Max Roach started drumming at an early age, playing in church like so many musicians, then later on studying music. Born in North Carolina, but was raised in Bedford Stuyvesant, Brooklyn, and became a huge influence in Jazz from the era of Bop to Avant Garde Jazz and fusion. It is said that his style of drumming was both innovative and pioneering because he played with layers of rhythm that brought not only his music, but Jazz as a whole to new levels. Roach recorded over 50 studio and live LP’s as a band leader, including the politically charged We Insist! LP. He collaborated on over 80 LP’s and recorded up until 2002. His list of collaborators is too vast to name, but he played with Charlie Parker, Dizzy Gillespie, Art Blakey, Thelonious Monk, Miles Davis, Charles Mingus, Dinah Washington, Donald Byrd, Abbey Lincoln, and Archie Shepp to name a few. Although he was never a recipient of a Grammy, he was awarded a Mac Arthur Genius grant for music and received several honorary degrees awarded by universities from here to Italy.

This is one of those Max Roach tunes that pulls at the very core of my emotion. I feel angry, sad, revived, and enthralled to hear the way the piano and bass converse with each other. The feeling around this tune is as though someone has had a heated argument about music, and ends with, “I’m not only going to play it how I want, but $%^& you, and this is how I feel right now!” The piano man is at times banging away by himself as everyone else in the band lays out and just lets him go for broke. The sheer mischievousness and presence of the bass when the tune first walks, is incredible. It sets the stage, lays out the silverware for the piano to take lead. “Ceciliana” was recorded live, but not a soul in the audience makes a sound until it is done.

“Ceciliana” was recorded live in Paris with a stellar band that included Julian Priester on piano, Stanley Turrentine on trumpet, and Bob Boswell on bass.

“Ceciliana” by Max Roach

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Oddisee is one of our favourites on Muphoric Sounds; apologies for not posting this sooner!!

Steadily solidifying his position within independent hip hop with stella productions, every release is a great observation of hearing an artist push and stretch himself to new heights. Continuing with his quest to be in alignment with the earth, the theme of People See What They Hear represents outside environments, observing his surroundings to create music from it. As Oddisee explains, “By having a visual representation of my subject matter, my hopes are that the listener will see them through the worlds and melodies of my songs.” With a little help from his go-to crew, Olivier Daysoul, Diamond District, Tranquill, and Ralph Real, People See What They Hear has a R&B feel that clings tight to real instrumentation sounds, while looping it right back to hip hop. Oddisee deserves your money; support indi artists and get yourself a copy!

Zaki Ibrahim, a Canadian-born singer and songwriter, has been on the independent music scene for quite sometime. Having previously released two EPs, Eclectica in Purple and being featured on the Spoek Mathambo‘s “Don’t Mean to Be Rude” single, earned her quite a bit of acclaim, receiving a Juno Award nomination in 2009 for Best R&B Artist on the King Britt remix of her track “Money,” from Eclectica in Purple (hear it here). Partnering with producer Tiago Correia-Paulo, they provided the soundtrack for South African film Otelo Burning.

Now with her debut album Every Opposite, we are given a complete fusion of all that makes Ibrahim — pop, indi, soul, hip hop, and afro beat sounds. Produced by Tiago Correia-Paulo, Kenyan producer Wawesh, South London production team LV, and Canadian-Ghanaian Rich Kidd, they offer sounds that fit Ibrahim’s vocal aesthetic perfectly. If we had to compare Ibrahim to any particular artist, it would have to be Esthero, as there is no one style to define them; they are chameleons who push beyond whatever style they caress, while uniquely remaining themselves.

Every Opposite is a mixture of sounds, with Zaki’s vocals complimenting every track lusciously. What makes this album a sensory treat is not knowing the direction it may take you, and being submersed by journey.

Below is the video for the second single off the album, “The Do.” Check it out, then head over to Bandcamp to  hear and purchase a copy of Ibrahim’s debut well done!

