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We have driven over the bridge to Brooklyn to Lower Manhattan, near the area of construction of the World Trade Center, which rents space in Tribeca for Spiritual Life Sacred Rhythm and two record labels who helps run.
It is also home to a personal studio where he works and stores preproduction assertion - very convincingly - is a collection of over a million records. But there is something in a battered cardboard box that holds for our inspection. Inside, a reel of metal surrounded by many feet of magnetic tape and a page to crumble a "Report tracks" day any of the 70 different numbered columns are written in pencil: "low", "guitar "" saxophone "," trombone ".
Scribbled names appear in the top right corner, with cryptic notes that mark other important parts of what appears to be a hot and complicated Latin melody. This was something miraculous anduviese still out there, and the history of all these things is wonderful.
When I opened all the multi-tracks, the pleasure of having an entire string orchestra with which those days really could work He's talking about the amount of archive tapes he got, old tapes Fania catalog tracks with individual sections could be isolated and remastered, you reimagined, recombined.
Many sounded perfect as they were. But the mentality of the people during the 60's and 70's in music, they created as artists, soul, heart. They took for granted a lot of the technical part. Made music without thinking about the different mixtures or someone were to touch his work in the future, so I tried to maintain the integrity of what is there.
Or specifically nuyorican - with all the hot and bubbling concoction of identity that occurs when a boy It grows with nine brothers and sisters and a shared battery in the turbulent and working community of Brooklyn. We are bombarded with music 24 hours a day, seven days a week, all types of music: rock, popular hits, African music. We gave it all at once. And Latin music flew everywhere in the neighborhood, from the basement, through the windows, in parks.
My mother put us abreast of all Latin songs. Each issue was addressed and armed differently, each in its own terms. As Joe says, "Some songs were released, others were elongated Now we are in a recording studio in the Lower East Side of Manhattan. It is dark outside, in a hidden in a rough neighborhood marked by dazzling the ruined Jewish synagogues and trendy boutique bars street.
Joe is here to record with his brother Joseph, a famous percussionist who championed many of the parts of the battery in Hammock House. The session looks like a family event, which is apparently the case wherever he goes Joe even if it is alone with three strangers following him wherever he goes. Both Claussell have headphones on and congas between his knees. Joseph plays a lively syncope, grunting and humming while playing. Joe sways from side to side, lost in the music as it occurs will fall where the new lines of percussion.
Both spend much time with his eyes closed under bright studio lights, but they seem to be able to see each other, or at least listen to each other, while their way into a sound that both learned in his youth. Able to play these old tapes and listen to excerpts in which you hear someone say 'first shot' while consuming cocaine or whatever those people do is a blessing. It's deep. Perhaps some of them hear this and like it.
So begins the chain reaction. The objective of this remix was possible to hear the feeling of walking into a jungle where a new world opens up. Historically, all this music originated in Africa, and through the movement of the slave trade it spread around the world.
It was important for me to establish its roots. I used many natural sounds of the forest, jungle and animals to generate the feeling of going somewhere. Then comes the flute and percussion and strongly enter the piano, like a tribal meeting.
What kept the original multi-track was a flute and percussion. Everything else reproduced: the sounds of the jungle, more percussion The story begins in Africa and across the new world. The production is completely original. The reason why I suggested that we used it was to give this project a real sense today, something new and something now that fits into the idea of "hammock house".
He was working with Jai Veda before starting this project and this is a song that I connected from the start because it has a kind of Latin style that complements the rest. Then it was just a demo; originally had a slower rate hip-hop, so I called my brother Joseph to help me redo it with a Latin beat, and the end result is a two-part story that travels from one another. Jai was thrilled when I said I was going to be part of this.
I used to play the original version all the time for years, but not many people know, so I thought that if this project is a DJ that exposes the world to some lost or hidden music, then had to use it. Initially production was so good we did not really need anything, but in my original attempt to strengthen I added more percussion and Rhodes electric piano lines to complement the original chords Rhodes.
The new percussion sounds are my brother playing at the same time as the original parts of Santamaria, who was a great Cuban percussionist. Because this was recorded in the late 60s, many original sections as these were buried in the mix, perhaps because they were produced for listening caseramente. As a child I remember that everyone admired. The atmosphere around her was profound. My mother loved her. This is a song in Yoruba, the African religious music.
I just tried to give a more modern profile, with the addition of the lower and percussion, both produced by my brother, and some sound effects interwoven with bells, whistles and African kaba layers.
So I brought a pianist Bennett Paster, who played for a while, talking and responding to the music rhythmically and really complement the melody. It's a monster! Coco Seco Coco Seco. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon.
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