Thursday, September 20, 2018

Claim HMS Endeavour is found, solving one of the great maritime mysteries

Marine archaeologists believe they have finally identified the resting place of HMS Endeavour, the ship James Cook commanded to New Zealand on his first voyage of discovery, an achievement that would solve one of the greatest maritime mysteries of all time.

The breakthrough has raised hopes the vessel will be excavated next year, in time for the 250th anniversary of Cook's arrival in Australia. The ship is historically significant to many countries - including the US, Britain, New Zealand and Australia - and its excavation could spark a battle over where the wreckage should be housed.

The breakthrough, to be officially announced on Friday, follows an arduous 25-year search for the historic ship off Newport, Rhode Island, on the north-eastern coast of the US.

Archaeologists from the Australian National Maritime Museum and the Rhode Island Marine Archaeology Project will release a detailed 3D image of the site in Newport Harbour where they believe the ship is located.

Peter Dexter, the chairman of the Australian National Maritime Museum, is travelling to the United States to attend the event, as will Australia's consul-general in New York, Alastair Walton.

Over 25 years, marine archaeologists have narrowed down the search for the Endeavour from a fleet of 13 vessels to five, and have now pinpointed one extremely promising site.

The site is located just off Goat Island, a small island in the Narragansett Bay.

Dr Kathy Abbass, director of the Rhode Island Marine Archaeology Project, said: "We can say we think we know which one it is.  "It is exciting, we are closing in.

"This is a vessel that is significant to people around the world."

Abbass said she was hopeful the ship could be excavated next year, in time for the April 2020 celebrations marking 250 years since Cook's arrival at Botany Bay.

She said the identity of the ship will only be definitively proven after its excavation, which will require significant funding.

The Endeavour was purchased by the British Navy in 1768 for a scientific mission to the Pacific Ocean and to locate the mysterious southern continent then known as Terra Australis.

Cook departed Plymouth in August 1768, travelling through the Pacific Islands before arriving in New Zealand in September 1769.

In April 1770, Endeavour became the first ship to reach the east coast of Australia, when Cook arrived at the site now known as Botany Bay.

The ship was sold in 1775 and renamed Lord Sandwich 2. It was hired as a British troop transport during the American War of Independence and was scuttled in a blockade off Rhode Island in 1778.

Volunteer researchers from the Rhode Island Marine Archaeology Project began their study of the group of vessels believed to include the ship in 1993.

In recent years, the Australian National Maritime Museum has provided grants to help fund the deep-dive and remote sensing studies that have helped narrow the search for the ship.

"Now that RIMAP [Rhode Island Marine Archaeology Project] and the ANMM [Australian National Maritime Museum] have identified a possible site in Newport Harbor that might be the Lord Sandwich ex Endeavour, the detailed work must begin to prove it," Abbass said in a statement posted on the group's website on Tuesday (US time).

"Therefore, fundraising is ongoing for the artefact management facility needed to process, store, and display the artefacts that will emerge from the planned 2019 excavation."

Learn more:

Fat Freddy's Hit The Road This Summer





Photo Credit: Harry A’Court at Inject Design

Fat Freddys Drop are stoked to announce Unknown Mortal Orchestra will be joining them for three of their NZ Summer Tour shows, in Auckland at Western Springs,  Christchurch's Hagley Park and in Queenstown at John Davies Oval.

Fat Freddy's Drop are currently in the midst of an epic European tour that has been running since August and goes through to mid-November encompassing 30 shows. After playing some of the biggest EU festivals and selling-out Zitadelle, Berlin at 10k capacity, the band have already sold out upcoming shows in Brussels, Copenhagen, Manchester, Glasgow and Friday 8th November at O2 Academy Brixton in London.

Unknown Mortal Orchestra are also on an epic tour run across the globe in support of their latest album Sex and Food and have just finished their NZ Tour culminating in the triumphant sold-out performance at Auckland's Town Hall.

"UMO's show was an insane journey from hardcore psychedelic rock, to pop punk to alternative/indie and was an astonishing performance from all members of the band." - Radio 13

"The vibe was electric and emotional - audience members still wanted more" -

Freddy's MC Slave is the band's number one UMO fanboy, remarking, “They’re bad-ass musicians who’ve been trail blazing around the world big time. We’re lucky to have them with us for our New Zealand summer roady”.

Fat Freddy's Drop new single 'Trickle Down' has been heating up since its worldwide digital release. The electronic-driven reaction to the politics of the day – the false economic principle of wealth trickling down from the 1% to the 99% hit #1 on the Top 20 Hot NZ Singes chart.