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The first time I heard The Seshen’s music I became a fan. Their style and presence isn’t one that beats you over the head with a million repeats or a bunch of paid for advertising.  More so, their sound creeped up on me and smiled with love and humility. Before I knew it, I was attending their record release party for their self-titled debut LP this past spring at Oakland’s Vitus. Kumar Butler (synchronize/sampler),  Akasha Orr (vocals),  Chris Thalmann (drums),  Aki Ehara (bass), Mahesh Rao (Keys), Lalin St. Juste (vocals), and Mirza Kopelman (percussion) make up The Seshen, a San Francisco based group that draws from many influences such as Little Dragon, Beach House, and J Dilla.

With a diverse sound not easily pigeon holed, they are among some of the illest new bands in rock, electronic,  dub,  funk, or rhythm and blues pulling from wherever it feels good. And if their debut LP is any sign of the future, we can expect great things from this band of creatives.

My favorite tracks off their LP are “Pieces” and “Upside Down.” On “Pieces” the vocal  phrasing, chords, heavy bass, and lightness of the beat are just incredible — a grand slam out of the park. You could play this in a high-speed car chase, a cultural initiation, or an elevator ride involving eye contact with some one special. ”Upside Down” is like a foggy day of twists, turns, and graceful re-routes; all handled with the optimism of a strong but flexible will. The highs, harmonies, dreamy notes of the vocalists are just enchanting. I feel like I just landed in a new city by accident, but decided to stay and see where the next cab will take me. The keys, vocal samples, and synthesizer make the ride feel funky, bumpy, and interstellar.

Now with an official video for “Oblivion,” you can see the group bask in their creative glory. If you missed this, you can hear their entire LP on their Bandcamp page. Support indi artists!

First introduced to John Graham through DJ Come of Age in January, Ego Free Music Group artist, Graham has certainly kept Muphoric Sounds on the pulse. He is an artist unafraid to document the crisis of our times with a delivery that is eloquent and succinct. Now with his third solo release, Magic: Blanc et Noir, he continues with his social commentary from the vantage point of positivity, challenging relationships, employment, the unity of family, community, aspirations, and intimacy, or lack thereof. Graham’s storytelling has you hanging on every word in either agreement and/or in awe. What is apparent while listening to Magic: Blanc et Noir is that nothing is in black or white; our world is complex in positive and negative ways. Magic: Blanc et Noir is a call for us to open our eyes and wake up!

With production from a host of producers, such as Shade Cobain, Doom Got Beats, Sizemen, Mr MadFlow TV, Rayvon Red Dah Producah, Mir Swain, and featuring Deirdra Copeland and Realysm — they all bring something unique to further compliment Graham’s in-your-face lyrical style. A solid album. Check out a few tracks below, then head over to Bandcamp for the free download of Magic: Blanc et Noir!

A couple of years back, we were introduced to the sounds of The Opus, who consist of Chicago-based producers Kevin Johnson (Mr. Echoes) and Aaron Smith (The Isle of Weight). Their eclectic electronic sounds, which have that dark edge of trip-hop had us so open, we had to do giveaway to help spread their sounds. The Opus are like a soundtrack to your life in mood.

Continuing with the vermin inspired works, their new maxi-single is entitled, The March of the Termites, a 4-track auditory submission of sounds. The title track is uptempo, with an interesting spin of horns and drums giving us a Latin flare in a pulse/march-like way – hence the title. The Opus’ sound is so theatrical that your mind often wonders into a fitting scene to match the music.

These guys are super talented. Check out “R.C.T.” below, then head over to their Bandcamp page to get a copy (naming your price!).

The Opus can also be found at www.theopusonline.com. And again, the incredible artwork is by Albane Simon.

It has been years since we’ve heard new music from Cody ChestnuTT, who released his debut album The Headphone Masterpiece back in 2002 with the simple means of a drum machine, bass, organ, guitar and some headphones in his bedroom with a 4-track recorder, giving us a 39-track double CD, radically different to what was being produced at that time. The Atlanta-native caught the attention of The Roots who enlisted him to record their seminal track “The Seed.” While touring internationally, he released the project The Live Release in 2006, after which he fell back from live performance to focus on family and self development.

Now working on his third full-length album Landing on a Hundred, ChestnuTT’s first full album in a decade, he is seeding the market with the tracks featured below, and also launched a Kickstarter campaign to the project. A realist at heart, and sure to look good in leather, these two tracks will lead you to his Kickstarter page. Do the man a favour and support!!