else.” My shirt was soaking wet from sweat and I knew I’d have to take a break soon. After dancing away the last of my energy to Natalie Cole’s “Tell me about it” I staggered down to the lounge.  An hour or so later I emerged from the lounge with a dry t-shirt, and waded out into the crowd. Sting was rocking the turntables and people were losing their minds to K-Joy’s “Like This.” I started sweating immediately, did I mention the heat? It was still crowded too, it seemed like no one had any intentions of going anywhere before the party ended. The regulars who arrived after 10am found conditions a little more bearable. Just the same they were hit with a wave of heat when they stepped onto the dance floor. I found out later that the sauna like conditions were a result of problems with the venting of air and not lack of air conditioning itself.

Around 1pm the crowd seemed to be thinning out a bit and there was more space on the dance floor.  I expected  the party to last well into the afternoon, the anniversary parties always go late. The hard core dancers were committed to waiting out the crowd, I had no idea just how late it would go. The closing party at the 39^th Street location ended at 6pm, I could see this party lasting that long. By 2pm I had changed t-shirts three times and those of us who remained were all set to stay till the very end.  The very end turned out to be 3pm Sunday afternoon. That’s when Timmy and Sting turned down the music and Sting thanked everyone for coming out and told us all that the party would be ending. “No one’s making us end the party” he said, “this ain’t Miami.”  Sting explained that there was a problem with the sound system in the lounge. This meant that the main floor would have to be used to host a party Sunday night. The staff would need time to clean up and prepare for the evening event. The Shelter anniversary party ended with applause for the Djs, and dancers screaming for one more record

One thing you’ll hear from anyone you talk to about this year’s anniversary party is that it was hot. Yeah it was hot, the music was great, it was fun and I loved it. The new Shelter is smaller, and for the anniversary party was filled to capacity. Some people I spoke with were disappointed with the scaled down version of the new Shelter but said they would adjust. The expectations for Shelter have always been high. Long time patrons couldn’t help but make comparisons the new venue, the original location at Hubert Street and the most recent space at 39^th Street. There are most definitely some kinks to work out, did I mention the heat? I certainly didn’t find any fault with the superb lighting and sound system, or the energy of the Shelter family. The turn out for this anniversary party is an example of the longevity that Shelter has managed to maintain. In the end it’s about people coming together because of their love for the music. It’s all about the music, the magic and the moments. It’s the reason I’ll be back next weekend, Gimme Shelter baby!!!

Monique Bingham is one of South Africa’s most loved House Music artists. As a vocalist period she has earned the industries respect, she has also earned the respect of a large and varied South African audience. the proof of this was in her inclusion in the Capetown Jazz Festival this summer.  Earth Wind and Fire, Esperanza Spalding were among the artist to perform at this annual event, and it was for her an amazing experience.

Elements of the African entertainment press have been paying more attention over the last year and she has been featured in press and radio interviews that serve the African and Caribbean community world wide. This fall a new publication,  launched in the UK; FabAfriq dedicated to highlighting news affecting the African Community.  Monique Bingham represents the ability of music to form common bonds, and of a people who’s love of music has no borders.

This summer, the UK based group, Bah Samba, released their long awaited album project titled “Shake the Dog” on  Favouritizm (Bah Samba makes House music with a Latin flavour). This project was three years in the making and features an incredible selection of songs with Monique soulful vocals heard on the tracks, “Run” and “Do It”. Band leader Julian Bendall and executive producer and close friend Ben Johnson (Syam), brought in some industry heavyweights; singers, musicians, DJs and producers to work on the project. Some of the talent included the likes of New York producers; Quentin Harris, Filsonik, Sting International and Jephte Guillaume. Representing the UK, were Ashley Beedle and Phil Asher.

In the interview for FabAfriq Monique discusses the making of  the “Do It ” and her views on the music industry. a very informative and enlightening read.

You can read Monique Binghams full interview here -http://www.fabafriq.com/articles/monique-bingham

It just wasn’t possible for me to get in all the news and pics of the rest of that crazed fashion filled week but it was a good week.  There was a feeling among a variety of people that there was just a little something missing from the overall experience this season. The funny thing was that no one could exactly say what they felt was missing. Some people could though, they sited the absence of the liquor sponsors and their free booze. Some great collections this year and some really interesting sightings like Nicki Minaj sitting next to Anna Wintour. I also got a quick glimpse and snap of Beyonce being whisked into the Vera Wang show. I couldn’t fit it all in here in time, the rest of my MBFW coverage can be seen on – www.caribbeanposh.com

MBFW :  Day Two

Well day two began bright an early at 6am for me  and I stumbled out of bed on not enough sleep but I made it out of the house within the hour.  I got to Lincoln Center at 8:15 ready to get a good spot waiting to get into Project Runway and of course I have no invite. It’s a gamble but it;s worth taking. Well as luck would have it after a wait of about 45minutes we were told that if we weren’t on the list we would not be getting in. Crap! just great, last year we were ushered in by the PR crew with no problem.

