In December of 2001, Wax Poetics debuted its first issue to a small following of record collectors and “beat diggers.” Ten years later, Wax Poetics has carved out a niche for itself in the world of music journalism and expanded its audience to a worldwide congregation of music lovers.

Issue 50 marks our ten-year anniversary and does so with one of the most iconic musicians in the history of African American music, the one and only Prince.

We’ve also done a full redesign, making the magazine slightly larger—8 x 10.5 inches—and we’ve embraced a new paper stock. Wax Poetics will look a bit different on the newsstand, with a new mark making its debut in place of our old logo, but the magazine will continue to be a collectible objet d’art, something to be saved on your shelf as a musical reference manual, not recycled like other mags.

Wax Poetics has also returned to its roots as a journal and is back to being quarterly. The new price of $11.99 reflects not only radical changes in the publishing industry and the economy, but also the guarantee of continued quality from the paper stock to the writing and photographs. As always, our subscription prices offer a great deal of savings off the cover price.

While we vow to keep Wax Poetics in print as a tangible entity, bucking the trend of ridding our culture of old-school reading products, we will also start offering a digital version of the magazine this year for the iPhone, iPad, Android, and other popular handheld devices.

Issue 50 will be on sale shortly, so please join us as we embark on our tenth year of celebrating the unprecedented and untouchable African American musical tradition!

Matt Sullivan at Light in the Attic talks about Korean guitarist Shin Joong Hyun and LITA’s new compilation Beautiful Rivers and Mountains: The Psychedelic Rock Sound of South Korea’s Shin Joong Hyun 1958–1974.

The 45 King tells the story of the beat behind Jay-Z’s pop crossover.

Steve Ordower talks about Classic Moments in Jubilee Showcase, a DVD of classic gospel television performances.

Beats by 3:33. Taken from Live From the Grove courtesy of Parallel Thought.

Playlist:

1. Matt Sullivan interview
2. “Beautiful Rivers and Mountains” Shin Joong Hyun
3. Matt Sullivan interview
4. “I’ve Got Nothing to Say” Shin Joong Hyun
5. 45 King interview
6. “Hard Knock Life” Jay-Z
7. “Learn How to Wait on Jesus” (with intro by Sid Ordower) The Jessy Dixon Singers
8. Steve Ordower interview
9. “Oh What a Meeting” (with intro by Sid Ordower) The Soul Stirrers

Wax Poetics Radio is an open-format podcast that will feature different hosts and DJs playing a variety of music and interviews.

“The Something About April album depicts the trials and tribulations of an interracial couple, circa 1968,” says producer/musician Adrian Younge, adding, “it’s a concept album. Each song chronicles certain moments within the overall story.” On this album, out now on Wax Poetics Records, Younge collaborated with Motown guitar legend Dennis Coffey for the old-school soul track “Lovely Lady,” which, says Younge, “depicts the point in time when the couple actually meets. She is shy and falls in love; she constantly dreams about being affectionate with her male companion. Her candid dreams take her from slow dancing, to shower scenes with him. In writing this song, I sought to stimulate that old feeling of romance: a kind of romance that was seldom questioned. Some call it ‘love at first sight.’ Hopefully, our project audio-visually captures this notion.”

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Sam Beaubien of Will Sessions talks about the band’s work on the Real Sessions collection and Elzhi’s Elmatic mixtape.
DJ Wordy discusses hip-hop in China and the WordySoulspeak project.
Quinton Scott at Strut Records talks about the Factory Dance – Factory Records 12″ Mixes and Rarities 1980–1987 release.

Beats by Oddisee. Taken from Rock Creek Park courtesy of Mello Music Group.

