Having moved away from Ireland’s southern capital, Cork, a few years ago, I’m making one of my most anticipated (for me that is) returns to the city since then. There be a-plenty going on down there this coming weekend, and I’m lucky enough to be stuck in the middle of it, playing some records – and buying some! I’ll start at the end and work my way backwards…

2 good friends of mine, Barry Walsh and John Hennessy have been running the Sunday Times party for just over a year – check out their site here -, a day/night that has gone from strength to strength with each passing party, climaxing in it’s first birthday earlier in the summer.

After taking a break for a month it returns again this Sunday (29th) in their usual home of Realt Dearg on Barrack St and they’ve very kindly asked me to come down and play the latest edition. And as of yesterday they’ll also have a special guest flying down (well, getting the train with me) in the shape of ISM’s favourite Italian, Lerosa!

They run the party from 4 in the afternoon until Midnight or so, and going on reports a fun and eclectic musical atmosphere is what they get off on, so I’ll be packing my bag with plenty of stuff that I mightn’t normally get to play in a club atmosphere along with some disco/italo/boogie/house bizness. I’ve not played down in Cork in nearly 3 years – the place where I started playing out properly – so I’m really, really looking forward to it.

The day before is, to be fair, a much more important day for Cork’s music scene. At the end of last year my favourite record shop in the country, Plugd Records, closed it’s doors. I’m pretty sure I didn’t mention it on here as reading about another closed record store is something we didn’t need. But, one re-opening is, in these times, something to shout about from the roof tops.

Moved to a new location temporarily – the Substation venue – before it settles into the renovated Triskel Arts Centre next year, this Saturday the shop will again become a hub for all things musical in the city, kicking off immediately on it’s (re)opening day with bands playing throughout the day in the new shop. Later on that evening – with no doubt some hot new wax in my bag – things move up to the Realt Dearg where a bunch of us will be djing small sets throughout the night, with myself and Lerosa playing along with some locals including Kim Keating and Jack Buckley; who run the Workshop and Moons night respectively (Jack’s night has seen Cork debuts for the likes of Fred P, Kassem Mosse and Jus Ed), all to celebrate the return of a shop that for many years helped shape my musical collection. All in all it should hopefully be a fantastic way to end the summer -and no cover charge or anything for either party. I dunno if any Cork folk read us here much, but if you do be nice to see yis out and about, say hello and then throw things at Lerosa. Or maybe vice-versa. Tis up to you.

One of the things that has really been getting me exited recently isn’t the dope records I’ve been buying (they are awesome though, look for a record review post from me later this week!). It’s not any specific deejay sets I’ve heard. What has been getting me pumped is the quality people doing this music. I’ve been involved in a large number of underground music scenes locally and internationally via the web since the mid-90s, and I can’t remember a time when I felt like so many cool people were doing good things.

Having been involved with Drum and Bass from ’96-’00, it was always mystifying to me how some of those cats who were not really much of shit on the grand scale of things could carry around such huge egos. The “mnml” techno thing was obviously rife with douchebags with overpowered egos as well. But right now, it seems like this underground house/techno/whatever is a really fertile area both above ground, and below. Even better is that these people all seem to know each other, and interesting collaborations and working relationships are coming from it.

Unquestionably, the most positive things I have seen are in the US. We have always had a massive disadvantage because of our geography being so spreadout; even when house and techno were really blowing up, they were far more localized. “Rave” probably pushed more serious electronic/dance music in the US back YEARS in terms of evolution, but its effects have been wearing off long enough that house and techno are finally able to stand on their own again. And now we have the internet to help us bridge those physical distances both within the US and to Europe, Japan, and the rest of the world.

I wasn’t sure if it was just me noticing these things, but then I saw this in Out There A Minute’s interview with Martin Landsky (I must admit here that I know nothing about this guy’s music or anything like that!):

Being based in Berlin must have spoiled you a bit when it comes to musical input and underground spots to play. Which country & venue outside of Germany has inspired you the most lately, and why?