Nothing else to do but check out the other upcoming show which were great but of course I really wanted in to Project runway, to be honest I’m not so crazy about this years cast but I’m a fan of the show just the same. So I consoled myself with Luca Luca, Nicole Miller, Cynthia Rowley and the Academy of Arts University collections that were in no way a disappointment. You’d be hard pressed to make it to every show at MBFW and just plain lucky to get into all the shows you want if you don’t have an invite. I’m not doing too bad  so far though.

MBFW : Day One

Ok MBFW S/S is underway and it begins with a bit of a Murphy’s law kinda feel. It’s pouring down rain and I get to Lincoln Center too late to go to the Nicholas K. show.  So I go and take in BCBGMAZAZRIA, I always check out this show and I never have a problem getting in so I like. BCBG is sleek, classy design and his spring line has a nice blend of light fabrics and summery colors … nice stuff as always.  After that it was Richard Chai, Supima, and Shoji. in between shows there was the catching up with my fashion peeps and looking over the schedule of shows for the week. Shows ended at 2:30 as the FNO festivities were on for the evening hours so day on is a wrap early.

Prelude:

Alright so we begin again, another fabulous frenzied week of divine decadence , spectacle, spectacle and one hell of a ride. My gear is packed, and batteries are charged . I may yet pick up some more memory though, but otherwise after picking up my credentials Wednesday afternoon I’m set.  It’s an incredible task to keep up with this here blog and tweet and post  to facebook and oh yeah deal with the mountains of photos generated daily for the next eight days. But what the hell if is was easy anybody could do it, ok readers hang on to your hats it’s gonna be a crazy week.

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IT’S THE END OF THE WORLD AS WE KNOW IT AND I LOOK FABULOUS

Ok so evidently the predicted rapture seems to have been delayed. So get those threads out of storage, go shopping cause  it’s time once again for the divine decadence that is MBFW.  No even though this summer was like living on the surface of the sun at times it’s still to sson to say goodbye to summer. However I must admit that I cant wait to be back in the mad frenzy of it all. I still have to register, and decide if I’m going to spend any money on new equipment but I’m soooo there. Now that IMG has released copy of the schedule I’m hyped. There may be a change here and there but it’s gonna work beautifully for me. So my people here tiz ;

NYFW Mercedes-Benz Spring/Summer 2012 Preliminary Schedule:

Thursday, September 8:
9 a.m. NICHOLAS K (Studio)
9:30-10:30 a.m. Porter Grey (Box)
10 a.m. BCBG Max Azria (Theatre)
11 a.m. Richard Chai (Stage)
1 p.m. Supima (Studio)
1:30-2:30 p.m. CANDELA (Box)
2 p.m. Tadashi Shoji (Stage)
6-10 p.m.Fashion’s Night Out (Everywhere)

Friday, September 9:
9 a.m. Emerson (Studio)
9:30 a.m. Project Runway (Theatre)
11 a.m. Luca Luca (Stage)
1 p.m. General Idea (Studio)
2 p.m. Rebecca Taylor (Stage)
2:30-3:30 p.m. Mara Hoffman (Box)
5:30 p.m. Tommy Hilfiger Men’s (TBA)
6 p.m. Nicole Miller (Studio)
6:30-7:30 p.m. Joy Cioci (Box)
6:30-8:30 p.m. Concept Korea (Avery Fisher Hall)
7 p.m. Cynthia Rowley (Stage)
8  p.m. Academy of Art University (Theatre)
9 p.m. Falguni Peacock (Studio)

Saturday, September 10:
9 a.m. Ruffian (Studio)
10 a.m. Lacoste (Theatre)
10:30-11:30 a.m. Pink Tartan (Box)
11 a.m. Jill Stuart (Stage)
12 p.m. Son Jung Wan (Studio)
2 p.m. Adam (Stage)
3 p.m. Vivienne Tam (Theatre)
3:30-4:30 p.m. Farah Angsana (Box)
4 p.m. Honor (Studio)
6 p.m. Charlotte Ronson (Stage)
7 p.m. Monique Lhuillier (Theatre)
7-8 p.m. Rafael Cennamo (Box)
9 p.m. Venexiana (Studio)

Sunday, September 11:
10:30-11:30 a.m. Katya Leonovich (Box)
11 a.m. Lela Rose (Studio)
12 p.m. Derek Lam (Stage)
2 p.m. Tracy Reese (Studio)
2:30-3:30 p.m. L.A.M.B. (Box)
4 p.m. Diane Von Furstenberg (Theatre)
5 p.m. Jen Kao (Studio)
6:30-7:30 p.m. Odd Molly (Box)
7 p.m. Custo Barcelona (Stage)
8 p.m. Tommy Hilfiger (Theatre)
9 p.m. Timo Weiland (Studio)

Monday, September 12:
9 a.m. Jenny Packham (Studio)
9:30-10:30 a.m. Callula Lillibelle (Box)
10 a.m. Carolina Herrera (Theatre)
11 a.m. Carlos Miele (Stage)
1 p.m. Rebecca Minkoff (Studio)
3 p.m.  VLOV (Stage)
4 p.m. Yeohlee (TBA)
5 p.m. Norman Ambrose (Studio)
6 p.m. Betsey Johnson (Theatre)
6:30-7:30 p.m. GUiSHEM (Box)
7 p.m. Perry Ellis (Stage)