Playlist:

1. Sam Beubien interview
2. “So Gone/Nautilus” Will Sessions featuring Black Milk
3. Sam Beubien interview
4. “Halftime” Elzhi
5. DJ Wordy interview
6. “Brothers” WordySoulspeak
7. DJ Wordy interview
8. “Day Tripping” WordySoulspeak
9. Quinton Scott interview
10. “Looking From a Hilltop (Megamix)” Section 25
11. Quinton Scott interview
12. “Puppeteer” Blurt

Wax Poetics Radio is an open-format podcast that will feature different hosts and DJs playing a variety of music and interviews.

www.youtube.com/watch?v=0jUDRjTXE_k

Fremdtunes invited Swedish DJ Devastate (BBE Records) to do a mix for Wax Poetics and to celebrate the release OptiMace’s “The Future Is Not What It Used to Be – Part 1,” a brand new 7-inch out on November 24 2011 with remixes by Big Mister Doom, KRSUR, and Illy Symphony.

Mellow Madness, Vol. 2 is a mix full of laid back music inspired by the Fremdtunes sound. The mix is compiled and mixed by DJ Devastate. Devastate is a producer/DJ from South Sweden. His jazzy instrumental debut album Movement/Silence was released on BBE recordings early 2010. Devastate also released a track on label sampler Fremdtunes – The Series 2 and is currently working on a brand new instrumental solo album and a production album with his crew Elite Fleet.

Fremdtunes is a Dutch independent recordlabel/collective, mainly focussing on (instrumental) producer-based music and worked/works with artists like DJ Optimus, Kelpe, Coco Bryce, Kid Sundance, Mister Adam, Soosh, Mister Critical, Boulaone, Jameszoo, El da Sensei, Erwin Vann, Pierce Warnecke, Superelectric, Prince Po, Klaas Verplancke, Solo Moderna, DJ Grazzhoppa, Gumshoe, and many others.

Written, directed, and edited by Nick Sasso.
Produced by Wax Poetics, Nick Sasso, and Casa de Luz.
© 2011 Wax Poetics and M Side Productions.

Shot on location in New York City.

Forthcoming Kendra Morris LP on Wax Poetics Records spring 2012.

Purchase the “Concrete Waves” Digital EP with the “DJ Premier 320 Remix.”

Purchase the official Serato Control Vinyl 12-inch in limited-edition “blue concrete swirl.”

From the forthcoming debut album by newest Wax Poetics Records artist Kendra Morris comes the first single, “Concrete Waves,” a menacingly funky groove that serves as a warning of what’s to come.

The track is remixed by the one-and-only DJ Premier, proving yet again why the iconic producer is an incomparable hip-hop legend.

The two-song release is available as a Digital Single (with the remix instrumental and a cappella) for just $1.99 and, on December 6, as an official Serato Control Vinyl 12-inch in limited-edition blue concrete swirl—with iconic cover art shot by photographer Harry Bernstein—on sale now at Wax Poetics Storefront.

While already being compared to the blue-eyed-soul divas of the U.K., Kendra’s own unique songwriting and lush harmonies set her firmly in a league of her own. Cowriter/producer Jeremy Page creates consistently inventive aural atmospheres—from heavy, head-nodding rhythms to introspective, soulful guitar work—that push the music giant steps ahead of the current soul scene. Kendra and Page expand the genre, creating something that is truly their own.

Check out the mini-documentary on Gilles Peterson’s Havana Cultura – The Search Continues (Brownswood) and download the free track, “Vida.”

Eddie Palmieri / Lowrider Oldies / Fania & Alegre All-Stars / Cal Tjader / Harlem River Drive / Speed Records

Helado Negro

escapes the city and crafts synth-heavy ode

Bio Ritmo

continue to evolve salsa dura in spite of their unlikely locale

Re:Discovery

Joe Arroyo

Who is Joni Haastrup? That there are fans of the Afro-rock scene of the ’70s who are still unaware of his major contributions would probably delight the present-day Haastrup—a devout Buddhist for whom humility is a virtue. The Haastrup of the ’70s would likely be confounded. After all, this son of a Yoruban king was the lead vocalist on Orlando Julius Ekemode’s seminal Super Afro Soul LP, considered by many to be the birthplace of the Afrobeat sound (the band also featured a certain Fela Ransome Kuti on trumpet).

