dance

Yoko Ono Heats Up Dancefloors Once Again With Her Latest Summer Smash "Talking to the Universe"

Following the overwhelming success of her eighth #1 BILLBOARD HOT DANCE CLUB PLAY charting remix single “MOVE ON FAST”, YOKO ONO heats up dancefloors once again with her latest summer smash "TALKING TO THE UNIVERSE”.

Since bursting onto BILLBOARD’S HOT DANCE CLUB PLAY SINGLES CHART as the Hot Shot Debut at #36* (with a bullet) (Issue date: 07/16/2011), "TALKING TO THE UNIVERSE" has proved to be a fiery confection and one of Yoko’s most feverish and dynamic reinventions. Throughout its eight week stint on the chart, the single has quickly gained momentum claiming "the #25* spot (with a bullet)" as that week’s Power Pick (Issue date: 07/23/2011) before leaping into the "Top 20 at #17* (with a bullet)" (Issue date: 07/30/2011). It’s currently at #3* (with a bullet) (Issue date: 09/3/2011) nestled among contemporary pop and electronic music stalwarts BEYONCE, KYLIE MINOGUE, BRITNEY SPEARS, RIHANNA and DEPECHE MODE.

Originally taken from the 1995 YOKO ONO / IMA collaborative album RISING, the lean, funk-fueled rocker finds ONO tuning in to the universe as our as our celestial medium and ambassador to the cosmos urging listeners to purge all the preconceived notions, pretenses and fears that confine us in order to bask in a freer state of being. It’s an inspiring message of self actualization and empowerment that has become hallmark themes throughout her vast career.

ONO has long been credited with igniting the punk-rock fire years before its official explosion and her work continues to be relevant and generation-inspiring decades later.  Meticulously reinventing her material for 21st-century dancefloors has given the vanguard artist a greater platform and visibility of which many contemporaries and present-day contenders can be envious.

"TALKING TO THE UNIVERSE" marks  the latest chapter in ONO's staggering body of remixed works which, to date, has yielded  eight #1 BILLBOARD CLUB PLAY chart hits ("MOVE ON FAST", "WOULDNIT' (I'M A STAR)", "GIVE ME SOMETHING", "I'M NOT GETTING ENOUGH", "GIVE PEACE A CHANCE", "NO NO NO", "EVERYMAN / EVERYWOMAN" and the timeless "WALKING ON THIN ICE") and two critically-acclaimed remix anthologies:  YES, I'M A WITCH and its companion release OPEN YOUR BOX, an incredibly impressive feat for an artist who has spent her life on the cutting edge of music, art and pop culture.

“TALKING TO THE UNIVERSE” is available as three separate digital green releases (no materials used or abused) on MIND TRAIN / TWISTED Records issued July 5th, August 2nd and September 6th, respectively, on  iTunes.

EUFÓRQUESTRA ON TOUR IN NORTHWEST

Eufórquestra (pronounced: yoo-FOHR-keh-struh) will bring their High Intensity Global Dance Music out west from Colorado for a string of debut shows in the Northwest from August 9-14, 2011.

Eufórquestra is a seven-member unit that relocated to Fort Collins, CO in Summer 2008 after spending five years in Iowa City, IA. The band’s own brand of High Intensity Global Dance Music is a percussion and horn driven blend of modern music that fuses afrobeat, reggae, dub, funk, rock, soca and highlife with traditional sounds from Cuba, Brazil, West Africa and beyond. This is cutting edge music that ignites dance floors across the country with a sound that “explodes, dances and melts in your ear with sheer bliss” (Chris M. Slawecki; www.allaboutjazz.com).

Download their latest album “Soup” FREE at www.euforquestra.com.