Tuesday, September 13:
9:30-10:30 a.m. J.Crew (Studio)
10 a.m. Badgley Mischka (Theatre)
11 a.m. Vera Wang (Stage)
1:30-3:30 p.m. Bibhu Mohapatra (Box)
2 p.m. Herve Leger by Max Azria (Theatre)
3 p.m. Argentine Designers (Stage)
5 p.m. Zang Toi (Studio)
6:30-7:30 p.m. Pamella Roland (Box)
7 p.m. Tibi (Stage)
8 p.m. Narcisco Rodriguez (Theatre)
9 p.m. Malan Breton (Studio)

Wednesday, September 14:
10 a.m. Michael Kors (Theatre)
11 a.m. Nanette Lepore (Stage)
1 p.m. J.Mendel (Studio)
2 p.m. Chado Ralph Rucci (Theatre)
3 p.m. Milly by Michelle Smith (Stage)
6 p.m. Anna Sui (Theatre)
7 p.m. Elie Tahari (Stage)

Thursday, September 15:
5-8 p.m. Made In Africa: By Arise Magazine (Avery Fisher Hall)
6 p.m. Elene Cassis (Studio)
7 p.m. Naeem Khan (Stage)

Africa Fashion Week New York returned for the second year of showcasing the work of African designers and designers representing the African Diaspora once again. This year it brought together thirty designers representing a variety of African nations including designers from the Caribbean and the U. S.  The media presence is also more visible, major networks like CNN were on the scene and this trend will no doubt continue. Adiat Disu, originally from Nigeria is the woman behind this event. Since her debut showcase last July 2010 she and her team have worked non stop to develop and promote AFWNY. The three day event took place  from July 14-16 at the Broad Street Ballroom in Manhattan’s financial district.  Ms. Disu heads up the Adiree (A-Di-Ray) agency which is responsible for putting the event together. Now in it’s second year AFWNY is a platform that is now a unique showcase for African Designers looking for more visibility in the fashion markets.

Caribbean Posh : Adiat, what are your thoughts on this second  AFWNY ?

Adiat Disu : Everything went smoothly I could not have asked for more, if I did I’m sure I would still be blown away. I’m really proud of all the designers that came and showcased their collections and really represented what it means to be a fashion designer. It’s not really about being an African Designer, it’s about being a designer who is recognized for their talents, who also happens to be African.

Caribbean Posh : How important is identity with regards to the esthetic that the designers incorporate into their work?

Adiat Disu : One of our tag lines is “Where fashion began” which has some irony there because you’re in New York which is known as one of the fashion capitals where it all happens. But then its a spin on the origins of where things began, the art, the culture is essentially Africa so I think the tag line really embodies what you’re seeing. A lot of the designers are using their origin, their culture in their design esthetic.

Read the full interview on www.caribbeanposh.com

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From July 14-16, Manhattan’s financial district played host to Africa Fashion Week New York for a second year. Founder Adiat Disu and the Adiree (A-di-Ray) agency she heads, brought together a superb group of African designers, 30 of them to be exact. The shows were spread out over a three day period, all taking place at the Broad Street Ballroom. AFWNY has become an important platform for designers on the continent and throughout the Diaspora. It is important because of the visibility it provides to designers who often go unnoticed by the main stream fashion world. While Ms. Disu acknowledges the criteria of the mainstream fashion world she is committed to showcasing what is uniquely African with regards to fashion and body image. “We understand that the fashion industry has it’s standards that in some ways shape or form, and we have to abide by that. At the same time we do have a responsibility to represent what it means to be from Africa. There are different shapes sizes colors and those things are represented here and we’re proud of that.”

This year there was more media attendance including major players such as CNN. There was even a real live wedding courtesy of  reality TV program “The wedding show” a unique finale to the collection of  Korto Momolu. A complete designer list is available on the AFWNY website with additional information on the organizers of the event. bebegrafiti, William Witherspoon were two of the designers that showed collections last year, in addition to first timers like Jo Black Craze, Washington Roberts, Kiko Romeo, Danielle Cicero, and Sarafo of Styles to name just a few.

Read full article on www.caribbeanposh.com

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AFWNY Day 1 – An African Wedding

The first day of Africa Fashion Week New York went pretty smooth.  Adiat Disu and the Adiree agency have once again brought together a superb group of African designers, 30 of them to be exact. the shows are spread out over a three day period, all taking place at the Broad Street Ballroom in Manhattan.  This is the second AFWNY, and it’s become an important platform for African designers both here and on the continent.  So here it begins the tsunami of images that I get to wade through, hang in there with me people the designer reviews will be a bit tardy but I’ll keep the images coming.

It was Korto Momolu today, one of the shows a lot of people were looking forward to and there was no disappointment, at the end  of the show a segment for The Wedding Show was filmed with a couple who got married on the runway. The wedding gown of course was created by the designer.