By the ’70s, Haastrup was known as “Soul Brother Number One,” a star on the West African music scene. In 1971, he was handpicked by Ginger Baker to tour Europe as part of the Air Force band, and on returning to Nigeria later that year formed the genre-defying MonoMono. The group released two nuanced LPs in 1972 and ’74, albums that have been consistently regarded as centerpieces of any Nigerian collection. In 1978, Haastrup recorded Wake Up Your Mind, a spectacularly soulful, groovy and lyrically inspiring LP that currently fetches hundreds of dollars when an original copy makes an appearance.

Fortunately, there is a way to remedy any unfamiliarity with Joni Haastrup and enjoy his finest creations without breaking the bank. Soundway Records have teamed up with Tummy Touch to reissue the two MonoMono LPs and Joni’s solo gem Wake Up Your Mind.

Wax Poetics is proud to debut a recently discovered outtake from the 1978 sessions, “Imokiraria,” a stripped-down raw funk demo version of Joni’s oft-compiled classic “Greetings.”

Events:

Those in the Bay Area will have the chance to catch Joni in action this week at these exclusive dates:

Thursday, November 10: Joni Haastrup/MonoMono Album Release Party featuring a live set from Joni Haastrup and band @ Afrolicious - Elbo Room - San Francisco, CA

Saturday, November 12: Joni Haastrup/MonoMono Album Release Party featuring Joni Haastrup @ The Oasis - Oakland, CA

A Los Angeles release party is also scheduled:

Thursday, November 10: Joni Haastrup/MonoMono Album Release Party @ Afrofunke - Zanzibar - Los Angeles, CA

www.youtube.com/watch?v=O4jqUvBpgm0

Exceptionalism, the fourth full release from composer and producer Remy LBO, marks both a summation and transition of artistic objectives. It’s a glassy, funky work of permuting textures, one through which the delicacy of craftsmanship is realized. “It’s way too easy to be musically aggressive and rely on tons of distortions and reverb and compression,” says LBO of the project. “It’s also too easy to be ‘experimental’ or abstract. I specifically wanted something that was quiet, funky, ever-evolving, but also clear with my intentions.”

Though LBO began the album with the ambition of relying on “live” instruments as his dominant tools, the process compelled him to reevaluate. “The more you spend time with a song,” says LBO, “the more the imperfections start to stick out. For instance, I play a fretless bass, so every moment where I played a little sharp or flat would begin to stick out like a sore thumb.” As a result, LBO found his strategy evolved to favor immaculateness, an ideality suggested by the album’s title. “By the end, I had replaced most of the drums, rewritten large sections of songs, and began to use a large amount of synthesizers, just because my technical limitations in playing instruments, as well as recording, were getting in the way.”

An incipient interest in orchestration and film scoring brought the virtues of continuity and accountability to the fore. “The most important thing of orchestration that I brought into this project is the concept of supporting your ideas.” On Exceptionalism, LBO demonstrates a sense of responsibility toward that which he creates. Over the course of the album, motifs are conceived and nurtured into maturity, with a constant eye to their purpose and fit. “With Exceptionalism,” says LBO, “in the back of my head, I was always thinking, ‘What’s the most important part of the song at this point? And how do I bring it out and make that part clearer.’”

LBO’s regard for theme is decisively cinematic, and it is this very consciousness that shepherds the listener on through to the conclusion of Exceptionalism. “I think motifs are the thread for a listener,” says LBO. “Anyone can create little melodies and make a song putting them one after another, after another. But if you keep doing that, I think you lose the listener quickly. It all becomes a blur. If you make a small motif and then develop it, it becomes the character that the ear follows through the song.”

Listen to Remy LBO’s Exceptionalism.