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NORTHWEST TOUR DATES

Tuesday, August 9 & Wednesday, August 10

Bluegrass Ball

Horizon Resort Casino :: Tammarack Ballroom

Stateline, NV

(Phish after party featuring Travelin’ McCourys, Emmitt-Nershi Band, DJ Logic, Dead Winter Carpenters, Euforquestra and more)

Thursday, August 11

McMennemins’ Old St. Francis School

Bend, OR

Friday, August 12

WOW Hall

Eugene, OR*

* Special performance featuring one full set of live Talking Heads music

SATURDAY, AUGUST 13

The Triple Door Musicquarium

Seattle, WA

SUNDAY, August 14

The Goodfoot Lounge

Portland, OR

Mountain Man | Larimer Lounge | 7.16.2011

I am a sucker for old-time music, the older the better. Slices of history that echo the times and evoke images of gone eras. The three young ladies of Mountain Man sing some amazing covers of old-school songs mixed in with their originals, which are at least as good.

Grace Jones' Hurricane, first US release in 22 years

Acclaimed singer, songwriter and actress, Grace Jones is preparing to release Hurricane, a new album of original material, in the U.S. on September 6 via [PIAS] America. Produced by Jones and Ivor Guest, Hurricane has received widespread praise in the U.K. and Europe where it was released in 2009. The tracks “Williams’ Blood” and “Corporate Cannibal” have emerged as hits as has the video for “Corporate Cannibal” directed by Nick Hooker. The release will also include a brand new bonus disc dub version of the entire album.

Check out the William’s Blood (Aeroplane remix) radio edit MP3 where it premiered on RCRD LBL today or HERE!

In July 2009, Jones performed in a new show at The Hollywood Bowl in Los Angeles and the Hammerstein Ballroom in New York City. Collaborating with acclaimed Academy Award-winning costume and production designer Eiko Ishioka, Jones debuted songs from the new album for U.S. audiences.

The shows received overwhelming praise from audiences and critics alike.  Daily Variety wrote “...a commanding Grace Jones provided a finely tuned display of humanity” and “...the return of Jones was warm and uplifting”. The LA Times ran the headline “Grace Jones bowls over the Bowl” and the New York Times reported that Jones was “lithe, fierce and solid”. Rolling Stone wrote “So many performers are said to be larger than life, but the show biz cliché has never been truer than it is for Grace Jones…the crowd roared as if they’d seen the second coming”.

Born in Jamaica before relocating to Syracuse, New York with her family, Grace Jones embarked on a successful career as a model in New York City and Paris. In 1977 Jones secured her first record deal resulting in a string of dance-club hits including “I Need A Man” and her acclaimed reinvention of Edith Piaf’s classic “La Vie En Rose”. The three disco albums she recorded, “Portfolio” (1977), “Fame” (1978) and “Muse” (1979), generated considerable success in the market and established her as a major recording artist.

During this period Jones became a fixture on the international club scene and was often seen at New York City’s famed nightclub Studio 54. Jones also became a muse to Andy Warhol who photographed her extensively and created a series of iconic portraits of her.

Towards the end of the 1970’s Jones adapted the emerging New Wave music to create a different style for herself. Working with Island Records producers Chris Blackwell, Alex Sadkin and Compass Point All Stars, she recorded the critically acclaimed albums “Warm Leatherette” (1980) and “Nightclubbing” (1981). These included reimagining’s of songs by Sting (“Demolition Man”), Iggy Pop and David Bowie (“Nightclubbing”), Roxy Music (“Love is the Drug”), Astor Piazzolla (“I’ve Seen That Face Before (Libertango)”) and Tom Petty (“Breakdown”).

Both albums included tracks co-written by Jones herself including “A Rolling Stone”, “Feel Up” and most notably, the post-disco dance track “Pull Up to the Bumper” which spent seven weeks as #2 on the U.S. Billboard Hot Dance Club play chart and became a Top 5 single on the U.S. R&B chart.

Parallel to her musical shift was an equally dramatic visual makeover, created in partnership with artist Jean-Paul Goode, with whom she had a son. Jones adapted a severe, androgynous look with square-cut hair and angular, padded clothes. The cover photographs of “Nightclubbing” and “Warm Leatherette” as well as her subsequent albums exemplified this new identity.