Designers: Korto Momolu, Kikoromeo, Gloria, Rouch, Blackbird Designs, Syl Anim, bebe Grafiti, Kachi Designs, Jo Black Craze

AFWNY 2011 Day 2 – Harlem and the world

Day 2 of Africa Fashion Week began with a bit of  retro flavor from designer William Witherspoon (Harlem USA)  taking us back to the future with a collection inspired by nature with a tribal feel. It’s fusion of the best of the 60′s and 70′s era.  His prints are inspired by psychedelics and animal print themes brilliantly translated for the urban African. In addition he presented swim wear that were consistent with his over all aesthetic.  Bill’s models were all male except for the lovely Belco Maryama who walked for  Bill last year.  Africa Fashion Week makes a huge effort to include the African diaspora , it embraces all Africans.  The collections are awesome and you can definitely feel the growth of this event.

Designers : Witherspoon, Asakeoge Couture, Washington Roberts, Danielle martin, Fikirte Addis, Mirembe Collections, Josefa Dasilva, Kozby World, Enduexus Creations, Suakoko Betty

AFWNY 2011 Day 3: Africa’s Calling

Day 3 of AFWNY came to an end too soon. This is just the second year but already I’m wishing it lasted a whole week. By the end of day 3 I’m just getting into and and hitting my groove photo wise. I shot some good images this time around, and I’m already looking forward to next year. Every aspect of AFWNY has stepped up from last year and that says a lot about the organizer/director Adiat Disu.  Truly talented designers, and a diverse and fierce group of models, as well as hair and make up artists helped Africa shine these past few days.

Designers: Nadir Tati, Editalo Designs,  Tori, Sarfo of Styles, Design by U, Csilla Deri, Yashika, AAMAA a la Mode, Adama Paris, Mary-Ann Kai Kai, Saint Wobil.

Photo credit : Muriel Renders

Another great interview from my Souledup.com days  – RAM

SOUL: ID producer “URBAN DEEP” tells souledUp why he masters music in the U.S., why he doesn’t sing and why he won’t do dance music

I discovered Soul: ID when I came back from the Winter Music Conference 2006. I returned toNew Yorkwith about 35 CD’s to listen to, of course I started skimming through the dance stuff first. In that pile of CD’s near my computer station was a compilation CD from Mike Steady. I didn’t give it a full listen till a couple of weeks later, of the tracks that stood out for me there was “My Philosophy” by a group called Soul: ID.

Soul: ID is based inBrussels; however the members have ties to theU.S.and theUK. At the time They were gearing up for the release of their album on ABB Records. Urban Deep also known as Chris was only In New York for a few days and with meetings and time in the SONY studios.

I met up with Urban Deep and SONY mastering Engineer James Cruz at about 5pmon the scheduled day. I had arrived just as they were finishing up and James was copying the final master of the album. Though the atmosphere was very relaxed both men were totally focused on the project. When the mastering was done James assured Urban Deep he would  be out of there within the hour. Urban Deep was happy with this news, he had arrived in NY on a Wednesday and it was Friday. He was scheduled to go back toBrusselswith the finished masters that Sunday evening.  Urban Deep explains to me that the CD that is to be released inJapanand will have a couple of extra tracks on it. It is these two versions that James was preparing for him. Once they were done they could move to the manufacturing stage of things.

A little later James came back with the master and reference CD’s. He goes over the documentation with Urban Deep and makes sure that everything he gets is what he asked for. James’ final two pieces of advice are both interesting and understandable. As he gives Urban Deep the finished products he say’s “here is your reference CD and your master, I would suggest that you don’t even open this. You know what I mean, fingerprints, dust, scratches.” “Also check your reference CD because if something is weird on the reference it’s going to be weird on the master as well. I’d hate for something like a computer glitch or something to have happened and then you have a problem.”

Urban Deep explained how much easier the digital age has made this process. Before digital technology, making changes in the mixing and mastering process was a horrific process that involved something called shadowing. Dial settings would have to be written down after a session and the dials would have to be reset to precise settings in order to go back and make certain changes. The studio where Urban Deep and James had been working was not a room jammed to the rafters with equipment (Although I suspect that such rooms do exist somewhere in the building). I learned a lot from talking to Urban Deep about their music and their perceptions of dance music.

SUNYC: Tell me about the origin of Soul: ID

UD: Ok, well, it’s quite interesting really. We call our music Afropean soul music basically its four people, three singers plus myself producer. Now they are not only singers, everyone produces everyone writes it’s like a band it’s an act and it took quite a while for us to get together. Everyone actually sings and writes, everyone was doing their solo thing, actually we’ve been friends for a very long time before starting to work together. It takes a while before you artistically melt meaning that. …what I think is really interesting is that you have four different personalities everyone has their own style, their own thing they really love. When you melt it together it becomes stronger than every individual and it makes something which is kind of unique and actually very natural. It took a while getting it there, you have to open up and trust the other person artistically.

SUNYC: So the group has had a formula for working together for a while then?