Recorded at the band’s BAYS studio in their Wellington hometown, 'Trickle Down'  is a slice of the new album they’re cooking up as a follow-up to their earlier releases; BAYSBlackbird, Dr Boondigga & The Big BW and record breaking Based on a True Story.  'Trickle Down' is released digitally now and a 12” release to follow.

Fat Freddy’s Drop NZ Summer Tour 2019 dates:

Thursday 3 Jan : Toll Stadium, Whangarei
Special Guests The Black Seeds, Norman Jay MBE, Troy Kingi

Saturday 5 Jan : Wharepai Domain, Tauranga
By Special Arrangement: Salmonella Dub feat. Tiki Taane, Norman Jay MBE, and Troy Kingi

Monday 7 Jan : Thames Racecourse, Thames - Coromandel
Special Guests The Black Seeds, Norman Jay MBE

Wednesday 9 Jan : Neudorf Vineyard, Upper Moutere, Nelson
Special Guest Norman Jay MBE Legendary 3 hour DJ set

Saturday 12 Jan : Hagley Park, Christchurch
Special Guests Unknown Mortal Orchestra, The Black Seeds, Norman Jay MBE, Ladi6
More to be announced

Monday 14 Jan : John Davies Oval, Queenstown
Special Guests Unknown Mortal Orchestra, Norman Jay MBE

Saturday 19 Jan : Western Springs Park, Auckland
Special Guests Unknown Mortal Orchestra, Norman Jay MBE, Ladi6, Troy Kingi, Silva MC, Logg Cabin

Monday 21 Jan : Williams Park, Days Bay, Wellington
Special Guests Norman Jay MBE - Legendary 3 hour DJ set

Tickets Available Now from Ticketmaster

Wednesday, September 19, 2018

Today - 125 years of Women's Sufferage in New Zealand

2018 marks the 125th anniversary of women’s suffrage in New Zealand.  On 19 September 1893 the Electoral Act 1893 was passed, giving all women in New Zealand the right to vote.  As a result of this landmark legislation, New Zealand became the first self-governing country in the world in which all women had the right to vote in parliamentary elections.
This Tier 1 Commemoration is being led by the Ministry for Women and supported by the Ministry for Culture and Heritage.  We are working to connect events and activities across the country. Branding, social media and web platforms are being developed to facilitate these connections and establish a national programme of events to celebrate this significant anniversary.
Visit the Suffrage 125 facebook page here.

Throughout the year you'll see the above symbol on Suffrage 125 related activities. Be sure and keep an eye out and support the individuals, groups and organisations that are participating across the country. Details about wishing to use the Suffrage 125 symbol are here.
Suffrage 125 pins can be purchased through the National Council of Women, the National Library of New Zealand's gift shop and also Heritage New Zealand Pouhere Taonga properties.   
Suffrage 125 aims to:
  • develop a commemorative programme that is relevant, meaningful and attractive to a diverse range of New Zealanders;
  • highlight previously untold stories of people who contributed to achieving suffrage in NZ – particularly stories from Māori, Pacific, and Chinese communities;
  • celebrate game-changing individuals of a range of ages and cultural and socio-economic backgrounds, who do extraordinary things to create positive social change for women and New Zealand; and
  • create a forum for conversations about our future and the importance of civic engagement and participation.
Key dates are:
  • 19 September, anniversary of when all New Zealand women over the age of 21 were granted the right to vote
  • 28 November, anniversary of when New Zealand women voted for first time.
A $300,000 contestable community fund has been launched to celebrate Suffrage125. For more information and how to apply for funding go to the Ministry for Women. Visit Creative New Zealand’s website for details about potential sources of funding for arts projects. You might want to visit the Lottery Grant’s website for other funding information.
Visit the NZHistory website to view a database listing the names that appeared on the main suffrage petition submitted to Parliament in 1893.

What’s happening so far?

These are just some of the organisations and proposed initiatives to celebrate Suffrage 125.
  • Royal New Zealand Ballet is proposing a programme of commissioned works by international female choreographers.
  • He Tohu at National Library will run a series of public programmes during 2018 focused around the suffrage petition.
  • Ngā Taonga Sound and Vision is working on an online exhibition of 125 people who have contributed to women’s rights in New Zealand, as well as a screening series and discussion forum.
  • Te Papa is publishing a book on 12 objects and essays exploring topics such women’s rights and suffrage.
  • Auckland Museum is holding a major exhibition exploring suffrage within a contemporary context.
  • Ministry for Education is seeking submissions on Suffrage 125 as part of Ministry in Māori Medium, bringing Māori history to life to Te Reo Māori learners.
  • Ministry for Culture & Heritage is developing a Suffrage 125 web page on NZHistoryfeaturing educational content, timeline and an online exhibition juxtaposing women activists today, 1970s women’s liberation and the 1890s suffragists.