Jones’ next release was the dub reggae-influenced “Living My Life” (1982) which featured the self-penned hit “My Jamaican Guy”. In 1985 she worked with Trevor Horn for the conceptual music collage “Slave to the Rhythm” and in 1986 she collaborated with Nile Rogers for “Inside Story” which produced the Billboard 100 Hit, “I’m Not Perfect (But I’m Perfect For You”), one of several songs she co-wrote with Bruce Wooley. “Bulletproof Heart” (1989) spawned the Number 1 U.S. Hot Dance Club Play hit “Love on Top of Love (Killer Kiss)” produced by C&C Music Factory’s David Cole and Robert Clivilles.

Jones is equally famous for her motion picture roles in such features as “Conan the Destroyer” (1984) co-starring Arnold Schwarzenegger, “A View to a Kill” (1985) co-starring Roger Moore as James Bond, the vampire thriller “Vamp” (in which Keith Haring famously painted her body for her role as an undead exotic dancer) and “Boomerang” (1992) co-starring Eddie Murphy (for which she recorded the song “7 Day Weekend”). Her television work includes appearances on “Pee-Wee’s Playhouse Christmas Special” (1988), “Beastmaster” (1999) and “Shaka Zulu: The Citadel” (2001).

Grace Jones To Release "Hurricane" Album & Dub Version

Acclaimed singer, songwriter and actress, Grace Jones is preparing to release Hurricane, a new album of original material, in the U.S. on September 6 via [PIAS] America. Produced by Jones and Ivor Guest, Hurricane has received widespread praise in the U.K. and Europe where it was released in 2009. The band that plays on the album includes luminaries Brian Eno, Sly & Robbie, and Tricky. The tracks “Williams’ Blood” and “Corporate Cannibal” have emerged as hits overseas as has the video for “Corporate Cannibal” directed by Nick Hooker. The release will also include a brand new bonus disc dub version of the entire album. Download the MP3 of the track “Sunset Sunrisehere.

In July 2009, Jones performed in a new show at The Hollywood Bowl in Los Angeles and the Hammerstein Ballroom in New York City. Collaborating with acclaimed Academy Award-winning costume and production designer Eiko Ishioka, Jones debuted songs from the new album for U.S. audiences.

The shows received overwhelming praise from audiences and critics alike.  Daily Variety wrote “...a commanding Grace Jones provided a finely tuned display of humanity” and “...the return of Jones was warm and uplifting”. The LA Times ran the headline “Grace Jones bowls over the Bowl” and the New York Times reported that Jones was “lithe, fierce and solid”. Rolling Stone wrote “So many performers are said to be larger than life, but the show biz cliché has never been truer than it is for Grace Jones…the crowd roared as if they’d seen the second coming”.

Born in Jamaica before relocating to Syracuse, New York with her family, Grace Jones embarked on a successful career as a model in New York City and Paris. In 1977 Jones secured her first record deal resulting in a string of dance-club hits including “I Need A Man” and her acclaimed reinvention of Edith Piaf’s classic “La Vie En Rose”. The three disco albums she recorded, “Portfolio” (1977), “Fame” (1978) and “Muse” (1979), generated considerable success in the market and established her as a major recording artist.

During this period Jones became a fixture on the international club scene and was often seen at New York City’s famed nightclub Studio 54. Jones also became a muse to Andy Warhol who photographed her extensively and created a series of iconic portraits of her.

Towards the end of the 1970’s Jones adapted the emerging New Wave music to create a different style for herself. Working with Island Records producers Chris Blackwell, Alex Sadkin and Compass Point All Stars, she recorded the critically acclaimed albums “Warm Leatherette” (1980) and “Nightclubbing” (1981). These included reimagining’s of songs by Sting (“Demolition Man”), Iggy Pop and David Bowie (“Nightclubbing”), Roxy Music (“Love is the Drug”), Astor Piazzolla (“I’ve Seen That Face Before (Libertango)”) and Tom Petty (“Breakdown”).