UD: It took us actually a couple of years to get together how we are working now. What would happened is I could make some beats and pass it on to another guy and say well whatever you feel like doing with it go ahead. I trust that person that I know he’s gonna add something and gonna make something that I think is really cool. Whereas initially when we started working it was like everyone did their own songs and everyone was really protective of their stuff you know. They’d be like well this is my shit you know I hope you like it but don’t touch it. And we got to the stage where we trust each other musically speaking which is absolutely fantastic, I’m really happy with that.

SUNYC: how long has Soul ID been together and how did you come up with the name Soul ID?

UD: Under that name, since 2003, there wasn’t really an initial date. Originally I was working with Tchai who is the female in our group the lead vocalist. Herself and me were working on a solo record and we brought in Dad D who is in the group now as a song writer. So we just started working and it was very natural and then what actually happened was he was working with us so much. He was sitting with us in studio till four in the morning as a vocal coach He was putting so much energy into it that I said, you know I need to somehow pay this guy because he’s doing way more than I ever asked him to do. So I suggested paying him and he said well the small amount of money you could pay me, I’m not interested in that…produce a track for me. So I did a track for him and it turned out really great. Because it was such a natural positive flow we decided you know, instead of working on a project just for one artist that maybe we would be stronger if we combine our forces and just make it into a group. So for a very short period of time like a couple of months we were a trio. Then the third singer which is now the fourth member a guy called “V” He’s another friend who was hanging around us a lot. He was actually singing backing vocals on the tracks and it was just natural that he became like the fourth member to the group. So as Soul: ID the four piece band we’ve existed since 2003

SUNYC: So how did you choose the name?

UD: Ummm I was thinking I wanted to have a name that not only sounds catchy but also means something for us. As I said for what I think is a strong point of us which is that there’s four personalities. So there’s actually four different characters with different identities, identities as in ID right. So were doing soul music so we came up with soul: ID and I’ll tell you that’s probably our strongest point. We are a mixture of four identities and should we ever split up and everyone is doing his own act it will sound different so this is the story of the name.

SUNYC: you’ve mentioned the three vocalists of the group, do you do any vocals?

UD: No…me personally sometimes I have ideas for melodies but I am working with three excellent singers I’m always ashamed, and you know… sometimes I sing. Now we know each other really well so sometimes they might pick up my idea and make something out of it that sounds great you know but I would not sing on the record.

 SUNYC: Tell me about your role in the group as well as the other members of Soul ID

 UD: I am initially a drummer and I write and I play the keys. The two guys in the band they play instruments Dad’d is playing keyboards and “V” is playing guitar and bass, then keyboards. Tchai she’s mainly a vocalist and she plays a little bit of keys.

SUNYC: Is the album you’re working on now going to be out on ABB?

UD: We finished recording the first record it’s gonna be out on ABB Records in America. We’re going to work with Avix in Japan and we’re still negotiating in Europe for other territories

SUNYC: What’s the title of the album?

UD: The record is going to be called “Sex Love and Philosophy.” It’s a whole album and we already started working on the next record. I mean that’s just the way it goes in life business takes time. We are really excited about working on a second record even before the first one is released

 SUNYC: When do you plan to release it?

UD: Somewhere in the beginning of 2007, we’re still working on an exact release date. What we’re trying to do is to put everything into place so that when it gets released it won’t get flooded over in a million other releases. Everything needs to be really in place

 SUNYC: How do you feel about dance music, can you see yourself doing anything in this genre?

UD: Well I can give you my personal point of view I cannot speak for the others and I’ll be cautious and I’ll be politically correct. One of the things that’s quite interesting the difference between Europeans and Americans is that ….I’m going to speak in cliché and probably a lot of people will not agree with me. In America you know you have typical black music, which is like hip-hop and R&B and soul, and then you have really typical white music, which is like Rock. In Europe dance music is something really white. Now I can see that in Europe there are those  who are somehow thinking outside of their little box, people who are trying to break the little boundaries…well there are a couple of guys like me, white guys who are totally into hip hop who wouldn’t touch anything that is remotely white. You can find the same thing in America, you can find Cutting edge African American Artists and they are somehow touching the white field of music so for them it’s seen as cutting edge. For me from where I’m coming from my cultural background I don’t want to touch dance music, I don’t know if this makes sense.

SUNYC: So not doing dance music is a way to be different and set yourself apart musically is that it?

 UD: If I would like to make dance music I’m having a great dance music scene just in front of my house door but I try to go to the other side of the planet. You know for 15 years I’m soaking up something that does not happen in Europe. We’re always told that …Well all right it’s called Afropean soul but it sounds American, which made it complicated for us. To start of with, in Europe People said well you know it’s not European, what are you guys trying to do be like the Americans? And that’s not true you know…it’s just what we listen to day and night that like touches you. So from that perspective I wouldn’t wanna touch dance music

 SUNYC: Ok  you came to the U.S. to do the mixing and mastering for your album, why here and not in Europe?

