A JAZZY MIX PRODUCTION N.Y.C. aka James Jazz Rodrguez

Earth Wind & Fire,Mandrill,War,Kool and the Gang, John Tropea,and Erykah Badu Enjoy Mix and Produced by Jazz 42 for a A Jazzy Mix Production new york city

Enjoy My Deep House with a littie Soul Disco and funk....Mix and Produced by jazz 42 for A Jazzy Mix Production new york city

Mix and produced by Jazz 42 for A Jazzy mix Production new york city

Cyberjamz Records Deep House Mix Special Thanks To Sammy Rock of Cyberjamz Radio for making this mix possible Check out Cyberjamz Radio at http://cyberjamz.com/ Mix and produced by Jazz 42 for A Jazzy Mix Production new york city

Bless to the father our god jah live's!!!! Mix and produced by Jazz42 Jah is referenced in many reggae songs. The popularity of this music form associated with the Rastafari movement has spread the name "Jah" (derived from the KJV Psalms 68:4) beyond the West Indies.
For example, it is referenced in Bob Marley's "Is this Love", in the line: We'll share the same room, for Jah provide the bread. It appears in the title of Third World's hit song "Try Jah Love." The Mighty Diamonds song "Pass The Dutchie" has the following lyric: 'Cause the spirit of Jah, you know he leads you on. Similarly, Mystic Roots' "Pass The Marijuana" contains the words: Pass the marijuana, give Jah thanks and praise today. Also Stevie Wonder's ode to Marley, "Master Blaster (Jammin')", contains the following verse lyric: We've agreed to get together, joined as children in Jah. P.O.D.'s Song, "Strength Of My Life", from their album Testify, contains the words: If Jah is for me, tell me whom I gon' fear? (no I won't fear), And Jah of Jacob, deserving of my love. Also, Jah is referenced many times in Damian Marley's song Road to Zion and in the songs of Costa Rican singer, Noah, such as "If you don't believe in Jah, we can not be together" It also appears in Gregory Isaac's Night Nurse, "Only you can quench this Jah thirst." Additionally, Jah has been linked to acid-reggae music. For example, the name can be heard in Thievery Corporation's song "The Outernationalist". Hardcore Punk/ Reggae band Bad Brains' first album contains the songs 'Jah Calling' and 'I Luv I Jah'. The use of Jah in music is also evident in the up and rising reggae band, Soldiers of Jah Army, also known as SOJA. Jah also appears in The Lonely Island's Ras Trent as well as being the subject of "Mount Zion" by the MC Young Zeus.
"Jah" appears in other genres as well. The first line of Camper Van Beethoven's song "Take the Skinh

Click this link for part.1 http://jazz42.podomatic.com/entry/2013-02-21T10_48_53-08_00 The Loft is the location for the first underground dance party (Love Saves the Day) that was created by David Mancuso on February 14, 1970, in New York City. Since then, the term The Loft has come to represent Mancuso's own version of a non-commercial party where no alcohol, food, or beverages are sold. Mancuso's vision of a private party is similar to, and inspired by the rent party and house party. Unlike conventional nightclubs or discotheques, attendance is by invitation only. In the early 1980s, Mancuso abandoned the generally accepted and expected practice of beatmatching, preferring to play songs in their entirety on his renowned audiophile-quality sound system, considered to be the best in New York[1] (and among the best in the world[2]) during the venue's heyday.
When Mancuso threw his first informal house parties, the gay community was often harassed in the bars and dance clubs. At The Loft and many other early, private discotheques they could dance together without fear of police action thanks to Mancuso's legal, yet underground, business model.
The initial Loft was Mancuso's own home at 647 Broadway.[1] The collapse of a neighboring hotel forced a move[1] to 99 Prince Street in Soho in 1975.[2] Vociferous community opposition ensued,[1] and the party lay dormant for a year during the New York City Department of Consumer Affairs' longest administrative trial to date, based on their insistence that Mancuso required a "cabaret license". The department decreed in 1975 that he was free to host his parties as long as there were no sales of food or beverages. This decision set a new precedent that benefited the Paradise Garage and other private "clubs" in the process. The period also saw Mancuso's space serve as headquarters for the New York Record Pool, the very first Record Pool, which he founded with Vince Aletti and Steve D'Acquisto.[2] Many of the disco era's leading disc jockeys, including Larry Levan,[2] Nicky Siano[1] and Frankie Knuckles[2] were early Loft attendees. Their venues (the Paradise Garage,[3] The Gallery,[3] Chicago's Warehouse,[3] and the exclusively gay The Saint) were influenced by the Loft. Nonetheless, Mancuso maintained his niche, breaking such unconventional records as Manu Dibango's "Soul Makossa"[1] and the Steve Miller Band's "Macho City" at his weekly events.
In the early 80's[citation needed] Mancuso purchased a building on 3rd Street between Avenue B and Avenue C in Alphabet City.[1] Not yet benefiting from gentrification, the new crime-and-drug ridden setting resulted in him losing "65 percent of my attendance."[1]Around this time, DJ and promoter impresario, Richard Vasquez began his influential and exclusive weekly parties named, The Choice at this location along with Joey Llanos. The party kept the spirit of the early Mancuso parties while embracing the early days of Deep House Music. In 1994, Mancuso relocated to a smaller space[citation needed] on nearby Avenue A,[1] and subsequently downsized further to another location on Avenue B.[1] Since then, Mancuso has continued to throw 3 to 5 Loft parties per year at an undisclosed location in the East Village while organizing general admission Loft-style events in locales as disparate as Los Angeles and Shibuya. 1999 and 2000 saw the release of the defunct Nuphonic Records' David Mancuso presents The Loft anthologies on CD and vinyl, all of which are now highly collectible and hard to find. Enjoy mix and produced by Jazz 42 If you enjoy my music a like at this link would be cool thanks for the support.. https://www.facebook.com/pages/A-Jazzy-Mix-Production-Party-Promoter-Music-Producer-and-Video-Editor/193035310741365?fref=ts