Both albums included tracks co-written by Jones herself including “A Rolling Stone”, “Feel Up” and most notably, the post-disco dance track “Pull Up to the Bumper” which spent seven weeks as #2 on the U.S. Billboard Hot Dance Club play chart and became a Top 5 single on the U.S. R&B chart.

Parallel to her musical shift was an equally dramatic visual makeover, created in partnership with artist Jean-Paul Goode, with whom she had a son. Jones adapted a severe, androgynous look with square-cut hair and angular, padded clothes. The cover photographs of “Nightclubbing” and “Warm Leatherette” as well as her subsequent albums exemplified this new identity.

Jones’ next release was the dub reggae-influenced “Living My Life” (1982) which featured the self-penned hit “My Jamaican Guy”. In 1985 she worked with Trevor Horn for the conceptual music collage “Slave to the Rhythm” and in 1986 she collaborated with Nile Rogers for “Inside Story” which produced the Billboard 100 Hit, “I’m Not Perfect (But I’m Perfect For You”), one of several songs she co-wrote with Bruce Wooley. “Bulletproof Heart” (1989) spawned the Number 1 U.S. Hot Dance Club Play hit “Love on Top of Love (Killer Kiss)” produced by C&C Music Factory’s David Cole and Robert Clivilles.

Jones is equally famous for her motion picture roles in such features as “Conan the Destroyer” (1984) co-starring Arnold Schwarzenegger, “A View to a Kill” (1985) co-starring Roger Moore as James Bond, the vampire thriller “Vamp” (in which Keith Haring famously painted her body for her role as an undead exotic dancer) and “Boomerang” (1992) co-starring Eddie Murphy (for which she recorded the song “7 Day Weekend”). Her television work includes appearances on “Pee-Wee’s Playhouse Christmas Special” (1988), “Beastmaster” (1999) and “Shaka Zulu: The Citadel” (2001).

Tipper Sound Experience is Unleashed

Commencing this summer British composer and producer, Tipper, is embarking on a sonic pilgrimage, performing at select venues and festivals with the NeXuS Funktion One Dance Stacks originally designed by legendary sound guru Tony Andrews. Tipper will be joined by the highly sought-after lighting impresario Audiopixel to present an exclusive visual experience driven by highly attuned, audio responsive, 3D LED lighting software using intelligent control of light and color. Topped off with tour support from VibeSquaD the performances are intending to blow the minds of all who are lucky enough to encounter the TIPPER SOUND EXPERIENCE.

Tipper (real name DaveTipper) is widely acknowledged as one of Electronic music's pioneering innovators. He was signed to Sony as a teenager when he helped kickstart the Nuskool Breakbeat genre, creating the deepest and baddest basslines heard before, or since. He went on to inspire the Glitch Hop movement, focused on merging hip hop beats with electronic trickery through his seminal Tip Hop and Wobble Factor LP's. During this time he also composed one of the first albums produced and intended for release in the 5.1 surround sound format, and Surrounded was nominated Best Release Intended for Surround Sound. His talents in Sound Design and Digital Mastering have him in great demand with major music making software programs, and accordingly his work is quietly featured in the output of countless releases in various genres. His live performances consist largely of his own unreleased compositions, and he is highly regarded for scratching his own sounds over his music, creating a live element of turntablism stemming from prowess early in his career as a vinyl DJ.

THE TIPPER SOUND EXPERIENCE will feature a 5 way crossover sound system in a Quadraphonic Array with specialized sub woofers dedicated to 45 hertz and below; this configuration achieves incredible clarity and sonic accuracy punctuated by thick and luxurious super-low bass. When positioned this way for Tipper, these dance stacks are known for creating an immersive sound environment that transforms the dance floor into an ethereal field of holographic sound. The purity of the Funktion One design approach completely avoids the usual pitfall of system EQ with its associated phase problems, allowing all of Tipper's production trickery and nuance to be presented in an unfettered manner. This technology has won numerous international awards for Best Sound Product in the club world, and their installations have been behind countless 'Club of The Year' winners.