UD: We mixed the album in L.A. me personally I think that the best people in the mixing and mastering area are in America. Why? Because it’s just. …well the biggest industry is happening here, the biggest money flows are here that goes more for mixing than mastering. One of the things that’s very interesting with America is that because the market is so vast and so much money can be made people actually can specialize in what they really want to do. So you have actually guys that specialize in Rock music and guys who specialize mixing R&B and hip hop and they actually sound shit if they mix outside their genre.

SUNYC: And how does this sort of thing work in Europe?

 UD: In Europe that doesn’t exist because there’s less jobs which means that if you’re a mixing engineer you just have to take on whatever is coming. It means that you can’t really specialize. You have to be quite the chameleon you have to be able to do both. In some ways that might be an advantage but if your looking for something specialized, I’m looking to go to 100 percent of the capacity. I think that if you were a mixing engineer you can make a living out of only mixing hip hop records and it’s what you love anyway then you will  specialize and be really good at what your doing. If you had just to take on any job just in order to survive you cannot specialize because you’ll work a lot less in that genre. So then your capacity for mixing hip hop if that is what you want to do are less because you have less of a chance. So if your one of the cats that likes mixing hip hop then you do permanently what you really love. If you have those opportunities and your good and your hard working then you just get really specialize.

SUNYC: Well there is certainly a lot of specialization over here

UD: That’s one of the things that I like actually about America, which is if you need a person I mean it’s great that the person has a certain point of view and knows a little bit about all sorts of things. I think that one thing that makes America very special in its positive as well as its negative ways it’s that people are extremely specialized. You find actually the best cats, whatever it is you will find them in America. No mater if it’s biological engineering or mixing hip-hop or running 100 meters, athletes you know. You will have the most kick ass guys you’ll find them here.  Most probably you know if you ask the hip-hop mixer to be also a biological engineer, they’ll be completely zero with anything outside of their field. In Europe you have people who know a little bit about a lot whereas here you have people that know a lot about a little tiny field.

SUNYC: How do you decide who to work with?

UD: Ok now I want to master and I just want the best cat on the planet to master my record so logically speaking this is why I’m here and I don’t do it in Europe.

SUNYC: Describe this process for me.

UD: There’s three parts to the process when you do a record, you record…ooh actually the first step is you write-you have your song. You have your lyric you have the beat, that’s the whole writing process. Then you record … the next thing is that you mix the record which means that you just take all this raw material and you bring it all together. It’s a bit like editing a film. With mixing you can make or break the whole track and mastering is the last final technical stage before releasing the record. You work with lots of different producers and you have all these different mixes. Mastering glues it together; so that it equalizes everything so that everything sounds the same all the volumes sound the same. So that if you’re a consumer and you buy the CD you don’t have to jump up to the CD player to turn up the volume or turn it down, or turn up the bass or turn it down. You just have one listening experience from A-Zed or A-Z as they say here.

SUNYC: What comes next?

UD: The next step is releasing it, and then manufacturing it.

SUNYC: Where will it be manufactured?

UD: Well for America it’ll be manufactured in America and for Japan, in Japan. If there are other territories it will be manufactured in those territories. It depends on who we work with.

SUNYC: would you ever consider a remix of one of your tracks?

UD: Well it happens and it already happened, the first single of the album is gonna be a track called I believe. Off this track there must be five different remixes, some of them we did ourselves, which is probably not usual that the artist remixes their own stuff. It doesn’t really happen. Then there’s also a few outside producers and there are two dance versions but we didn’t do those.

SUNYC: Chris this was really interesting thanks a lot, I really appreciate you doing this.

UD: No problem, thank you.

So where to begin, the fact that each of these mixes has it’s own distinct signature expressed by subtle variations of bpm or the the hauntingly magnetic rhythms that make you wish you were hearing them at Southport Weekender of WMC? This is dance music, this is night music … this is jazz.  Jack to Jazz describes their sound as being based on Jazz/Soul/RnB, built from the foundations of Deep and Soulful House.

Morra DeRey and Jack 2 Jazz  have created something that is reminiscent of groups like the Jeff Lorber Fusion.  The Jazz fusion aspect is present throughout and tracks reflect the seamless blend of  the fusion of Jazz with the deep soulfulness of House. The  mixes by Bongz Jazzman, and Brazilian Soul Crew provide nice bouncy beat accented by the quick licks of the organ and the stepped up rhythm of the horn section.

The Lemon & Herb soulful mix represents another subtle variation of  “ALL I AM”, the opening drums are  distinctly African and  then take on a somewhat Latin flavor as the horns come in with that great musical hook.   For me the back bone  is the sound of those magnificent horns, the unity of the harmonies created by the trumpet and sax riffs are masterful. It’s free flowing jazz improvisation in the classic sense of the word. The fusion movement lives at J2J for sure, his one is another winner for Jack 2 Jazz and I’m told that they will keep the releases coming.  Jack 2 Jazz knows that Morra DeRey can deliver and House is in good hands cause Morra knows Jack(2 Jazz).