There are a lot of hot places around the globe, sometimes it´s just one club in a far out village that can surprise.
But the place that inspired me the most in the last years is definitely the States.
There is this kinda ‘new’ fresh scene, which is amazing. It´s all about small clubs and a well educated crowd, people that really do love the music, no bullshit. A good example that explains what I feel there is that the people scream at the right moments of a track, not in the obvious big break downs of a track but in the small intense parts of the music, the moments when a track makes me shiver too. When you play good music there and you are mixing well they follow you all the way, but if you fuck it up they will simply show it by their reactions. I have the feeling it´s less about hype there at the moment but more about the passion for music and clubbing.
Kinda the same feeling like it was ages ago here in Europe…

It’s funny because I use a very similar method of evaluating crowds, and it seems like people are really just “getting it” now moreso than anytime I can remember. And this is totally independent of any magazine, “scene”, or whatever might usually dictate how things go.

This all means one thing to me: if things are indeed all about WHO YOU KNOW, then right now there are plenty of the right kind of people out there doing good shit. It seems like that network is becoming larger and larger without sacrificing any quality! I know that I meet more people every single week, be it locally, nationally, or internationally, who are doing awesome work of some kind and who have enthusiasm, energy, and good ideas to contribute. I had been thinking that we were in something of a “golden age” for soulful house, techno, and disco, but now I think we are just entering into what could be an unprecedented era if everyone continues to work together and keep it underground with no compromises. There’s lots of work to be done, though, and that’s most definitely where my mind has been these past few months…

Hey, just a heads up for the Irish readers out there, Fatty Fatty and Downtownsounds presents DJ Rahaan from Chicago on Friday June 11th at a newish venue in Dublin, Space 54. Myself, Nic Keane and the Don will be providing the support warming things up for one of the world’s best disco/house djs. Doors open at 10.30 and there will be free cocktails for the first 75 people who turn up, but there’s no bar so bring your own booze.

This will be a launch party for another Fatty Fatty / Downtownsounds event, A Day on the Farm, which will be taking place at a secret location in deepest, greenest Kildare on July 10th. Information on location, travel, camping, provisions and lineup will be disclosed on the night.

Check out Rahaans mixes over at Deep House Pages

Gmos mix – Interstellar Dancing

Nic Keane’s Summer Vibes Mix

Anthony Parasole, apparently a fan of this blog, recently added me at random on Facebook. He seemed like an earnest and experienced cat so I friended him back. We chatted a bit and he invited me down to his residency at The Club House party at Greenwich Village’s Love. It had been way too long since I had hit up Love, which boasts one of the city’s greatest sound systems, so I decided to crawl out of my hermit cave and make an appearance.

Coincidentally a friend was in town who had NEVER BEEN TO NEW YORK CITY!? so the fiance’ and I took her enthusiastic little butt along too.

We arrived at around 11 PM and the club was virtually empty except for a few out of place Jersey Shore types who quickly ordered $500 vodka bottle service. My crew pondered that madness for a moment as one of the guidos proceeded to make his way through failed attempts at hitting on both my fiance’ and our friend. Odd to say the least.

Club Love was sadly looking a little worse for wear since the last time I partied there several years ago. The bathrooms are beat up, the general vibe of the club is kind of dirty, and worst of all they took out the awesome waterfall and carpeted cave room with nooks and crannies.

Fortunately the sound is still top notch though and really, that’s all that matters.

Anthony and Jus Ed tag teamed some insanely deep house for the first four hours of the night. The floor started fleshing out with a crowd by 1 AM, just as Parasole started getting a little fucking weird (in a really good way) on the decks. He dropped a house tune with what I can only describe as laser blasts. I trainspotted that shit but he flat out denied me, claiming true secret weapon privilege on it. Fair enough!
By that point the place was bumper to bumper and everybody was really feelin it, especially when Jus Ed followed up with Logic’s classic “The Warning”. Always a fan. Here’s a YouTube of the track for those of you who might not be familiar:

At some point about three hours into the eve Anthony dropped Motorbass’s “Ezio”, a nutty track with a sweet harp and some very mad percussive sounds:

Do note, the image in the above video is for a record that does not actually contain the audio in the video. It’s a different version of the track on that vinyl.

Had a quick chat with Todd Sines about how much he hates it when people tell him how great his old tracks are. Hassled Dan Bell for a track ID from a set from four years ago. Bumped into Albert Freeman aka “N or Z” who I chewed the fat with over 707s and other analog gear. That dude is on Soundcloud as mortalamusique.

Parasole dropped this very dope, very Todd Terry-esque track at like 2 am.

I’m embarrassed to say I was dragged out of the club by the girls shortly after that and shortly before Dan Bell went on. I’m sure he killed it though. There’s always next time!

