5. J Dilla - Donuts
When I first heard that ATCQ was putting out a new record, I was extremely excited. Coming up DJing, this band not only provided me with a constant supply of good records to play, they also helped introduce me to artists they sampled. Be it The Chambers Brothers from their early records, or artists like The Last Poets, Minnie Ripperton, or Gary Bartz off of The Low End Theory. The loss of Phife was a huge hit for me (like the death of MCA from The Beastie Boys), and I really thought that the band had called it quits after their rocky road of a documentary by Michael Rappaport. In fact, I shared a DJ gig with Q Tip during that time here in NYC and we talked more about records and producing than the band. I was definitely happy to play with the man, but had it in my mind that ATCQ were through for good. When this dropped though, it was evident that Phife was on a few cuts, and that Q-Tip was still producing heat. Sampling everyone from Black Sabbath to Musical Youth to Can, this record spoke to the political and human rights aspect of right now. There was no doubt that ATCQ still had it, and that this record was destined to become another classic in the hip hop genre, reigniting old fans and new audiences to their power through their music. If there is any doubt, check out their performance at The Grammys from this past year.
About The Vinyl
At first listen, I really thought that this record was some long lost rocksteady long player that got unearthed by Daptone Records. It had all the qualities, and the sounds of something classic that came out of Jamaica. Imagine my surprise when I found out it was made by a band from Queens in the current day! Hard and gritty, but soulful all the way through, this is as authentic as you can get. Sounding like it was fresh out of Studio One in '69 or '70, Nothing More To Say introduced a reggae band to Daptone Records, which I thought was smart. With their unfortunate luck of Sharon Jones being sick at the time, it seemed a natural progression for the label to move into uncharted territory. The Frightnrs filled that gap. All around monster of a record. Then, they lost their lead singer Dan Klein, which made it another tragedy for the Daptone crew. The first record they have ever released by an artist that died before it was put out. Their first and last for the band, which to me, is an instant classic. If listeners are not familiar with that early rocksteady sound, this record captures the beauty and tragedy of this kind of reggae.
Often called the greatest album of all time (although some may debate that), it is definitely my favorite Coltrane record, beating out Olè and The Africa Brass Sessions as records by him I played very often. It was my very first encounter with a spiritual album, and a huge departure from the straight ahead and soul jazz I was listening too. Before this, I wanted that heavy drum beat with (hopefully) a fat drum break to work doubles of while I was DJing. With A Love Supreme, I learned to appreciate an alternative sound. Moving, deep, and spiritual, I felt like many people did, liberated, when I heard this record. Coltrane was chartering into new territories on this LP, and encouraged us to search further using his different sound. I would often listen to it in headphones and I always jump up when the chant "A Love Supreme" comes barreling in. Just a beautiful record all together.
Picks and write-ups by DJ Prestige
2. John Coltrane - A Love Supreme
As a late teen, I used to go once a week to this record store called Vintage Vinyl in Ocean, NJ to dig for records and buy music. I would buy one jazz record/ cd every week. I was just getting introduced to Blue Note Records at the time. I started with Miles Davis, but had fallen in love with break beats, and was steered to the label. For some reason I latched onto Grant Green and every musician he played with. Grant led me to Lou Donaldson, Idris Muhammad, John Patton, and many others. I loved his groove. Consequently I fell in love with the Hammond B3 organ at the same timel. Patton scratched that itch, and the title track instantly became one of my favorites, not to mention the Hank Mobley cover of "The Turnaround". Let 'Em Roll was my gateway record to so many other great Blue Note and soul jazz records. The cover, like all of Reid Miles' photographs was another reason I fell in love with the label. To this day, I can not turn down a Blue Note record when digging, even if I have it. The label (like CTI Records) has a hold on me, not just with the imagery, but the classic sound it produced.
