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Lucky Brown & The S.G.'s - Pecan Trees Speak To Each Other
Lucky Brown & The S.G.'s
Pecan Trees Speak To Each Other
10" | 2020 | EU | Original (Tramp Tapes)
18,99 €*
Release:2020 / EU – Original
Genre:Organic Grooves
Preorder available from 21.08.2020
Lucky Brown's composition PECAN TREES SPEAK TO EACH OTHER was inspired by the summer sounds of the rustling pecan groves of San Marcos, Texas, where he composed his Mesquite Suite [TRLP-9074]. Inspiration for the title was found in the writings of Robin Wall Kimmerer in her book, Braiding Sweetgrass, and in southwest poet Wendy Burk's book, Tree Talks. Those who care to look and listen deeply, know that the trees are sentient beings and are in a constant and spirited conversation with their kind and the other beings of the forest. Messages delivered in tantalizing silence, like love notes passed in a classroom, are received with heady anticipation through the power of pollen. And underground, in the dark, a living network of messages are conveyed molecularly from one tree to another other through a vast system of mycelia and bacteria. "I'm hurt," "I am hungry," "I am dying," I am alive!," "I need help," "I am afraid," "Thank you..." These messages tell the other members when to be fruitful, when to conserve their energy, and when to defend themselves from attack. Of course, there are likely many other ways the trees talk that we cannot or will not ever hear.
In a similar way, many of us reach upward and outward for a brighter, more prosperous, more peaceful future like branches reaching to the sun. In a similar way, many of us simultaneously root down into the earth through ritual and dance, and grow and build our local and global community bodies one beat at a time. Many of us who are concerned about the loss of more and more corners of our sustaining yet delicate ecological web want to protect our water, our air, and our earth from extractive and exploitative forces. This is our home, and we are all each others' relatives.
Furthermore, we yearn to use our gifts and our power and our life force to further the cause of the small, the tiny, the quiet, the low, and all the beings on and under the earth. We deliver these messages daily and passionately in so many ways, more and more so along the mysterious networks of the world wide web. And at times, when we have more to say, when words do not suffice, we deliver these messages with our music. Our sonic, musical, vibrational, tone messages are being sent to you right now! Our cries, our tears of sorrow and joy, our love of this planet and our love for it's inhabitants, at once committed to the message of PECAN TREES…"
Seattle USA's S.G.'s, along with The Longhorns of Mesquite Suite renown, proudly feature with this release, Seattle saxophonist and composer Kate Olson on soprano sax and solo. The shorter, edited version on Side B is showcases just Kate's solo, while Side A features Marc Hager (keys) and Colin Higgins (guitar) in addition. Recorded by Lucky to 4-track cassette at Bob Heinemann's Bomb Shelter studio just like the Mesquite Beat/Justice [TR-1040] single, and then transferred, overdubbed and mixed by Lucky and Jason Gray at Blue Mallard Studio, this deluxe 10-inch 'found acetate' project, the final chapter of the Tramp Tapes imprint series, represents another beloved Brown & Gray production. As a very special bonus, this release includes the brutal rehearsal version for "'Bout To Blow," recorded on Ollie Klomp's world-famous Magik Carpet (the entire Mystery Road [TR-9044] album was recorded there), and on the flip, you'll find a living, breathing rough-funk jam in its entirety, "Scavenge Patch Blues," recorded at the Scavenge Patch as a band warm-up for the Mesquite Suite session.
With this, our humble offering, we send our aspiration to exist in harmony with all the inhabitants of this planet, we are singing, we are playing, we are harmonizing, we are becoming attuned to each other and to the healing vibrations of the universe. PECAN TREES SPEAK TO EACH OTHER...are you listening?
Lucky Brown & The S.G.'s - Sweet Tea (With My Sweetie)
Lucky Brown & The S.G.'s
Sweet Tea (With My Sweetie)
7" | 2019 | EU | Original (Tramp Tapes)
8,99 €*
Release:2019 / EU – Original
Genre:Organic Grooves
Originally planned for inclusion on the critically acclaimed "Mesquite Suite" album, "Sweet Tea (With My Sweetie)" did not make it onto the album in the end. Despite the fact that the song does not 100% fit the theme of Lucky's third longplayer, it is simply too sweet and lovely not to release at all. So here you have it, Lucky Brown's trademark production/sound combined with the skills of his backing band The S.G.'s resulting in a solid deepfunk 2-sider complete with guitar, trombone, and organ solos topped with a tasty drum break. The Tramp team is extremely proud working together with Lucky Brown for so many years and hopefully many more to come! And we do not want to forget to thank all of you who have supported us in the past! Thank you so much!
Lucky Brown - 'bout To Blow
Lucky Brown
'bout To Blow
7" | 2018 | EU | Original (Tramp Tapes)
8,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art?"
This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".
A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" [TR-1040] Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.
Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from?", "...where is this from?".
'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" [TR-1025]!
It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904?
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