All in all I would definitely head out again to hear the UQ/Deconstruction crew at their ClubHouse residency at Love. Bigups.

I assume some people might remember the initial post I made almost exactly a year ago regarding the trailer for the film “Speaking In Code”. I will now pause to allow you to go back and rewatch the trailer, read the post and the comments, and then we can get to the heart of the discussion.

After having watched the entire film recently, I have to say that it was not exactly as portrayed in the trailer. That said, nearly every concern I initially had was for good reason!

This film really ends up being about the then-husband of the filmmaker, David Day, and the filmmaker herself, Amy Grill. At the time of filming, David was working at Forced Exposure distribution, throwing parties in Boston, and deejaying techno. In this way, I can certainly see Philip Sherburne’s defense that “it’s as much a film about the director’s own journey as anything.” However, the journey’s starting place and premise was the cause of many meetings between my palm and my face, and was in fact everything I had assumed it would be.

In the very first few minutes of “Speaking in Code”, the narrator (I believe it was Ms. Grill, though as I had to watch it via a Vimeo link I cannot go back to check) says, “a lot of people in the US love to hate techno… we set out to make a film that could break old stereotypes Americans have about electronic music.” I’m not sure which stereotypes they meant to break, but they certainly reinforced many of mine!

In writing about how I thought the film’s premise looked “Questionable”, I was very concerned about how techno culture was going to represented due to the list of artists featured in the film. To me, it appeared that a very Eurocentric viewpoint would be taken, and after having watched it I cannot conclude otherwise. In and of itself, this is pretty problematic for me. Even more annoying, though, was exactly how it ended up: the film’s main characters kept chasing the “techno lifestyle” that they could not live in Boston all over Europe, as though this was the only place it could be found.

If that wasn’t frustrating enough, it was horrible watching everything in their lives become irreparably broken (including their marriage) as this unobtainable dream was pursued at any and all costs. I could have saved them all a whole bunch of time, energy, and money with this advice: if what you want is in Europe, move there. The jet-set, 24 hour techno party lifestyle is available to all if you just get on a plane. This is exactly what featured techno personalities like Richie Hawtin and Philip Sherburne did! Trying to recreate that in a country like the US that is spread out and as different culturally as it is, is just never going to work. When someone in the film (I believe it was David Day, but again I can’t go back to check) says that techno is viewed in the US as “un-American”, can I really be the only person who finds it deeply ironic that the filmmakers’ method of disproving that is to focus completely on non-American artists and deejays?

What goes unspoken in the documentary, and in any of the reviews I have since read of it, is the alternative: actually taking time and energy to build something that is rooted in what exists in reality in the US today. I don’t have to mention this for regular ISM readers, but there are people ALL OVER THE US making techno music. How many of those would benefit from getting gigs in cities like Boston? How many of them rely on bookings in other countries due to people continually looking to Europe when deciding what to book? How many US artists have broken out in the US (on what limited basis that is even possible) only after being forced to go all over the planet for gigs because promoters here are not holding it down properly?!

I know there is some perception of me as being anti-Europe or whatever. That really isn’t the case (as I hope the fact that many of our readers and a bunch of our writers are from across the ocean makes clear!). I get frustrated by the way things are portrayed here in the US due to techno music’s popularity in Europe, and that is because techno culture not only started here but also REMAINS here. One entity this film examines the collective based around the Wighnomy Brothers and their Freude Am Tanzen label, which is something that you just can’t find in the US. Well, except for what goes on at Submerge. But this is exactly the problem! Because what happens in Europe is constantly glamorized over here, actual American techno music and culture is what suffers.

Even if American deejays and producers were exactly equal with Europeans in terms of quality, it’s always going to be a losing situation for them in their own country if people are just going to ignore what they do. It isn’t even just the promoters who are the problem. It’s the journalists who cover the shit (who also move to Europe, of course), the deejays and producers who move to Europe to get paychecks, and every single fan of the music who isn’t looking at what is going on in their own backyard. If you REALLY want to have techno culture be a more prominent subculture in the US and you are doing any of those things, you’re going about it in the exact wrong way.

In the trailer, David Day talks about waiting for the artist to come along to break things out in the US. That artist might have come and gone already, but their music made no impression here because too many people in the “techno scene” ignored that shit until it got sold back to them 10 years down the line.