Friday, September 14, 2018

The CoffeeBar Kid talks to Amy Shark

Aussie singer/songwriter Amy Shark is in town.  So, Groove's CoffeeBar Kid rang her up for a bit of a chat about her music and tour.  Details on that are below:
Amy Shark is an indie-pop songwriter who grew up in the Gold Coast, Australia. Before the success of Amy’s debut single ‘Adore,’ she had been a video editor for the Gold Coast Titans and a resident of Broadbeach Waters with her husband Shane and was an active musician on YouTube since 2014.
‘Adore’ was released in July 2016 and the track was almost immediately added to  Triple J, where it eventually peaked at #2 on the Triple J Hottest 100.
The single has accumulated over 60 million streams worldwide, debuted at #3 on the ARIA Singles Chart, peaked at #1 on the iTunes AU Singles Chart and Shazam’s Australia Top 100 - proving the hit to be a huge success in Australia, and is now certified three times platinum.
The video clip for ‘Adore’ was shot and edited by Amy herself and has had over 7 million views on YouTube.
Last year she was the winner of two ARIA awards (Best Pop Release and Breakthrough Artist) and her debut EP Night Thinker exploded into the top 10 on iTunes in 15 countries. Amy also became the first-ever Australian Apple Music ‘Up Next’ Artist.

Amy’s success story continues to grow both here and abroad. Her latest single ‘I Said Hi’ has reached 2 x platinum sales in Australia.

The Powerstation, Auckland            Thursday 13 September   
The Foundry, Christchurch               Friday 14 September        
Hunter Lounge, Wellington             Saturday 15 September    

Tickets to Amy Shark’s Love Monster tour are on sale now at              

Amy’s last NZ tour was a sell-out, more recently she performed at Auckland’s Laneway Festival, where she met this mum to be....

Sunday, September 02, 2018

The Adults - Meow (1 Sept 2018)

After a 7 year hiatus, Jon Toogood's The Adults project is back with a new band and a new direction that celebrates women from the Middle East and embraces the music and rhythms of Sudan. 
Tim Gruar (aka The CoffeeBar Kid) popped along to their debut show at Meow Bar over the weekend.

What a thrill to see Jon Toogood back on stage with this side project.  The frontman for New Zealand's hardest workin' rock act, Shihad, has been, err, maturing over the years and branching out into other styles and genres outside heavy metal and power rock.  His first venture as a 'grown-up' (hence the name) kicked off around 2010 as a Kiwi supergroup, a musical collaboration involving many established New Zealand musicians, including Shayne Carter, Julia Deans, Anika Moa, Tiki Taane and Ladi6.

The Adults released a self-titled album in 2011 which reached number four in the New Zealand album charts. The Adults has also been nominated for Album of the Year at the 2012 New Zealand Music Awards, and the single Anniversary Day was on the long list for the 2012 APRA Silver Scroll award.

I can remember seeing them at the last Big Day and was well impressed by the diversity of the material.  And this time, 7 years on from their debut, Toogood has assembled a different line up to make considerably different music.  Inspired by his wedding in Khartoum, his writing has been definitively defined by Middle Eastern themes and chants.  Haja draws from Sudanese folk music Aghani-Al-Banat.  It is African music performed exclusively by women.  However, Toogood doesn't just appropriate, he showcases it.  Most of the songs on the album are sung by women.  And you can hear this on the opening track.  Sadly Chelsea Jade, who sings the actual vocals on the song was not present tonight but Rapper Raiza Biza was, alongside the wonderfully talented Estère, who delivered the percussion lead groove Bloodlines.  This one mixes ancient Arabic drum tattoos with heavy electronic layers and reedy chanters.  Her voice was finely tuned and as impressive as her elegant attire.  This lady is all class and delivered perfectly.  She told me after that the rehearsals had been short and intense.  Toogood seemed pretty nervous on stage, lest we didn't like what he was bringing.  The distance from Churn and Haja is vast - at least on paper.  Yet musically, it's not really that far.  After all, heavy rock gods Led Zep managed it.  Take Kashmir, for a start.