Audio Pro Lifetime Achievement Award recipient, and inaugural PLASA Gottelier Award winner Tony Andrews founded Funktion One with John Newsham in 1992. Whilst often imitated, their designs have been the first choice of many permanent and touring sound applications around the World including luminary clients Pink Floyd, Santana, and the Glastonbury Festival. They are globally known for their pioneering work and ethos, and consistently set the standard for modern audio engineering.

In their own words: We understand sound to be the most important of our senses and in fact, the root of the structure of the entire Universe. As such, we try to pay the amazing acuity of human hearing the respect it deserves by providing products that deliver as much resolution and detail as is possible. We also pay considerable attention to the emotional effect of not just music, but the sound itself, what you might call its 'quality'. In a world where everything is 'dumbing down' and finesse and subtlety are rapidly disappearing, it is a source of pride to us that we are continually going in the opposite direction, expanding the envelope. On a spiritual level, good music and good sound has the effect of opening peoples' minds and deepening their consciousness which can only be good for the planet.

THE TIPPER SOUND EXPERIENCE features a rare matchup of audio and visual talent and will include headline performances at The Big Bounce, Rain Dance, and SONIC BLOOM festivals, followed by a rare show at The Coconut Grove Grand Ballroom on Santa Cruz Beach Boardwalk and culminating with a special presentation at The Regency Ballroom in San Francisco. For more information about the TIPPER SOUND EXPERIENCE and ticket information, click here.

National Jazz Museum in Harlem May 16 - May 22, 2011

Upcoming events at the National Jazz Museum in Harlem for this week include:

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Tuesday, May 17, 2011

Jazz for Curious Listeners

Tito Puente Month: Presented by Joe Conzo and special guests

7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

The Jazz Years

The 60’s saw Puente fully immersed in his passion to combine Jazz and Latin music. A passion thatwas fueled by his mentors Machito and “Hall of Famer” Mario Bauza. It had been his belief that this “marriage” could become a powerful force in music, thereby enhancing the musical experience of the listener and dancer.

He teamed up with bandleader and trombonist Buddy Morrow and began a series of recording sessions where both of them performed with two full and completely different orchestras. The project culminated in the LP recording “Revolving Bandstand” under the RCA label.

With this recording, Latin Jazz received a shot in the arm. It would have a direct affect on some of the younger musicians that would be making a name for themselves in the years to come, notably, Ray Barretto, who first played with Puente in “Dance Mania” and also recorded on the “Revolving Bandstand” sessions.

Thursday, May 19, 2011

Harlem Speaks

Bennie Wallace, Saxophonist

6:30 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Tenor saxophonist Bennie Wallace made waves throughout the jazz world in the late 1970's with his debut recording, The Fourteen Bar Blues. Thereafter, with an unflagging respect and affection for classic jazz, he repeatedly represented his own progressive take on the music. His talent for composing and arranging music attracted the attention of Hollywood moviemakers in the late 1980's, which led him to spend nearly a decade in California composing and directing film soundtracks. Wallace's music has developed a more lyrical sense, yet his rhythms retained an authentic style that belonged uniquely to Wallace, according to critics. Winner of Germany's Deutscher Schallplattenpreis, the jazz Grammy equivalent, and a five-time winner of the Down Beat magazine award for Talent Deserving Wider Recognition, the full impact of Wallace's talent remained yet to unfold into the new century.