This film is almost essential if you want to understand the failings of techno to take off here in the United States. It is not explicitly about that, but you can see the attitudes that have caused it throughout in the choices the filmmakers make. I think an examination of the ACTUAL techno culture in the US would make an excellent counterpoint to this film. There are people in the US who live and breathe this shit 24/7. Trust me, though, when I tell you there ain’t much glamor in it! There’s no jet-setting with Sven Vath, there’s no door policies that you have to be careful with just to get in the club, there isn’t even a style of dress associated with the music. But I’ll be damned if there aren’t people who dedicate their lives to this techno shit without any possibility of living that idealized lifestyle. They have that serious obsession. I guess those people just aren’t cool enough to be in a movie.

The fact that my initial worries were almost entirely justified, yet my comments were featured on a blog by the filmmakers filed under the complaint of “Why didn’t you include my favorite artist in the movie?” shows exactly how uncritically this viewpoint is examined by participants in techno culture in the US. Shit, they could have interviewed someone I intensely dislike such as Frankie Bones and it would have had more to do with what I’m talking about than anything that actually ended up in the film.

That said, I found the movie entertaining simply because any films based on/about subcultures (even ones that aren’t about my personal interests) is gonna be more engaging than most. Sure, it’s a bit drawn out and the narrative is kind of sloppy due to the way the film ended up changing the lives of the people making it. To me, this is the most interesting aspect about it, and it would have been interesting no matter the style of music being examined. If you’re looking for something honest about techno culture in the US, however, this is only useful as a manual for how not to go about being part of it.

Don’t sleep!

Interviews with the one and only Kenny Dixon Jr are as rare as a sober person at BLOC so I’m really looking forward to watching this when I finish work today. The little write up on the post from the Red Bull Music Academy site makes it sound highly entertaining. I hope it delivers!

Watch it here

This is also post no. 313 from us.

Scott Ferguson has been a contributor on the mix front for almost two years here at ISM, and over Christmas he even debuted a digital album here for us. Today, he adds one more notch to his ISM belt: guest writer! Scott was obviously inspired by a recent night out at Fabric on January 23rd, and we were more than happy to give him the forum to talk about it!

To be able to use words to describe exactly what you mean or how you feel is a true art. For writers such as Henry Miller, Richard Wright, and James Baldwin, it took years of practice, patience, and self-discovery to hone this high caliber skill. To uniquely craft a story that touches other human souls with nothing but experience, skill, and your mind is truly a gift to behold. I am no writer, nor do I pretend to be. What I am is a Deejay, and an appreciator of Deejaying as a true art form. The same as in writing, a true Deejay must craft a story that touches souls with nothing more then experience, skills, and their mind. There are many who would argue that they are not concerned with a Deejay’s skills so much as their ability to select good music. I would argue that this is similar to a writer with a magnificent vocabulary but no means to tell a story. For me skill plus selection is a rite of passage, not just playing a good record. Last Saturday in Room 3 at Fabric I witnessed three artists who skillfully used experience, music, and their minds to touch souls…

I arrived to a full capacity Room 3 at Fabric around midnight as Kyle Hall was starting his set. There are many in the press asking the question, “Can Kyle Hall live up to the hype?” Let me tell you something, Kyle Hall is the HYPE, both with his physical and spiritual presence in the studio as well as behind the turntables. Kyle Hall’s Deejay performance was truly inspiring and 100% Detroit. Playing records like he constructs music, Hall’s set was full of energy, hands always busy, mind always focused, constantly creating. A true performance of scratching, beat juggling, and mixing, playing a wide range of house and techno records, many of which were made while he was still in diapers. With all of the tricks, skills, and brilliant track selection, the one thing that made me smile most was Kyle, like a 19 year old kid, had removed his shoes as if playing records in his bedroom, opposed to one of London’s highest ranking dance music clubs.

The next time slot of 2:00 to 4:00 was filled by Underground Quality label boss Edward McKeithen AKA Jus Ed. Although I’ve known Ed personally for some time, this was the first occasion I was able to listen and observe one of Ed’s Deejay sets from beginning to end, which made me both happy and excited. Mr. McKeithen absolutely did not disappoint. Ed performed no scratches or backspins but what he did do was select track after track of soulful bliss, mixing each new selection in a way that made it hard to tell when the primary track ended and the new track was left solo. Something else that gives certain Deejays a real edge is the ability to play their own unreleased tracks. Roughly 50% of Jus Ed’s set was unreleased music, including one of his tracks with techno style pad strings and synthetic gun shots. It was 2 hours of a perfectly blended musical journey performed with true artistic craftsmanship.

