Tag: Dala Records

Raymond James Mason is a Long Island, NY-born, Brooklyn-born trombonist and singer/songwriter. As the story goes, Mason picked up the trombone at a very young age, and as a teenager, he studied classical performance and jazz studies at my alma mater NYU, where he studied with Brian Lynch, Lenny Pickett, Alan Ferber and Elliot Mason. Upon graduating, Mason quickly became an in-demand musician, playing across a wide variety of genres; but he’s best known for being a member of renowned local Afrobeat act Antibalas, which eventually led to him becoming a member of the Daptone Records/Dunham Records in-house band, playing with the likes of Sharon Jones and the Dap Kings, Charles Bradley and the Menahan Street Band, Lee Fields and the The Expressions and many others. Additionally, Mason has performed and or recorded with the likes of Alicia Keys, David Byrne, Randy Newman, Erykah Badu, The Roots, Arcade Fire, Ed Sheeran, Janelle Monae, Lukas Graham, Nile Rodgers, Tame Impala, Maren Morris, Earth Wind and Fire, Mark Ronson and and more. Unsurprisingly, he very busy Mason learned from these artists while honing his own compositional and vocal skills, patiently waiting for his moment to step out in the spotlight.

Back in October 2016, Mason reached out to Daptone Records house band member, longtime friend and Dala Records founder Billy Aukstik to set up at a casual recording session. At the time, Aukstik was recording out of an old East Village brownstone basement, equipped with only a Tascam 388 8-track tape recorder and a few old ribbon microphones. Aukstik and Mason assembled an all-star squad of local soul musicians, including Alex Chakour, who has played with Charles Bradley and Sharon Jones; Freddy DeBoe, who has played with Charles Bradley and Sharon Jones; Joe Harrison, who has played with Nick Hakim and Charles Bradley; and Morgan Price, who has played with Antibalas to record a couple of Mason’s compositions — two of which wound up becoming the A and B sides of Mason’s solo debut, “Back When”/”No Clue.”

A side single “Back When” is a strutting and swaggering bit of a soul pop centered around an arrangement of Arp Omni bass synth, fuzzy guitar lines and a steady backbeat — and while thematically the song is a universal tale of lost opportunity and what could have beens, it’s a decidedly contemporary take on the Dala Records sound, as it nods at contemporary soul, hip-hop and psych pop in a way that brings Tame Impala, Nick Hakim and others to mind. “No Clue,” the B side single is centered around fuzzy power chords and a garage rock vibe, while thematically the song focuses on a dysfunctional and confusing relationship. Both singles reveal an an up-and-coming artist, who’s actively and earnestly pushing the sonic boundaries of soul.

 

 

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Best known as a member of Charles Bradley‘s backing band The Extraordinaries and Sharon Jones‘ backing band The Dap Kings, Lee Fields‘ backing band The Expressions, Antibalas and The Budos Band and for collaborating with Mark Ronson and others, the Chicago, IL-born, New York-based trumpeter Billy Aukstik began writing his own soul-inspired compositions and founded Brooklyn-based indie soul label Dala Records. And since founding the label, Aukstik has produced the debut efforts of a handful of locally-based artists including singer/songwriter, John Fatum, The Rad Trads, Michael Harlen, Patrick Sargent and Camellia Hartman, as well as his own solo work under the moniker Billy the Kid.

Last year, I wrote about a Dala Records split 7 inch single “Breathing Hard (Over You)”/”Honey Bee” featuring Camellia Hartman and its founder Aukstik, with both artists backed by the Dala Records house band, The Soulful Saints. And as you may recall, Hartman is an East Village-born and-based vocalist and multi-instrumentalist, who as a child studied the Suzuki method on violin, bass and guitar at rock ‘n’ roll day camp, trombone in middle school and a cappella in high school.  Hartman’s latest single is the Billy Aukstik penned, “Return the Favor,” which is centered around the East Village-born and -based multi-instrumentalist and vocalist’s effortless and old-timey soulful vocals and an arrangement featuring twinkling keys, shuffling drums, and a loose, bluesy guitar line and a sultry horn line. Sonically, the song, which draws from Northern Soul production brings to mind the sounds of The Supremes and others, complete with a swooning and aching longing.