Percussionist Steve Bremner
That Gold was originally done by Aaradhna but guitarist Emily Browning and Estère gave us a really powerful rendition.  With help from Raiza Biza on rhymes, this track had the potential to be huge.  However, Meow's living room/lounge room space and sound system don't really give the bass power the track really needs.

Most of the set, with the exception of Nothing to Lose and the big wig out encore Short Change, came from the new album.  Despite knowing their roots, to me, all of them had an indeterminate Middle Eastern flavour to them.  So, it was hard to actually pinpoint exactly where influences come from but that didn't really matter.  Only Gisma, the final song on the album was specific in its identity - being a dedication to one of the musicians who played on every track.

Raiza Biza opens the show with his jazz-based rap
The songs weren't overly long, as that could easily become mundane and repetitive.  Some hinted at the kind of Raga that Paul Ubana Jones does so well.  In the mix was dance, pop, hip-hop, reggae and a bit of the old Toogood indie (think Home Again) - all glued up with moody bass lines played by Toogood himself and backed by some superb percussion from Steve Bremner and Trinity Roots' Ben Would.  The latter two made some excellent tribal beats which weaved themselves through the tracks seamlessly.

The lead single Bloodlines remains a standout, boasting Estere's ethereal vocals and Jess B's insane bars which at times seem to flow with barely a second to breathe.

The most redeeming track tonight is the single Take it On the Chin, originally done by Kings, originally lacked the female voice that was present elsewhere on the album but that was rectified with both ladies on the song's vocals tonight.  It would not be right to call this album, or Raiza Biza's opening slow jazz rap set, 'Girl Power' but you definitely felt that there was a huge amount of respect being paid here.  And that needed to be acknowledged.  For an opening show, it was short and painless.  Not entirely overwhelming, but a good start made from the security of a stage in a room that was only just a little bigger than an oversized living room.  Just wait until they get to Auckland!

Tim Gruar (

Thursday, August 30, 2018

Aretha Franklin: Close-Up (1968) | A Must See!

1968 TV news special chronicling the extraordinary rise of Soul singer Aretha Franklin. Features tons of candid footage at Atlantic Records recording studios with Jerry Wexler, Tom Dowd and first husband Ted White; being presented an award by Martin Luther King; backup vocal and dance rehearsals with her sisters; appearance at a teen dance show; interview with her father CL Franklin about her gospel roots. This documentary can be found elsewhere on YouTube in full color, however this B&W print has better audio and has been rendered in 720p HD.  I do not control the rights. Shared for historical purpose

Tuesday, August 21, 2018

Check out new book reviews at the Groove Book Report

New books by Andy Griffiths and Terry Denton's kid's new classic 104 Storey Treehouse and John Ajvide Lindqvist's creepy thriller I Always Find You, plus a whole lot more at

Friday, August 17, 2018

Respect it. Aretha Franklin turned Otis Redding’s plea into the most empowering popular recording ever made.

New York Times - By Wesley Morris - Aug. 16, 2018

Officially, “Respect” is a relationship song. That’s how Otis Redding wrote it. But love wasn’t what Aretha Franklin was interested in. The opening line is “What you want, baby, I got it.” But her “what” is a punch in the face. So Ms. Franklin’s rearrangement was about power. She had the right to be respected — by some dude, perhaps by her country. Just a little bit. What did love have to do with that?

Depending on the house you grew up in and how old you are, “Respect” is probably a song you learned early. The spelling lesson toward the end helps. So do the turret blasts of “sock it to me” that show up here and there. But, really, the reason you learn “Respect” is the way “Respect” is sung. Redding made it a burning plea. Ms. Franklin turned the plea into the most empowering popular recording ever made.

Ms. Franklin died on Thursday, at 76, which means “Respect” is going to be an even more prominent part of your life than usual. The next time you hear it, notice what you do with your hands. They’re going to point — at a person, a car or a carrot. They’ll rest on your hips. Your neck might roll. Your waist will do a thing. You’ll snarl. Odds are high that you’ll feel better than great. You’re guaranteed to feel indestructible.

Ms. Franklin’s respect lasts for two minutes and 28 seconds. That’s all — basically a round of boxing. Nothing that’s over so soon should give you that much strength. But that was Aretha Franklin: a quick trip to the emotional gym. Obviously, she was far more than that. We’re never going to have an artist with a career as long, absurdly bountiful, nourishing and constantly surprising as hers. We’re unlikely to see another superstar as abundantly steeped in real self-confidence — at so many different stages of life, in as many musical genres.