Born Bennie Lee Wallace Jr. on November 18, 1946, in Chattanooga, Tennessee, Wallace began playing clarinet in his youth from the age of 12 when a music teacher at his school started a jazz band and taught the group about great jazz musicians like Count Basie, Charlie Parker, and Miles Davis. Later, Wallace played in the high school band and added tenor saxophone to his teenage repertoire. Despite his youth, he learned his way around the after-hour jazz clubs even while he was still in high school in Chattanooga. During his late-night excursions, Wallace participated in jam sessions, playing bebop and blues most frequently. He went on to study music at the University of Tennessee and received a bachelor's degree in clarinet studies in 1968. After college during the mid 1970's, he did some composing for a German radio orchestra although his first love was jazz saxophone. Even during a stint in Hollywood during the late 1980s and into the 1990's, Wallace maintai ned to interviewer Zan Stewart of the Los Angeles Times that his horn remained the focal point of his music and of his life.

After his arrival in New York from Tennessee, Wallace spent 1973 studying the old jazz masters and their music to discover the essence of each, focusing heavily on Johnny Hodges and Coleman Hawkins. Yet despite his in-depth study of historical jazz, Wallace disliked repertory bands and eschewed revivalist groups equally. He remained committed to personal definition in everything that he performed. It became evident that Wallace moved in a direction different from the bandwagon that typified so many of his contemporaries, with his styles rooted more closely in the work of Coleman Hawkins than with John Coltrane. In 1985, Wallace signed with Blue Note Records. His debut album for that label, entitled Twilight Time, remained a favorite for many years

In 1991, in an unanticipated career shift, Wallace moved his residence to Pacific Palisades in Southern California to be near the Hollywood film industry as he became involved in composing for films. The opportunity came as a result of his 1985 Blue Note release, Twilight Time, which caught the ear of filmmaker Ron Shelton. Shelton requested that Wallace contribute to the soundtrack for the late-1980's film Bull Durham. Wallace obliged with "Love Ain't No Triple Play," written expressly for that movie. Also heard on the Bull Durham soundtrack was a reprise of Wallace's arrangement of "Try a Little Tenderness." Wallace went on to score the movie Blaze and served as musical director the film White Men Can't Jump.

During this time, Wallace worked extensively with pianist Tommy Flanagan in creating film music. Additionally, Wallace worked behind the scenes as a docent of pianist Jimmy Rowles after Wallace, having settled in California, contacted Rowles completely without introduction. Regardless, a comfortable relationship bloomed between the two, as Rowles mentored Wallace not only in the mechanics of playing the piano, but also in the fine points of harmony. In 1993, Wallace released The Old Songs, an album which represented a culmination of the wisdom and inspiration that he derived from Rowles. He’s now back on the East Coast, living with his wife in Connecticut.

Friday, May 20, 2011

Harlem in the Himalayas

Colin Vallon Trio

7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door | 
For tickets: RMA Box Office or call 212-620-5000 ext. 344

Colin Vallon, piano
Patrice Moret, double-bass
Samuel Rohrer, drums

Get an insight into the international sounds of cutting edge jazz with the music of this band, which belongs among the most remarkable and fascinating which the Swiss scene has to offer. The 29-year-old Colin Vallon has everything an extraordinary musician needs: brilliant technique, personal expression, a sense for perfect timing and a very individual, musical language which he creates through the unusual sounds from his prepared piano. Together with bassist Patrice Moret and drummer Samuel Rohrer, he has developed an exciting multiple stylistics based on modern jazz, but from which it steps out into all directions possible. The trio lives out its dramaturgically excellent compositions in sensitive interplay.

Saturday, May 21, 2011

Saturday Panels
A Tito Puente Celebration
12:00 – 4:00pm

Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Join us for an afternoon with the music of the King of Timbales, Tito Puente.

El Rey de Timbales. Tito Puente more than earned first place among modern Latin jazz musicians, working continuously from 1937 to 2000, recording over 100 albums.