4:00 to 6:00 was occupied by UQ soldier and Strength Music owner DJ Qu. First and foremost DJ Qu is a dancer, and this makes him a dancer’s DJ. Qu performs no tricks or 6 minute blends, on the contrary Qu lets tracks play out in their entirety only leaving a minute or so to transition to the next track. He does this very well always choosing the next song that works musically, spiritually, and mathematically. The first 20 minutes of Qu’s performance was chock full of beautiful house tracks from the 90′s including the original version of Blaze’s ‘Wishing You Were Here’ and Round Two’s ‘New Day’. DJ Qu stayed true to his dancers and true to his emotions, two very vital aspects of the art form of Deejaying. Qu kept building and building until it was time for him to head to the airport for his flight back to the States, I will be anticipating his next arrival.

I left Fabric that night feeling full of inspiration and camaraderie. In spite of digital vs vinyl, deep house vs minimal, Ableton vs Hardware, etc… there are still some people out there that are concentrating on Deejaying as a true form of art, continuing to mix music as a creative outlet and a way to share emotions with the world. I want to thank Kyle Hall, Jus Ed, and DJ Qu for being three more true artists keeping the love of Deejaying alive. SOLID!

(I also wanted to mention that I went out in December to one of the infamous SUD Electronic parties here in London to see XDB and Levon Vincent. Levon Vincent did amazing American style things like shutting off the current record to allow him to redirect his set, pumped some mid 90′s NYC classics, and destroyed the floor with his own amazing productions. XDB was a technical mastermind building and building musically like a mason with brick and mortar. Kosta (AKA XDB) had me re-convinced in the power of the Deejay when he rocked ‘Forever Mona’ and later the 12″ version of ‘Me & My People’s Eyes’ mixing them seamlessly at the perfect moment in time. If you want to see two more well rounded Deejay’s both technically and musically, I highly recommend catching either of their DJ sets. SOLID!)

Scott himself is one of those deejays who is very successful at pushing all the right buttons. On guest mix #9 for us, he drops some classic soulful hip-hop, mostly from the ’90s. In describing it, he says, “I named it ‘Driveway Tempo Mix’ because it reminds me of my early twenties when my friend Nicodemus and I sat in his driveway in Detroit blasting songs like these from the shitty speakers in his Ford Tempo.”

Tracklist:

01. Mos Def – Modern Marvel – The New Danger
02. Immortal Technique – Caught In A Hustle – Caught In A Hustle Single
03. Talib Kweli & Hi Tek – Too Late – [Reflection Eternal] Train of Thought
04. Dj Quik – Summer Breeze – Safe + Sound
05. Common feat. Cee-Lo – A Song For Assata – Like Water For Chocolate
06. Common – One:Nine:Nine [Hi Tekstrumental] – Rawkus 12″
07. Common – One:Nine:Nine – Rawkus 12″
08. Digable Planets – Black Ego – Blowout Comb
09. Gang Starr – Tonz ‘O’ Gunz – Hard To Earn
10. Black Star – Respiration – Mos Def & Talib Kweli Are Black Star
11. The Roots – 100% Dundee – Things Fall Apart
12. Method Man – You’re All I Need – I’ll Be There For You EP
13. Brand Nubian – I’m Black And I’m Proud – Foundation
14. A Tribe Called Quest – Electric Relaxation – Midnight Marauders

Download the mix here.

I know it ain’t the second half of the ISM interview with Shake from 2.5 years ago (which is still on a cassette tape somewhere in my house!), but it is a brand new interview with the man over at Resident Advisor. I actually did the interview a little while back, but it’s still all good. It’s always fun to get to chat with one of my personal heroes. Also, it was cool to “collaborate” in a way with my man Matt Cohen, whose photos were used for the RA piece and at the top of this post (and in the current issue of Sports Illustrated as well!).

I’ve been waiting for it to go up on RA so I could also mention this radio special our man Recloose did on his radio show about a month ago. On it, he takes an interview with Shake as well as some of his music and combines them into a very nice tribute. Another great episode in what is a great radioshow/podcast.