4. Big John Patton: Let 'Em Roll
I was introduced to this Archie Whitewater record through digging friends some years ago. Mistakenly I originally had thought it was one guy, but was corrected by said elders about this eight member band that no one in fact was named Archie Whitewater. Released in 1970 without much praise on one of my favorite labels, Cadet Concept, this soulful jazz rock record was popular by the digger/ DJ set. Part obscurity, part forgotten project, I thought i'd never see it in the field. In fact, it was reissued in 2011 and I refused to buy it because I hoped I might find one in the field. Fast forward to about 5 years ago when I was living in Brookln, NYC. I happened to come across a stoop sale right near my brownstone. The guy had a lot of records. What record do I see? The Archie Whitewater record for $3. I offered the guy $10, he said no. Why? Because someone had already asked him to hold it. I immediately knew who the guy was, a pesky, walrus mustachioed online dealer who I always encountered in the nabe while digging. As I approached him as he was walking back up, I said calmly: "I have been looking for this record for about 15 years. I know you saw it first, but you have no idea the significance and sentimental value this record has to me." He said if it means that much to you, then it should be yours. I paid ten bucks for it, and it confirmed one of my philosophies while digging for records: You don't find records, they find you.
3. The Frightnrs: Nothing More To Say
Keb Darge is a DJ who doesn't follow trends, he creates them. First, taking the Northern Soul scene by storm, he was a top selector and DJ in the early 1970's up until he started the deep funk scene, which first was documented in 1997 on BBE's Keb Darge's Legendary Deep Funk series which delighted crate diggers and had record dealers not so excited. For a DJ like me, it opened up a whole new world of rare and obscure 45 rpm records he found in dollar bins around the globe. This propelled me to start doing the same, and I can say that he, along with DJ Shadow and Cut Chemist helped shape my funk taste and kept me looking for these types of 45s to this day. This record is the best of the series, bringing deep funk cuts from Carleen and The Groovers, Family Of Eve, Rickey Calloway, and Cross Bronx Expressway among others right on to your turntable. These mega expensive seven inches are expensive because they are rare (and good). I have met Keb in London on one of his Lost and Found nights. He had sold all his funk records and moved on to rockabilly and jump blues at this particular time. In my time DJing, I have never seen someone command a crowd and get people moving like he did. He is truly a unique individual and DJ. This record will give you the best of the best of the Lendary Deep Funk series, and who knows, maybe it will inspire someone to dig deeper like it did for me.
6. Archie Whitewater - S/T
I have been a fan of Dilla since Slum Village sent me promo 12"s back in the day, which were stolen out of my stash unfortunately by some dude who isn't even DJ anymore. Boo! I always admired his work ethic, and the wide variety of samples he used. Whether it be 10cc, Stereolab, or flipping something classic that was used before, it was always something interesting. When my son was born, I made a habit of playing records for him all the time. As he got older, he drifted towards Bowie's Ziggy Stardust and Stevie's Songs In The Key of Life. I introduced him to Dilla through sample mix tapes by guys like House Shoes and others. From there, he went right to Donuts, and has been a fan ever since. I even made a mix called Dad, is this Dilla? of some of his fave tracks. It was well received by him and my peers. We go between the Lp and the sample based mixes all the time in the studio and car. At least once a day he will ask, "Dad can we listen to Dilla?" Five years old and already into good music. I couldn't be prouder. There are a few Donuts cover records (modern funk and Bollywood records) that I have tried to slip in, but he always goes back to the original. Plus he loves frosted glazed donuts, so it's a match that was meant to be.
1. A Tribe Called Quest - We Got It From Here Thank You 4 Your Service
Jamison Harvey, AKA: DJ Prestige
Founder of Flea Market Records
7. Keb Darge Presents The Best of Legendary Deep Funk
About the Schwag
Because you can never have too much schwag
Flea Market Funk patch, sticker, and soul club pin
Flea Market Funk Tee
How to Enter the Insta-Giveaway
The Edit’s Flea Market Funk Promotion (the “Promotion”) is open only to legal residents of the 50 United States and the District of Columbia (“U.S.”), age 18 or older at the time of entry, who successfully post a photograph of themselves to Instagram with a vinyl record, or vinyl records, and tagg it with both the @vinyledit and @fleamarketfunk handles during the period of April 10-24, 2017.
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WINNERS LIST: For a list of the Prize Winners, mail a self addressed, stamped envelope to be postmarked by October 30, 2017 to: “The Edit’s Flea Market Funk Giveaway” Winner Notification, ReplyYes, Inc., 615 2nd Ave., Suite 380, Seattle, WA 98104.
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