Weather Report Sweetnighter (Columbia) 1973

To me, this is the quintessential fusion album. It hits the perfect sweet spot right in between the free jazz and pop-jazz that bookended Weather Report’s career. A lot of people were trying to combine jazz and funk music in this period, and in my opinion, none of them hit the mark as perfectly as this one.

Michael Urbaniak Fusion III (Columbia) 1975

By no means the perfect album that Sweetnighter is, but very much in the same tradition. I’m particularly in love with “Cameo” right now, but the whole album is great. Oh yeah, and you can never have enough Steve Gadd.

Sergey Prokofiev Symphony No. 2 in D Minor, Op. 40 (written in 1924–25)

I always feel like a bit of a dick talking about classical music, but this is genuinely what I’ve been listening to these days. Symphony No. 2 was considered a total failure by critics and Prokofiev himself. After its premiere, it wasn’t performed for nearly forty years—by anyone. If you listen to it, you can hear a young composer utilizing the dissonance of Stravinsky and Schoenburg, but also clearly wanting to do more beautiful stuff. You can really hear him struggling to find the balance, and I absolutely love hearing this internal battle.

Baden Powell and Vinícius de Moraes (with Quarteto em Cy) Os Afros Sambas (Forma, Brazil) 1966

I think it’s the background vocals of this album that get me; they are absolutely haunting. Baden Powell also has a way of working with harmony that is completely unique to him. He will hit on certain chords that are both surprising and beautiful. It’s not easy to make diminished chords sound this settled and pretty, but he does all over this record. He is easily one of the best songwriters of the twentieth century.

Shuggie Otis Inspiration Information (Columbia) 1974

One of the other best songwriters. Shuggie’s songs are so deep, so unique, but also instantly approachable in a way no other albums on this list are. I know everyone probably knows this album, but we can never talk about Shuggie too much.

Bill Lewis and Khan Jamal The River (Philly Jazz) 1980

I’ve never really understood people who use music as a sort of background noise filler. When I get a new album, I approach it like a novel. I need to listen closely to every detail and figure it out as best I can. This is really the only album I can think of where my brain just sort of shuts off, and I get lulled into a pleasant meditative state. It really is special.

Macy Gray “I Try (Jay Dee Remix)” (Epic) 1999

Possibly my favorite Dilla of all time, easily in the top five. He must felt like he had a lot to prove with this one, because he clearly worked hard on it. Every bit of praise that everyone has ever given Dilla’s music can be applied here. Understated, subtle, funky, unique…it’s perfect.

Cos Viva Boma (IBC, Belgium) 1976

One of those record digger records that I picked up years ago, but just keep holding onto. I really love this album; it’s experimental while also being funky and beautiful. It sounds like a proto-Stereolab. I really encourage everyone to check this one out.

Shankar Jaikishan and Rais Khan Raga – Jazz Style (EMI, India) 1968

The fruits of one of my longtime eBay missions. I was more ecstatic to open this record mailer than any I can remember. This often borders on a similar sound to some of those late-’50s Sun Ra records, though I would be surprised if Shankar Jaikishan ever heard any of them.

Sun Ra Night of the Purple Moon (El Saturn Research) 1972

Possibly my favorite Sun Ra record, though a few of those late-’50s albums come close. This is simply Sun Ra playing his Rocksichord, with a sparse and off-kilter background. Rhythmically, it has a swing to it that blows me away every time I hear it. Is it because John Gilmore is playing drums on this one? Funky, experimental, but with songs that just draw you in.

Featuring guest artists Dennis Coffey (Motown’s Funk Brother fuzz guitarist), Shawn Lee (Ubiquity Records), singer/songwriter Rebecca Jordan, and Italian cinephiles Calibro 35, Something About April is an eclectic mix of heavy, psychedelic soul and soundtrack-ready instrumentals.

Listen to the first single, “It’s Me,” which is available as an official Serato 12-inch. The single and the album are available on iTunes. The CD will drop on Nov. 29, followed by a limited-edition vinyl release on Dec. 13.

