#bosco mann

[doenobret]

Saun & Starr , two Harlem queens.

Their stories are worth looking into if you’re interested in the retro-soul scene. I’ve admired their cover album (Look Closer) since I was in high school.

I get inspiration every time I hear the direction they took these master works of soul!

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Visit Original Link

Vicky Tafoya - The Moment (Penrose)

prod. Bosco Mann, 2023.

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Sail On! by Sharon Jones & the Dap-Kings from the album Soul of a Woman

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VIDEO: The Altons - Darling Girl

It gets funky and soulful hold out....

[thejoyofviolentmovement]

New Video: San Diego's Thee Sacred Souls Release a Heartfelt and Old-Timey Ballad

New Video: San Diego's Thee Sacred Souls Release a Heartfelt and Old-Timey Ballad @TheeSacredSouls @DaptoneRecords @grandstandhq @shazi_la

Rising San Diego-based soul act Thee Sacred Souls — vocalist Josh Lane and multi-instrumentalists Alex Garcia and Sal Samano — can trace their origins back to the creative chemistry the band’s Garrcia and Samano felt while cutting bedroom recorded demos of rhythm tracks, inspired by the classic soul sounds they grew up with and loved. When Garcia and Samano connected with Lane, the trio quickly…

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[musicmapglobal]

Orquesta Akokán reinvigorate classic Cuban mambo

As the newest signings to Brooklyn’s Daptone Records, Havana big band Orquesta Akokán are in fine company when it comes to modern takes on classic sounds. As well as playing in The Dap-Kings (who famously backed both Amy Winehouse and Sharon Jones) the label’s co-founders Bosco Mann and Neal Sugarman have released essential albums by everyone from soul king Charles Bradley to Afrobeat ensemble Antibalas. Now, in Orquesta Akokán, they’ve found a Cuban outfit whose ebullient update of the country’s much-loved sounds of the ’40s and ’50s fits in perfectly with the Daptone approach.

Vocalist José ‘Pepito’ Gómez assembled an impressive selection of musicians both young and old for the project and the results can be heard on their self-titled debut album, which came out last Friday. Recorded in live takes at Cuba’s legendary Estudios Areito, it captures the band’s irrepressible and vivacious energy, with the vintage recording gear providing a truly authentic texture. Listen to the sparky ‘Mambo Rapidito’ below, and hit Bandcamp for the rest.

[moocowmoocow]

[blackrockandrollmusic-blog]

Homecoming Queen: Sharon Jones

The kind of music Sharon Jones and the Dap-Kings make is, in one word, soul, though to really get at it you need a train-car handful: sweet-and-sour soul-searching dap-dippin’ back-pocket funk. James Brown is the chief inspiration for Jones’s professional partner, the songwriter, producer, and Dap-Kings bass player known as Bosco Mann (his given name is Gabriel Roth). Fifteen years ago, Roth founded the Brooklyn-based independent label Daptone Records with saxophonist Neal Sugarman to create an outlet for vintage funk and soul, old school rhythm & blues—with an emphasis on the former in both of those classic binaries. Roth and Jones met in the nineties through her ex-fiancé, a musician, and they quickly recognized a kindred aesthetic. Though she often says she had been told by industry suits that she was “too fat, too black, too short, and too old” to be a successful singer, Jones had maintained her chops in wedding bands and church choirs. To Roth, it was only her voice that mattered. From day one, she has been Daptone’s doyenne.

Whatever you call her music, don’t say “revival,” a term the Dap-Kings get leveled with too often, and one she hates. Many people discovered Sharon Jones in 2006, after the Dap-Kings were tapped to play behind Amy Winehouse on her second album, Back to Black, which would win a host of awards and continues to sell millions. Jones resented that a little, understandably, since her own critically acclaimed music had always fallen short of a broad reception. In 2015, Sharon Jones and the Dap-Kings finally received their first Grammy nomination, in the Best R&B Album category, for their fifth LP, Give the People What They Want. They lost to Toni Braxton & Babyface, who have won eighteen Grammys between them.

The simple cover of 2002’s Dap Dippin’ with . . . Sharon Jones and the Dap-Kings, their debut album (and 001 in the Daptone catalog), is made up mostly of black space. The title runs across the top in a primary color treatment. Below it, way off toward the right-hand margin, stands Jones in a glittery red dress, and next to her, running off the sleeve, is half a saxophone player, the identifying details of his face cut off by the cover’s edge, an effect that encourages the listener to imagine the rest of the Dap-Kings, whoever they are, in line behind her out of frame. Jones, mic in hand, hip turned out, left arm confidently cocked, is singing back toward the center, into darkness.

I imagine her belting the album’s first song, “Got a Thing on My Mind,” a defiant blaster that can serve as a thesis statement for her career. “I got a thing on my mind / I’m sure I’m gonna find it,” Jones sings, packing the lines with all the pent-up ambition of a forty-six-year-old woman who’d never been given the shot she knew she deserved. “Don’t let nobody tell me my bangin’ won’t come true / ‘Cause I ain’t lyin’ down ‘til I get my dues.”

She hasn’t gotten them yet, and so she continues. [Read More]