 

 

 

 

 

 

Perhaps best known for lengthy stints in the backing bands for Charles Bradley, Sharon Jones and Lee Fields, as well as the horn sections of Antibalas and The Budos Band and for collaborating with Mark Ronson, the incredibly accomplished Chicago, IL-born, New York-based trumpeter, composer, producer and vocalist Billy Aukstik began writing his own soul-inspired compositions and founded the Brooklyn-based indie soul label Dala Records. And since the label’s founding, Aukstik has produced the debut efforts of a handful of locally-based soul and soul-leaning artists including singer/songwriter, John FatumThe Rad TradsMichael HarlenPatrick Sargent and Camellia Hartman, as well as his own solo work under the moniker Billy the Kid.

Slated for an April 2, 2018 release, Aukstik’s solo debut EP Stay Strong was recorded over the course of two years between two different studios — the first being an East Village-based DIY space, where Aukstik’s only recording gear was a Tascam 388 8-track tape machine, and the second being his new, self-built Bushwick, Brooklyn-based studio Hive Mind Recording. As a result, the listener may hear a subtle yet noticeable change in texture and fidelity throughout the EP; but as Aukstik explains in press notes, “the compositions and arrangements are crafted in a way that make the transitions from song to song smooth and welcoming.” Aukstik adds that the “EP could be considered a concept record by its evolution in sound from track one through nine, as well as the underlying story that can be pieced together as each song goes by.” Unsurprisingly, the EP features contributions from members of Charles Bradley’s Extraordinaires, Antibalas and The Dap Kings — and from the EP’s first single “Oh, Emily,” Aukstik will further cement his reputation for crafting sweeping soul indebted to the late 60s and early 70s; in fact, Aukstik has long employed the use of the Maestro Rhythm King, a 1970s drum machine made popular by Sly Stone and Shuggie Otis. But more important, “Oh, Emily” is a sweetly swooning, old-fashioned love song with an elegant horn line that to my ears makes a subtle nod to The Beatles‘ “Martha, My Dear” — although about an actual human.

 

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Perhaps best known as a member of Charles Bradley’s backing band The Extraordinaires, the late, great Sharon Jones’ backing band The Dap Kings, Lee Fields’ backing band, The Expressions, Antibalas and The Budos Band, who has also collaborated with Mark Ronson and others, the Chicago, IL-born, New York-based trumpeter Billy Aukstik began writing his own soul-inspired compositions and founded Brooklyn-based indie soul label Dala Records. And since founding the label, Aukstik has produced the debut efforts of a handful of locally-based artists including singer/songwriter, John Fatum, The Rad Trads, Michael Harlen, Patrick Sargent and Camellia Hartman, as well as his own solo work under the moniker Billy the Kid.

Dala Records’ latest rlease “Breathing Hard (Over You)”/”Honey Bee” is a split 7 inch single featuring labelmates Camellia Hartman and its founder Aukstik, backed by the Dala Records house band, The Soulful Saints. Hartman is an East Village-born and raised vocalist and multi-instrumentalist, who as a child studied the Suzuki method on violin, bass and guitar at rock ‘n’ roll day camp, trombone in middle school band and a capella in high school — and her contribution to the split 7 inch, “Breathing Hard (Over You)” was recorded and mixed on an 8 track tape machine, which further emphasizes the classic Motown meets Northern soul production. And while making the song sound as though it could have been released as a 45rpm single back in 1964, the production manages to give Hartman’s tender yet playfully coquettish vocals room to express an aching yet somewhat girlish longing and desire.

Aukstik’s contribution “Honey Bee” is a twangy, slow-burning, 70s AM rock meets Muscle Shoals-leaning bit of soul that features Aukstik’s tender falsetto over an arrangement featuring lap steel guitar, Farfisa organ, Maestro Rhythm King drum machine, fuzzy guitar chords and a sinuous hook — and while nodding at psych rock, the song to my years reminds me a bit of Sandra Rhodes’ sadly forgotten Muscle Shoals meets Nashville solo debut, Where’s Your Love Been.

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