Bio:

Adrian Younge is the next generation of soul music. A self-taught musician and recording engineer who has dedicated his life to the study of classic soul music, Younge finds himself at the center of a new soul renaissance with a vision for pushing the boundaries of the music itself.

The story begins in 1998 as the budding hip-hop producer found himself confined by the limitations of the MPC. He began teaching himself how to play various instruments so he could fully realize his vision. First it was keyboards, then drums, sax, guitar, and bass. Fascinated with the sounds of Italian soundtracks by the likes of Ennio Morricone, Younge begins work on the soundtrack to the fictional film Venice Dawn, recording the album intermittently over the course of the next year. What developed was a sound equal parts Morricone and Air. Self-released in 2000, the moody, synth-drenched album was entirely composed, arranged, played, and recorded by Younge.

Eight years later in 2008, Younge would find himself at the center of the Black Dynamite zeitgeist. Instrumental in the film’s development, Younge not only edited the film, but also composed the original score, which was hailed as a modern blaxploitation masterpiece for authentically capturing the cinematic soul of the 1970s, from Isaac Hayes to Curtis Mayfield. Adrian Younge solidified himself as a force to be reckoned with and soon went to work writing music for the forthcoming Black Dynamite cartoon series on Adult Swim.

For his current solo project, Younge envisioned a new sound that would revisit his earlier, more baroque instrumental work of Venice Dawn and mesh it with the deep, gritty soul of Black Dynamite, eventually deciding to bring everything full circle by releasing the material under the moniker Venice Dawn. This new LP, titled Something About April, is a heavy, dark mix of psychedelic soul and cinematic instrumentals with hip-hop aesthetics, touching on influences from Morricone to King Crimson, Portishead to the Flamingos, Wu-Tang to Otis Redding.

Younge is currently writing and recording material for his next project, a Delfonics album with William Hart, founding singer of the legendary soul group.

Wax Poetics Radio Presents “Bad Data” with host Chris Peters

Soul singer Chris Clark tells the story of her audition for Berry Gordy.
The Stepkids have a new record out on Stones Throw Records.
Author Susan Whitall talks about Little Willie John, the subject of her new book, Fever.

Playlist:
1. Chris Clark interview
2. “Do Right Baby Do Right” Chris Clark
3. The Stepkids interview
4. “Brain Ninja” The Stepkids
5. “Legend in My Own Mind” The Stepkids
6. Susan Whitall interview
7. “Fever” Little Willie John
8. Susan Whitall interview
9. “Talk to Me, Talk to Me” Little Willie John

Beats by 14KT. Taken from the 14KillaTape.

Kevin Herron interviewed Chris Clark. He wrote a profile on the singer in Waxpoetics 44.

Wax Poetics Radio is an open-format podcast that will feature different hosts and DJs playing a variety of music and interviews.

Legendary jazz drummer and bandleader Chico Hamilton premieres twenty-eight tracks on a trio of releases this fall, marking this NEA Jazz Master’s ninetieth birthday on September 20. To celebrate, Wax Poetics and Joyous Shout are offering a free copy of Hamilton’s Revelation 10-inch EP and a free download of “Footprints in the Sand” off the EP.

Contest Details:

Go to facebook.com/chicohamilton and Like his page. Post your love for Hamilton on his Facebook wall, and be sure to mention “Wax Poetics” to be eligible to win. One person will be randomly selected to win a copy of Hamilton’s Revelation 10-inch EP.

If you’re in NYC, go see Hamilton live at Drom on November 6 and December 4.

Download free track “Dina’s Mambo”  from Bio Ritmo (Electric Cowbell), remixed by NYCTrust’s  E’s E.

Painting by Dion Bello

“Up until I was eight or nine, I was bouncing around a lot, all the time as a kid. I was born in Maryland and lived in Jacksonville then moved all over the U.S.,” explains Chris Oroc, widely known as DJ Babu.