ALL I AM is available on traxsource

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DADDY HAS A HICCUP

U.K. based Dance4Daddy  has delivered again  with another superb dance track. Their latest release Hiccup once again puts front and center the delightful voice of Jacy Mai.  Hiccup is straight up deep house, it’s house done right with a nice stead pulse of  snares augmented with high hat and cymbals.  I love Jacy Mai’s voice and her vocals ride the rhythm and just seem to soar.  the lyrics hook you early on and you immediately  want to start singing them.

The track is scheduled for release in September 2011, D4D so far has released nothing but quality music and innovative music videos , and there seems to be no intention of letting up on their part. Hiccup is certainly a winner, and I have no doubt it will be a dance floor favorite.  It’s a great upbeat track , the kind of song you sing to yourself when your having a crappy day ; “This will fade away, this will pass away , this will fade away just like a hiccup”.

You can find the Push & Do remix of Hiccup on you tube,  this mix has a slightly progressive,  feel to it, and Jacy Mai’s vocals take on a bit of an edge that’s really cool.  Dance music is still alive and well and Dance4Daddy will keep you dancing.

HICCUP (D3 Snippet) by dancefordaddy

Pirahnahead and Diviniti are two names that will be connected to big tracks of the summer of 2011.”Just Like a Dream” is the latest release from Whasdat music, Pirahnahead’s label. Quite a collaboration this is too, the stellar vocal skills of Diviniti combined with the skillful and soulful production from Pirahnahead make this track a definite winner. Diviniti’s voice rings out crystal clear with a light touch that still conveys a soulful strength.Additional mixes by Jose Cerrtas and Charles Webster only do justice to the production and vocal skills that grab your ears from the first few beats. They are DOPE, if you’re on a dance floor your feet will move to these mixes for sure.  Pirahnahead and Diviniti are coming on strong with this one, and they’ve only just begun. Go get you some of this.-RAM

Monique Bingham is returning to South Africa this month, much to the delight of  her many fans there. This time she’ll be in Durban for the South African Music Conference (SAMC). She will Join DJ Christos and Ralf gum, both provided mixes for her well received track  You Me World.  On May 26, the hosted the Biggasounds party for the record label she started a few years ago. Monique performed with her band the Bigga Sextet and even got Caron Wheeler to perform. Now with a fresh batch of new music to release in addition to the tracks on the Bah Samba presents “Shake the Dog” EP Monique Bingham is ready to bring her own particular brand of heat to the summer.

Podcast of Afrika’s Calling , Monique Bingham interview : http://sdudla.podomatic.com/entry/2011-07-02T16_56_19-07_00

She recently gave an interview to Virgin Island based web publication Caribbean Posh,  Below is a brief excerpt, read the full interview on the Caribbean Posh website.

- R.A.M

Caribbean Posh-You’ve worked with a diverse group of djs and producers is there a common thread with regards  to the people you choose to work with?

Monique Bingham – My catalog is primarily filled with tracks that were presented to me by producers. I chose what I dug and what I could write to. Some were a little more collaborative than others but the common thread is that they were of a certain depth. Not just some bull$hit someone rattled off or spit out of a machine. I like to believe the folks that seek me out are a little deeper than the average joker you know. That they have more on their minds than the next big booming hit. They’re more concerned with their final resume than what’s hot at the moment. That if any may be the common thread.

Caribbean Posh-We hear a lot about the experiences of female artists in the main stream music world, do you feel being an independent gives you more freedom?

Monique Bingham- Everyone has freedom. If you choose to be a wig wearing whore who spreads her legs whilst she “sings”, you’re free to do so. You’re also free to  demand that your audience respect you and focus on your craft and being your most pure, refined creative self. You’re also free to be broke. The music business, like pretty much all business is male dominated. And it pains me to say but straight guys like a little porn with pretty much everything. They’ve mixed porn up with the news, chain restaurants, vice presidential candidates, everything. They simply like having attractive titillating women in eye shot at all times no matter what the circumstance or consequences. It’s female minstrelism. So if you are a woman who thinks it’s more than a little degrading to have to titillate men in order to get paid to do your job, you’re going to have to reconsile this reality with your own wants and desires. And unfortunately for my bank account I am a feminist. So no crazy record sales, just pride and freedom…hooray.

Caribbean Posh-You recently performed at the Capetown Jazz Fest in South Africa, can you  tell us a little about that and how you came to be a part of a Jazz festival over there.

Monique Bingham-  There had been talk for years about me doing it. My musical roots are with the band Abstract Truth who at our most bloated were 10 pieces with a full horn section. All those dudes were and are serious jazz musicians so it was not such a stretch for me to be a part of the festival. Plus CTIJF is pretty open and experimental kind of event. But Leighton Moody, the hardest working DJ in Capetown, really put the bug in the festival people’s ears and made it happen this year. It was one of the most gratifying moments of my career. Being on that stage, with that crowd, with the musicians I brought over there, in Africa for the first time…incredible. Almost every musician I know who’s any good contemplates leaving the business like once every few years. The “what the hell am I doing this to myself for” conversation. Then you have gigs like that and you  realize they will have to cart you off. I will die on stage.