Shake is such a fantastic musician, it’s about time that he gets his due. I got the Frictionalism box set on Rush Hour in the mail earlier this week, and aside from the plastic sleeve (which was broken on the bottom when I got it!) it’s a very good way to own many of these very hard to find tracks. It would have been nice for some liner notes, photos, and other stuff, but really I think Shake’s music speaks just fine for itself. If you don’t already have all of these tracks, I definitely recommend getting this box set in any way possible, it is that essential.

Teddy Pendergrass is one of those artists whose work I have seemingly always been aware of. From the Harold Melvin and the Blue Notes classic “If You Don’t Know My By Now” to his solo work, Teddy was one of the most iconic soul singers whose identity was wrapped up in one word: LOVE. But it wasn’t until I started getting into disco music where my love for Teddy really began to develop.

Many of the uptempo cuts by Harold Melvin and the Blue Notes that appeared on their releases on Philadelphia International were tunes that were instrumental to the development of what would be called “disco”. Classics like “Bad Luck” and “Don’t Leave Me This Way” were later remixed by Tom Moulton for the Philadelphia Classics album that set in wax the contributions of PIR that had defined disco music so heavily that Salsoul Records began by stealing much of the PIR rhythm section MFSB to back their artists. Other songs like “The Love I Lost” were anthems all the way through the 80′s and were influential in creating what would become house music, especially when edited by deejays such as Ron Hardy in Chicago.

Teddy’s own solo career featured a great many dance classics, from “The More I Get, The More I Want” and “You Can’t Hide From Yourself” which appeared on his debut eponymous album (pictured above) to later joints like “Only You” and slow grooving “Love TKO”. Even after he was paralyzed from the waist down in a car accident in 1982, he continued to record and perform. He will be missed, though his music will live on forever.

Here’s some YouTube links for some of the most classic Teddy Pendergrass jams:

A few interesting things have popped up on teh web in the last week or so….

The man Kuri over at Energy Flash got the Oliverwho Factory to sit down for an interview. I have almost all the Madd Chaise records, but had never seen anything with these guys anywhere before. It’s cool to see someone taking it back underground after some major label action way back in the 80s; they make excellent soulful techno and house now, and they have something coming on Planet E (which bodes well for the label after so many disappointing recent releases!).

Our boy Jacob Arnold continues his lessons on house music history with a round-up of early 80s NYC electronic dance dubs. This is probably one of my favorite era of dance music, I play shit from this style all the damn time. Timmy Regisford and Boyd Jarvis are two of my favorites, and they are well represented on this list. He did omit a few of my other favorites like Eric Matthew (check the instrumental of Toney Lee’s “Love So Deep”!) and Shep Pettibone (dub mix of Weeks & Co.’s “If You’re Looking For Fun”!!!), but this is still a good starting point for those looking to get deeper into house’s roots. Be sure to check out his previous roundups of italo and late disco music as well. After you’re done reading up on these, go check out the tracklists and links to Ron Hardy mixes on the web that he helped compile from various sources. These are great resources! Gridface is killing it for me these days.

The fellows at Random Circuits got Bruce Ivery (whose release this year on Stilove4music has been beaten to death in my sets) to do a mix for them. Mr. Ivery is part of the new breed of deep Chicago cats who have been around for a while, but are only now making real noise in dance music. I’m probably more excited right now for what is happening in Chicago than anywhere else. This is a great mix chock full of original edits and things.

Last but not least, there is a teaser track online for the new album coming soon from ISM all-time fav Gil Scott-Heron. The music takes a turn towards dark, weird electronic music, and it works well under his poetry styles. I hope he sings on this new one as well, I actually prefer his singing to his poetry at this point! My man Andrew Burger and I were plotting the lineup of a soul music super group that we would like to see: Gil Scott-Heron, Erykah Badu, Georgia Anne Muldrow, Waajeed, Theo Parrish, Moodymann, Dam-Funk, Flying Lotus, and Reggie Dokes. Are there any independently wealthy individuals out there in ISM-land who want to fund this project and let us mastermind it?!?!

Also, Andrew found this ridiculous Dorothy Ashby record from 1961 called “Soft Winds” on Jazzland Records. It’s beat as hell, but that has to be one of the best jazz records I’ve heard in a hot minute. Super deep soulful stylings, if anyone knows where a clean copy can be found for cheap or if you have mp3s, let me know.