After constant relocation (due to his father’s naval service), Chris landed in Oxnard, California, in the early ’80s where his teenage years paralleled hip-hop’s booming rise. Now in his late thirties, the seasoned DJ has toured globally as part of the World Famous Beat Junkies and as one-third of Dilated Peoples, manning the tables as well as production.

Through eloquent routines, multiple ITF titles and Vestax championships followed. Other calculated efforts, like his famed juggle of “Blind Alley” by the Emotions, bolstered his rep in the ’90s. And Super Duck Breaks, an early DJ tool record he produced as the Turntablist, is amongst the most used—and beloved—in the field. Below are DJ Babu’s top ten records, a list that tells the story of his maturation as a kid in Oxnard to a world-class, international DJ.

Malcolm McLaren and the World Famous Supreme Team D’ya Like Scratchin’ (Island Records) 1983

This has to be the first—if not, the second—record I ever purchased. I actually bought this way before I was a DJ, when my family still had a record player in the house. This brings back fond memories of moving to Oxnard, California, in the early ’80s and being introduced to hip-hop. At the time, I was definitely trying to pop and b-boy, and “Buffalo Gals” was my shit! Just looking and listening to this record fascinated me; it was the first time I had seen a Technics 1200 on a sleeve. And, of course, who can ever forget the ill boom box on the cover?! This record was just hip-hop from head to toe.

Herbie Hancock Future Shock (Columbia) 1983

I don’t know if I bought this or D’ya Like Scratchin’ first, but this record was a huge influence on me. The work Grandmaster D.S.T. (now D.X.T.) did on “Rockit” will forever be in my brain. I still remember hearing this for the first time and wilin’ out! I had heard scratching before, but this record was a huge hit. You have to remember that in 1983 hip-hop was still hard to find, so to hear D.S.T. killin’ cuts over a Top 40 record was crazy! I’ll never forget the pattern. If you see Herbie Hancock and the Rockit Band perform “Rockit” on Saturday Night Live, you’ll see the first time a DJ was treated like a musician. Actually, you’ll see D.S.T. take over the whole show. To me, he was one of the first—if not the first—turntablists ever.

The Dean of Perth with Bakery and Jazz Ensemble Rock Mass for Love (Astor) 1971

Here’s an illy I caught down under in Australia. You’d be surprised how funky and musical cats are from other parts of the world, but these Australian cats basically set up shop in a cathedral in front of six thousand people. They did their own musical interpretation of Catholic mass and recorded it. Whatever it is, all I know is that these cats were ill and many a loop I have dissected from this record. Do not front on Aussie records!

Hiriomi Iwasaki Fantasy (Victor) 1976

This is a record I caught back in the day before Shibuya, Tokyo, was ran through. I mean, it’s still ill over there, but not like it was twelve years ago when it seemed like every ill record died and went to Tokyo. When I first went over there, I bought everything but Japanese records. Later, I realized I was sleepin’! This record is a perfect example; it’s a real soulful, popish-sounding LP, surprisingly funky, tons of dramatic intros and changes. Crazy. Please believe I made like ten beats off this record.

Franck Pourcel Aquarius (Atco) 1969

This record is what I call a “producer’s bang for your buck” LP—mad loops, sounds, and grooves. Lots of open loops with sparse percussion! I made at least ten beats from this record, a couple you might recognize, and it’s just a great record to revisit for sounds and samples. Franck’s an ill motherfucker!

Klaus Wunderlich Sound 2000 (Telefunken) 1973

I really love Moog and keyboard records because I feel like early keyboardists were the first bedroom musicians and producers—it’s something I relate to. On this LP, this cat Klaus is credited with playing the Moog, organ, and drums, so I imagine him with a gigantic module Moog with all these cables, buttons, knobs, and keys, just buggin’ out, diabolical-scientist style. But as far as the sound of this record, it’s really prophetic that he titled it Sound 2000, ’cause that’s what it sounds like.

