INCOGNITO :: SURREAL

This is why I do HTS blog. I like to share music that might of slipped through the cracks, or turning you on to something new.

This album in particular being from Incognito, "Surreal". Grown folk music right here. Support the artist. It's time to start returning the favor, and spend a dollar for a digital copy.


Incognito is recognized as one of the best Funk/Jazz/Soul outfits in the world, a pioneer of the Acid Jazz movement who has delighted listeners and dancers for decades, scoring hits with versions of Stevie wonder's "Don't You Worry 'Bout a Thing" and Ronnie Laws' "Always There", selling more than a million records in the process.

Surreal is Incognito's look into the future, featuring two of the brightest young stars on the British Soul scene, Mo Brandis, who is being hailed as England's John Legend, and soul diva Natalie Williams of whom Time Out writes "One of the UK's hottest singers. She effortlessly moves from soul diva to sensual and sophisticated jazz." Long time Incognito lead singer, the incomparable Maysa, is also featured on this brilliant set of 12 Bluey Maunick originals.

LULU REED :: DRIZABONE MIX

UK Smooth grooves at its finest. Coming correct from that Acid Jazz era, Lulu Reeds "There Has got to be a way" is a favorite of mine, kind of a blast to the past. If you're familiar with "Drizabone" music, then you already know the production will be solid... Check it out.


LULU REED - THERE HAS GOT TO BE A WAY (DRIZABONE MIX)

HAIGHT & SOUL HAPPY HOUR (SF) :: DJ SMASH ACID JAZZ SET

Last Fridays Happy Hour was amazing. Special Thanks to "The Souleros" Tommy Siquero & Margarita who trekked all the way from San Jose to play records. Although it was pouring outside the crowd of over 75 made up for the shitty weather. Every one was slow dancing the night away to the Sweet Soul Sounds. I would also like to thank my Sweater Funk Sister Sabrina (the French Boogie Queen), My "Milk Weed" Homeboy Allen Thayer (Wax Poetics) and Renmin (Sweater Funk) who all came out and represented our sounds.





























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DJ SMASH - MAKING HIS DEBUT AT HAIGHT & SOUL happy hour APRIL 2011



I must say the Word is out, and my happy hour is officially cracking. DJ Smash (Acid Jazz Guru) popped in and found him self caught up in the middle of some serious Oldies business. Later that night Smash and I headed outside to catch up on some 1 on 1 conversation. After a few laughs, I personally invited Smash to come back and Rock with me some time. I was ecstatic when agreed to play. He congratulated me on running a smooth event that focus on serous collectors & music and is honored to play.
Classic ACID JAZZ set coming APRIL 2011 from DJ Smash.

DOWNLOAD this remix of Alice Russell Universe - from DJ Smash

Alice Russell - Universe (DJ Smash Universal Soul mix) by DJ Smash

RAE & CHRISTIAN FEAT VEBA :: SPELLBOUND

Rae & Christian emerged in the late '90s as a successor to the many stellar British production teams of the '90s, updating the rich urban grooves of Soul II Soul and Massive Attack with a bit more emphasis on classic hip-hop. The duo of Mark Rae and Steve Christian, often helped out by vocalist Veba, began recording together in 1995. Grand Central Records released several of their collaborative singles -- as well as a few solo singles by Rae -- beginning in 1996. The duo's debut album, Northern Sulphuric Soul, was released in late 1998. Sleepwalking followed three years later. The duo hooked up with Kinetic in late 2001 to mastermind the hypnotic collection Anotherlatenight for Rae & Christian's chill out favorites like Riton, Dubble D, Capoeira Twins and more. John Bush, Rovi

Cleaning out records again, I re discovered this Rare Rae & Christian R&B Soul tune from 1997. I forgot who memorable this track was, even better when you can play it loud. While listening, this one brought back some great memories from the 90s. Download and make some memories of your own.


RAE & CHRISTIAN FEAT VEBA - SPELLBOUND (RMX) 1997

DOWN TO THE BONE FEAT ROY AYERS

It’s Funky… Sweaty… Nasty… Danceable Fusion Jazz that cuts Down To The Bone! The name is “Future Boogie” from the UK Groove kings DTTB.

Getting loose since 1995, Stuart Wade and the Down To The Bone crew defy us to stand still while their musical gumbo is cooking. The formula remains the same. Piano + Horns + Funk + a few vocals = Relentless Rhythms. The instrumental trance continues on “Gotcha!”, “We’ve Always Got The Music”, and “In The Pocket”.

Joining DTTB on two tracks is the lovely Hil St Soul, who adds a bit of vocal spice to the mix on “Should’ve Been You” and “The Brighter Side”. Legendary Jazz Fusion trailblazer Roy Ayers teams up with the group for the supercharged jam “Good To Me”.

DOWN TO THE BONE FEAT ROY AYERS - GOOD TO ME 2009

ACID JAZZ IS BACK

SO ME AND MY MAN "THE SELECTOR KIRK" ARE REALLY EXCITED ABOUT STARTING A NEW NIGHT IN SAN FRANCISCO. WE'VE BOTH BEEN HOLDING OUT. WAITING FOR THE RIGHT TIME AND MOMENT TO COME TOGETHER TO THROW A FUN PARTY. PLANS ARE PRETTY MUCH WRAPPED AND THE MUSIC IS GOING TO BE SOMETHING SPECIAL. WE'RE EVEN TAKING IT THERE, EVEN BRINGING BACK ACID JAZZ

BLEND - SCREAM FOR I (ACID JAZZ 2009)

Acid jazz is a musical genre that combines elements of jazz, funk and hip-hop[1], particularly looped beats. It developed in the UK over the 1980s and 1990s and could be seen as tacking the sound of jazz-funk onto electronic dance/pop music: jazz-funk musicians such as Roy Ayers and Donald Byrd are often credited as forerunners of acid jazz.[2] Acid jazz has also experienced minor influences from soul music, house music and disco.

While acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. The compositions of groups such as Jamiroquai, The Brand New Heavies and Incognito often feature chord structures usually associated with jazz music. The Heavies in particular were known in their early years for beginning their songs as catchy pop and rapidly steering them into jazz territory before "resolving" the composition and thus not losing any pop listeners but successfully "exposing" them to jazz elements in "baby steps".