Puente started his professional career as a drummer in Noro Morales’ orchestra. He played briefly with Machito’s Afro-Cubans before being drafted into the U.S. Navy, where he played in a band led by famed swing band leader, Charlie Barnet. After his discharge, Puente took advantage of the G.I. Bill to study at the Juilliard School of Music, while working with a variety of Latin bands in New York.

Puente quickly became known as a sizzling arranger. Promoter Federico Pagani hired Puente after hearing him jamming with a group of players from Pupi Campo's band, and dubbed them the Picadilly Boys. Puente subsequently moved to Tico Records and changed the group's name to Tito Puente and his Orchestra. Through numerous changes in labels and musicians, Puente has been in front of his group ever since.

Puente's fame skyrocketed when promoter Max Hyman bought the Palladium dance hall and opened it as a nightclub just as the craze for dancing the mambo and cha-cha hit in the early 1950's. He recalled nearly 50 years later:

“It was the explosion of dance. Remember, the Palladium was a big dance hall. I've always maintained that without a dance the music cannot be popular. People became aware of a new dance--the Mambo--it was ‘in’ to learn to dance the Mambo no matter what part of society you came from. And so here was a place, the Palladium, where everybody could come to dance or learn the Mambo. Dance studios sent their students to the Palladium, where they could learn and see great dancers—ballet stars, Broadway stars, expert Mambo dancers—all in one place. And I geared my music to these dancers.”

Puente rode the wave on Tico, then switched to RCA for what some consider his best albums, including Top Percussion, Dance Mania, his top-seller, and Mucho Puente. In the early 1960's, he moved from cha-chas and mambos to the new pachanga style and rejoined Tico to record Pachanga Con Puente. His 1962 descarga (Latin jam) album, El Rey Bravo debuted Puente's composition, "Oye Como Va," which later became a huge pop hit for Carlos Santana. "Every time he plays 'Oye Como Va,' I get a nice royalty check," Puente said.

Puente suffered through the boogaloo craze ("Boogaloo meant nothing to me. It stunk.") and carried on into the rise of salsa in the early 1970's. He recorded several albums in collaboration with Celia Cruz, the "Queen of Salsa." In the early 1980's, he moved into more traditional Latin jazz for the Concord label, earning a Grammy award for Tito Puente and His Latin Ensemble on Broadway. Although he was criticized for leaning on a clichéd style in his performances and material, Puente rallied again in 1991 to capitalize on the popularity of Oscar Hijuelos' novel, The Mambo Kings Play Songs of Love with the album, The Mambo King: 100th Album. It was actually something like his 112th, but who was counting at that point? Ever a trend-rider, Puente made his prime-time television debut in 1995 on an episode of "The Simpsons."

In 1997 Puente recorded 50 Years of Swing, a compilation of hits that celebrate his fifty years in the Latin music industry, and in 1999, he won his fifth Grammy for Best Latin Performance for his CD, Mambo Birdland. In the late 1990's, he was designated as a "Legend" by the Hispanic Hall of Fame, inducted to the Jazz Hall of Fame, received a star on the Walk of Fame in Hollywood, and received a Smithsonian Lifetime Achievement award. He suffered a heart attack soon after his last public appearance, in April 2000, with the Puerto Rico Symphonic Orchestra at the "Centro de Bellas Artes" in Puerto Rico.

Afrobeta Debut Album Out August 9th

Miami’s avant-dance duo recently announced the release of their debut full-length, Under The Streets, along with the first track from the album, “Nighttime.” Now the band has released a futuristic new video, for “Play House,” directed by Dutch director Ruben Van Leer, along with the details for the “Play House” single, which sees a digital release today (May 10th) on iTunes, Beatport and Amazon. The single will come packaged along with remixes by NYC legend Larry Tee, and Alexander Technique & Junior Sanchez!

Afrobeta’s unique (and diverse) sound transcends genre classifications. Cuci’s rapid-fire delivery, combined with Smurphio’s funky synths and head-bopping basslines, will keep you moving from start to finish on Under The Streets. The thirteen tracks that make up their debut album will undoubtedly ignite dance-floors around the world-the band has a sound that is universally irresistible.