That self-confidence wasn’t evident only in the purses and perms and headdresses and floor-length furs; the buckets and buckets of great recordings; the famous demand that she always be paid before a show, in cash; or the Queen of Soul business — the stuff that keeps her monotonously synonymous with “diva.” It was there in whatever kept her from stopping and continuing to knock us dead. To paraphrase one of Ms. Franklin’s many (many) musical progeny: She slayed. “Respect” became an anthem for us, because it seemed like an anthem for her.

Most Americans had never heard anything quite as dependably great and shockingly big as Ms. Franklin.

The song owned the summer of 1967. It arrived amid what must have seemed like never-ending turmoil — race riots, political assassinations, the Vietnam draft. Muhammad Ali had been stripped of his championship title for refusing to serve in the war. So amid all this upheaval comes a singer from Detroit who’d been around most of the decade doing solid gospel R&B work. But there was something about this black woman’s asserting herself that seemed like a call to national arms. It wasn’t a polite song. It was hard. It was deliberate. It was sure. And that all came from Ms. Franklin — her rumbling, twanging, compartmentalized arrangement. It came, of course, from her singing.

Sunday, August 12, 2018

Concert Review - Julia Deans - We Light Fire Tour San Francisco Bath House 11/08/2018

The one thing that has always been consistent with Julia Deans is her purity of voice.  It's always such a beautiful and unfiltered delight to hear.  No need for studio trickery or autocues here.  And with it, she's a humble and graceful performer, with just a touch of the dramatic diva for punch.  I remember interviewing her at WOMAD and being impressed by her phrasing and patient treatment of every word.  These are the same skills we saw tonight as Ms Deans brought us a collection of songs, mainly from her latest release, We Light Fire

Deans' voice is spinetingling from the opening notes to the dying embers.  Clearly the best honey-tinged falsetto in Aotearoa - ever!

She opened the set with the smouldering, slow burn of Clandestine.  That song sets the mood for the evening.  This is not a rock concert.  The efforts are in the effortless delivery of every song, with careful attention paid to the execution of each lyrical phrase.

Primarily, ... Fire is a pop-rock record,  with traces of synth-pop and jazz influences.  You saw that tonight in her treatment of the album's lead single, The Panic.  It's an instant winner coming mid-set after the more sultry, sparse numbers like Pick Up and Centre.  And it's the most radio-friendly song on the album.  So again a winner.  Its urgent beat and grungy bass lines have been heightened by the small wooden room, emphasising furious anxiety in the bass.  Her lyrics centre around a cold revelation in the chorus of this song: "Deep in our hearts, we sleep alone." 

The album's first half has the strongest songs, which we get scattered through the set.  Like Souvenir, which is strangely meditative, as its shuffled beat lends a sense of mystery to Deans' stunning harmonies.  She's not alone.  Deans is flanked by two confident wahines, Tali on guitars and Auckland Americana singer Reb Fountain, who also plays the guitar, and is in charge of the tom drum for one dramatic moment.  They do who do their best to match her vocal skills.  They almost carry it off.  But Dean's honey-toned vox is a real challenge to master, and you can never predict which octave she'll choose to settle on before transforming into a growling rage.  The album was recorded by Deans and her partner, former Shihad soundman David Wernham, at their home studio is impressive; the production quality is immaculate throughout.  Unfortunately, that level of quality is almost impossible to match on stage.  That said the approximation is pretty good.

On wax the electronic elements are largely welcome, certain synth lines and embellishments are superfluous and border on gimmicks. On stage, you don't get that.  With Richie Pickard on bass and drummer, Jono Sawyer driving the engine room and the ladies providing the strong direction vocally from the cab this truck has a clear destination and knows its way to its destination.  It's a clean and clear delivery, without embellishments.

It has to be said that Dean's 15 song repertoire, tonight, was not extensive.  But she does the occasional nod to past works.  Modern Fables and Skin (both from her last former album) get a look in, and a big tick from the crowd.  It wasn't a huge or packed gig but those that had hoofed it up from the Beervana Fest downtown like me were rewarded well. 

Another highlight is her response to the world's continuous poor treatment of women, Walking In the Sun.  It begins, perfectly with some delicious harmonies from the three women and this time they totally nail it.  Another wonderful moment to savour.  The hook in the chorus is addictive. 

While I'm used to seeing Deans behind a guitar, it was nice to see her at the keyboards, sepecially at the end of the night with her two encore pieces Chelsea and Dialogue.  Both are delivered with a delicate care, like handling a newborn.  Which, given this album has only been released seems appropriate.  I really like this new album and it works superbly live and on record.  My biggest regret was not having the cash to pick a vinyl copy, having heard to songs live and thoroughly enjoyed them.