The Bar-Kays Coldblooded (Volt) 1974

This is one filthy record right here. I love the sound and the way the record was mixed. As compared to previous LPs, this one definitely had a funky kind of rock-tinged sound. Reminds me a lot of early P-Funk, and “Smiling, Styling, Profiling” has to be one of the illest breaks ever; fans of Soundbombing 2 might recognize it!

Earth & Fire Gate to Infinity (Polydor) 1977

Great Dutch progressive rock record—I’m fortunate enough to travel, so when I’m out and about, I really try to make it a point to go digging. Being in other places while on the road really helped me to thicken up my collection and build my sound. This record is a perfect example of a crate digger’s heaven. This record is loop mania! I probably would have never found this in L.A., but I found this all the way in Holland. Nowadays, I could probably just find it on eBay. Wack! [laughs]

James Brown In the Jungle Groove (Polydor) 1986

This is actually a compilation LP, but at the time this was released, I was still pretty ripe on beats and breaks. But when I heard the song “Funky Drummer,” the realization of understanding that cats sampled this song to create a new track was mind blowing! All of a sudden, I understood why I kept hearing hip-hop jams that had this drum break I loved. From then on, I listened to music completely different—I guess it was my introduction to crate digging and finding samples and breaks. But what can I say about this LP that hasn’t been said? From listening, to sampling, to DJing, this LP has it all. The Godfather is the funkiest man in history.

The Continental IV Dream World (Jay Walking Records) 1972

I can’t say enough about how much I love soul records. No matter how much ill shit I find in other genres, I always seem to find myself back in the soul section. This record is a great example of why I keep coming back. The Continental IV were probably not the most original cats, but this record is ill. Super-tight production with a classic late ’60s, early ’70s soul vibe—a lot of dramatic intros and breakdowns, ill wah-wah guitar, and beautiful melodies and harmonies. Dope shit.

“Throughout my years of digging for records,” says DJ Spinna, “I’ve always been particularly drawn to music that is heavily influenced by the electronic revolution. There was a long stretch where I would specifically hunt for Moog, new age, jazz fusion, and experimental records…anything that involved synthesizers but still had a groove. Upon the inquiry from 101 Apparel to come up with a concept for a mix, my initial thought was it has to be unique. It was the opportune time for compiling tracks from past to present that capture the electronic experience. Future Shock is born and is without a doubt one of the most brain-crushing mixes I’ve ever done! I hope you dig it.”

Buy the T-shirt from 101 Apparel and get the mix for free.

Check out a snippet:

On Thursday, September 29, 2011, Wax Poetics Records artist Kendra Morris teamed up with DJ Premier to play New York’s Le Poisson Rouge.

Kendra’s debut single for Wax Poetics, “Concrete Waves” b/w the DJ Premier remix, is out digitally on November 22 and later on official Serato 12-inch.

Photography by Seth Applebaum.

www.youtube.com/watch?v=b_qAa3P178Q

Chico Mann is hitting the road for a string of West Coast dates including stops at Culture Collide in L.A., Left Coast Live in San Jose, the newly opened Crescent Ballroom in Phoenix, and Bimbo’s in San Francisco opening for Mayer Hawthorne!

Tour Dates

Oct 6 The Crescent Ballroom, Phoenix
Oct 8 Left Coast Live, San Jose
Oct 9 Culture Collide (Taix Stage @ 9 pm), Los Angeles
Oct 10 School Night @ Bardot, Los Angeles
Oct 11 MESA, Costa Mesa
Oct 12 Moe’s Alley, Santa Cruz (with OKA)
Oct 14 Bimbo’s, San Francisco (supporting Mayer Hawthorne)
Oct 15 Brick & Mortar, San Francisco (with Maya Jupiter)

SkullcandyTV brings us the latest video of the Wax Poetics Records Showcase, live from NYC’s Le Poisson Rouge. This installment features Lo Down Loretta Brown aka Erykah Badu on the turntables, along with Wax Poetics Records artist Adrian Younge Presents Venice Dawn, whose new single is now on sale.