Read the full text at-  www.caribbeanposh.com

A GROOVE IS A GROOVE

 Recording artist KEM was born inNashville and grew up in a Detroit suburb. On the journey to his current musical success, KEM has overcome homelessness and addiction. He overcame these challenges and changed his life through a renewed sense of spirituality and love for his music. He has also changed the face of urban radio and revitalized soul music. KEM’s audience is primary the adult contemporary market and singing songs in this genre of music has been an extremely rewarding experience for him. This is an audience that connects with his lyrics, something that has continued to influence his song writing. After being signed by MOTOWN the re-release of his Kemistry album went on to sell over 500,000 nationally. The album is as golden as his voice, his loyal following can attest to that. With the release of KEM ALBUM II he establishes that he is no transient on the music scene, he is here to stay.  Tracks like “I can’t Stop Loving You” caused a stir on the music charts and his momentum continues to build up speed. It wasn’t long before the dance music community embraced KEM’s powerful voice and adapted his music for the dance crowd. Appealing to the love of great music and powerful lyrics, DJ/producer Jellybean Benitez has helped introduce KEM to another audience who may not have been well versed in his music. The re-mixes of tracks like “Heaven” and “Love calls” have been sensational hits on the club scene.

 SUNYC: KEM this is the first time that you’ve performed without your band?

KEM: Yeah….. Yeah, first time performing, well I’ve done track dates before but not a track date like this.

SUNYC: what makes this different?

KEM: Well we’re doing it to a remix of a song, a house version of my material

SUNYC: So what was this experience like?

KEM: I gotta tell ya dude it’s exhilarating

SUYNC: wow that’s great

KEM: Yeah there are no words to explain it man, I love it.

SUNYC: How often do you get to perform in dance music type venues?

KEM: Actually this is the very first time that I’ve done anything like this

SUNYC: What do you think of the club crowd and their energy?

KEM: I think its wonderful man, I love it

SUNYC: How is it different from what you usually do?

KEM: You know I like what I do, I like the natural state of the music that I create of course but …a grove is a groove.

SUNYC: It’s interesting to hear you say that

KEM: Yeah I was telling someone before we went on tonight, a groove is a groove dog and uh…its happening and I love it. You saw the crowd man, the crowd loved it. The energy is great.

SUNYC: A lot of people got introduced to your music at dance clubs, what do you think of that?

KEM: It’s a good thing dog, it’s a good thing.

SUYNC: What’s most important to you in putting your music together? You’ve mentioned influences such as Stevie Wonder and Steely Dan.

KEM: Yeah, I like good songs; you know…Steely Dan recorded great songs. Stevie Wonder recorded great songs. It’s not so much about the artist as it is about the songs that they did that affected me and ….I write songs man. That’s what I do best and that’s what I am foremost man. To be able to write a good song and communicate good music to other people and have it received is one of the greatest things I could ever have dreamed of happening to me and …..really .it’s a gift. It’s just inspiration and inspiration is inspired by God and I love it and live it everyday.

SUNYC: So you feel it’s possible for you to extend this spirituality to an audience even in a dance club?

KEM: Yeah absolutely, we can make it work

SUNYC: Can you see yourself doing more of this sort of thing

KEM: Yeah and you know coming off stage thinking about that, this is a whole other thing a whole other opportunity to spread that message and affect people that my not get it any other place. You know that’s my purpose. 

SUNYC: And how did this performance at Jellybean’s “Aint Nuthin But A House Party” happen.

KEM: Jellybean did a mix of a tune, he took the records and I guess some cats that he knew mixed the record. They came up with a great product man and asked us if we’d come and do it. It worked out well for both of us

KEM: What was your reaction the remix of your music and who do you feel about house music?

KEM: Well I like house music, if it’s the right thing. A groove is a groove so I’m always open to it. I know that this is another market for me to explore …it’s a market that I can explore without alienating my core audience. It’s important for me to keep my ears and eyes open to see what’s on the forefront and to keep my ear to the ground. I think it’s progressive and it’s good.

SUNYC: You’ve been nominated for two NAACP image awards, congratulations on that.

KEM: Yeah that was a good time, and to be at the awards amongst all of my peers Jamie Foxx, Alicia Keys. it’s great. It shows that there’s a place for the type of music that I do.

SUNYC: What were the categories you were nominated in?

KEM: I think it was best male vocalist and best single “I Cant Stop Loving You.”

SUNYC: You also work with some good causes, tell me about those

KEM: I’ve done work for Music Cares and there’s Detroit Rescue Mission back home. I support anything that is helping people to overcome you know their ills and their challenges in life and that’s part of my work that’s what it’s about.

SUNYC: How important do you think it is for an artist to do that type of work?

KEM: Everybody’s motives may be different but on the end of that motive somebody’s being helped you know what I’m sayin. To the people who are the recipients no matter what the motive is their gonna have a better day because of something that somebody did. You know I always think it’s good to put out good. No matter what your motive is, you know that’s between you and the lord, you know what I mean but there’s good to come out of it so it’s all good.

SUNYC: KEM thanks for making the time to talk with me

KEM: It’s been a pleasure meeting you brother.