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Click HERE or the Single Art Below to Watch the Futuristic Video For “Play House”

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Under The Streets Tracklisting:

Two Different Worlds
Do You Party?
Nighttime
As Long As You Like It
Play House
That Thing
Touch
Land Of Lost Lovers
Pistol Whip
Love Fur Life
Jealousy
The End
Love Is Magic

Digitalism Loves You, Dude! New Album Coming in June

With a new album ready to drop on June 21st, Digitalism is back in action with their latest record I Love You, Dude, following up 2007’s Idealism, an album described by Pitchfork as solidifying the Hamburg team as “the artists probably most dedicated of all to the idea of merging rock and electronic dance music” out of all their contemporaries aiming to get the indie rock kids on the dancefloor. If you were at a party at any point in the year that album dropped, you are familiar with Digitalism’s tunes as they were blasted out of every home stereo and club soundsystem across the globe from here to Australia.

Music lovers from an early age, Jens Moelle and Ismail ‘Isi’ Tuefekci worked in music before they were propelled into the limelight. They came together when Jens, working afternoons in Hamburg’s Underground Solution record shop, became friends with Isi, who worked at a vinyl distributor. The two quickly bonded over their love of vinyl and became a DJ tag team. They were soon using early CD-writers to burn their own edits, and in jokey tribute to Bob Sinclar’s Africanism All Stars project and to their own love of electronic dance music, they scribbled the word ‘Digitalism’ on the CDs to identify them for playing out. A band was born and their 2005 tune “Zdarlight” put them on the radar of a new network of young DJs across the globe pushing club culture in a heady rock direction.

Soon they’d honed a live show that became hugely in demand and took them all over the world, with firing tunes such as “Jupiter Room” and “Pogo” backing up the hype alongside remixes for Depeche Mode and Daft Punk. They toured the Idealism album for a couple of years and then went to ground, cutting back to a few DJ dates a month so they could concentrate on crafting I Love You, Dude in their Hamburg bunker studio.  The new album further serves their aim of getting everyone to dance with 10 tracks each of with their own vibrant identity, this is the sound of a band welding dancefloor pugilism onto crafted sonic sculpture. The band set the bar high for themselves, featuring tracks like  “Forrest Gump,” co-written with Strokes frontman Julian Casablancas, “Circles,” with its Who-ish keyboard and apparently existential lyrics, and stand out track “2 Hearts,” a curveball of a pop song.

US tour dates are on the horizon….

Afrobeta Shares First Track, Debut EP This Summer

Miami’s avant-dance duo Afrobeta have been tearing up dancefloors their hometown since 2006, with the Miami New Times even naming them Best Band in 2010. After the success of their debut EP, Do You Party?, which came out last July, the band is ready to announce the details of their full-length debut- Under The Streets will see a release in Summer 2011 via Do IT Music Group (details coming soon)! Check out the first free track from the album, “Nighttime,” for a taste of what Under The Streets has in store for the world!

Cuci Amador and Smurphio formed Afrobeta in 2006 as a means to attain an ultimate form of artistic self-expression. Their mutual love of classic songwriting, Cuban pastries and dancing till 5AM inspired them to make music together. The thirteen tracks that make up their debut album will undoubtedly ignite dance-floors around the world- the band has a sound that is universally irresistible.

Afrobeta’s unique (and diverse) sound transcends genre classifications. Cuci’s rapid-fire delivery, combined with Smurphio’s funky synths and head-bopping basslines, will keep you moving from start to finish on Under The Streets.

Afrobeta is taking their joyous beats and dazzling live shows across the nation and abroad! 2010 included high profile performances at the 40th Anniversary Glastonbury Festival of Contemporary Performing Arts, the 12th annual Ultra Music Festival, Burning Man, Ultra Brazil and Space Ibiza.

Download the FREE MP3 “Nighttime” HERE!