Review and photos by the Coffeebar Kid

Tuesday, July 10, 2018

The Others Way Festival is Back!

Clear your calendar, dump any existing plans and brace yourself to leave the house for a change... because The Others Way will return on Friday August 31.

For the uninitiated, The Others Way is a festival where we curate a line-up of the best alternative acts from across the country (and a few from around the globe) and have them perform across a number of favoured K Road venues such as Whammy Bar, The Wine Cellar, Neck of the Woods, Galatos and Studio Venue, with some exciting new locales yet to be announced!

Last year featured 40 acts including Bic Runga, The Courtneys, Grayson Gilmour, Jonathan Bree, Lawrence Arabia, Mermaidens, Street Chant, Tiny Ruins and Wax Chattels and this year will see another plethora of great artists from indie to electronica to hip hop to pop and much more…

The first line-up will be announced next week, but we're letting all you keen beans grab tickets as soon as possible. Like last year we have a tiered ticketing system; currently you can buy an "Early Bird" for the low price of $59, and once they run out you'll have to stump up some extra cash for a "General Bird" ticket and even a little more once all that is left are those pesky "Late Bird" tickets. The "SUPER Early Bird" tickets are all gone already, so don't sleep on it... grab a ticket below!

Click here to find out more

And here's a taster from Jed Parsons, who we expect will be in the line up.

We're under a week away from Cantabrian Jed Parsons releasing his solo debut album Midnight Feast. Over the past couple of months you might have seen his cheeky clips for tracks like Get Lost, Everybody’s Stupid and Time (pictured above) but don't let them deceive you, Parsons is a skilled musician, having worked with nomad, Pacific Heights and cousin Mel Parsons. If you're a fan of Mac Demarco, Conan Mockasin, & The Phoenix Foundation, Midnight Feast will be the perfect indulgence.

Jed Parsons is about to traverse Aotearoa in celebration of this release, stopping in Auckland, Wellington, Christchurch and Dunedin at the end of the month. Dates and ticketing details can be found at Undertheradar

Thursday, June 21, 2018

Kamasi Washington Debuts 'Street Fighter Mas' video

“Lavish, portentous, aware of its political significance, Heaven and Earth also swings like crazy, and the seriousness of the endeavour never detracts from the warm-hearted way in which Washington reframes jazz history for both neophytes and connoisseurs” - MOJO

Groundbreaking artist Kamasi Washington debuts the A.G. Rojas-directed video for “Street Fighter Mas” today—watch it here. The video includes cameos by famed Street Fighter legends Gootecks and Combofiend and one of Washington’s Los Angles heroes—Kevin Gilliam a.k.a. BattleCat, a longtime collaborator of Dr. Dre, Snoop and Tupac Shakur. The video was inspired by Washington’s love of the Street Fighter video game and depicts Washington’s adventure through Los Angeles en route to an epic battle to claim the title of champion against Combofiend. Rojas and Washington previously collaborated on a short film titled “Truth” for Washington’s 2017 EP Harmony of Difference.

Talking about the “Street Fighter Mas” video, A.G. Rojas says:

“I love inhabiting Kamasi's world, and Street Fighter Mas was an opportunity to take a left turn and explore the surreal qualities of that world. When Kamasi told me the background of the song, how Street Fighter was a safe space for him - it took me back to the supermarket down the street from my childhood home where my brother and I would try and get in as many games before our mother was finished shopping. It was a true labor of love for everyone involved, coming from a desire to interpret the cinematic qualities of the track into something equally unpredictable, familiar, absurd, and ultimately triumphant."

Washington’s immensely anticipated second album Heaven and Earth is out this Friday, June 22 via Young Turks (Records).

In celebration of the release, Washington will play a very intimate hometown show at The World Stage in Los Angeles—the historic Leimert Park venue where he has been performing since his teens—this Thursday, June 21.

The show will be streamed through Kamasi’s Facebook and on Boiler Room.

Sunday, June 10, 2018

Album Release - DOG - No Dogs Allowed (Rattle Records)

Dog - aka Roger Manins (sax), Kevin Field (Piano) Olivier Holland (Bass) and Ron Samson (Drums) have released their second album of contemporary jazz.  In a haphazard display of performance and humour, they played some of the new tunes at Wellington's Rogue & Vagabond this morning to a full lunchtime crowd.  Photos by Tim Gruar.