I Feel Spring Mix Once again Special Thanks to Steve Ike Shaw,Sammy Rock,Jus June,and Nylatina Quietstorm and most of all Tommy Rio for making this mix possible you guys are the best......Mix and produced by Jazz 42 Enjoy Spring is around the corner.....IF YOU LIKE MY MUSIC PLEASE CLICK THIS LINK>> https://www.facebook.com/pages/A-Jazzy-Mix-Production-Party-Promoter-Music-Producer-and-Video-Editor/193035310741365?fref=tsAND GIVE ME A "LIKE" Thanks for your support Jazz 42

The Loft is the location for the first underground dance party (Love Saves the Day) that was created by David Mancuso on February 14, 1970, in New York City. Since then, the term The Loft has come to represent Mancuso's own version of a non-commercial party where no alcohol, food, or beverages are sold. Mancuso's vision of a private party is similar to, and inspired by the rent party and house party. Unlike conventional nightclubs or discotheques, attendance is by invitation only. In the early 1980s, Mancuso abandoned the generally accepted and expected practice of beatmatching, preferring to play songs in their entirety on his renowned audiophile-quality sound system, considered to be the best in New York[1] (and among the best in the world[2]) during the venue's heyday.
When Mancuso threw his first informal house parties, the gay community was often harassed in the bars and dance clubs. At The Loft and many other early, private discotheques they could dance together without fear of police action thanks to Mancuso's legal, yet underground, business model.
The initial Loft was Mancuso's own home at 647 Broadway.[1] The collapse of a neighboring hotel forced a move[1] to 99 Prince Street in Soho in 1975.[2] Vociferous community opposition ensued,[1] and the party lay dormant for a year during the New York City Department of Consumer Affairs' longest administrative trial to date, based on their insistence that Mancuso required a "cabaret license". The department decreed in 1975 that he was free to host his parties as long as there were no sales of food or beverages. This decision set a new precedent that benefited the Paradise Garage and other private "clubs" in the process. The period also saw Mancuso's space serve as headquarters for the New York Record Pool, the very first Record Pool, which he founded with Vince Aletti and Steve D'Acquisto.[2] Many of the disco era's leading disc jockeys, including Larry Levan,[2] Nicky Siano[1] and Frankie Knuckles[2] were early Loft attendees. Their venues (the Paradise Garage,[3] The Gallery,[3] Chicago's Warehouse,[3] and the exclusively gay The Saint) were influenced by the Loft. Nonetheless, Mancuso maintained his niche, breaking such unconventional records as Manu Dibango's "Soul Makossa"[1] and the Steve Miller Band's "Macho City" at his weekly events.
In the early 80's[citation needed] Mancuso purchased a building on 3rd Street between Avenue B and Avenue C in Alphabet City.[1] Not yet benefiting from gentrification, the new crime-and-drug ridden setting resulted in him losing "65 percent of my attendance."[1]Around this time, DJ and promoter impresario, Richard Vasquez began his influential and exclusive weekly parties named, The Choice at this location along with Joey Llanos. The party kept the spirit of the early Mancuso parties while embracing the early days of Deep House Music. In 1994, Mancuso relocated to a smaller space[citation needed] on nearby Avenue A,[1] and subsequently downsized further to another location on Avenue B.[1] Since then, Mancuso has continued to throw 3 to 5 Loft parties per year at an undisclosed location in the East Village while organizing general admission Loft-style events in locales as disparate as Los Angeles and Shibuya. 1999 and 2000 saw the release of the defunct Nuphonic Records' David Mancuso presents The Loft anthologies on CD and vinyl, all of which are now highly collectible and hard to find. Enjoy mix and produced by Jazz 42

Well, in the last five years it has pretty much shoved all other genres and styles out of the way to become the dominant sound of South Africa. It is so popular that the the country now has the world's biggest House music market per capita, and this October a Johannesburg-based music company (Bass Breaks & Beats) will organise the first award ceremony dedicated to House music, the South African House Music Awards.

House music took root in Pretoria, South Africa in the early 1990s, then spread to Johannesburg where it was slowed down and combined with local elements to form Kwaito. But if Kwaito was the music that defined the generation that came of age after apartheid, the beats have been ramped back up and South African House music is now more in tune with today's increasingly "globalised" South Africans.

Sometimes called Afro House, sometimes Dance music, South African House is distinctly South African. Meaning what? Ok, we're going to put some noses out of joint by saying this but a lot of "international" House lacks a sense of place, and can sometimes sound like nothing but beats (Techno House is often guilty of this). Fine if you're some off-his-head teenager willing to dance to anything with a fast beat, but even then it probably gets a little samey. South African DJs took what they learnt from Kwaito and applied it to House, which means taking your basic 125BPM and adding elements that ground it in the lived reality of South Africans. Thus you will sometimes hear lyrics in one of the local languages (of which there are 11 if you exclude English and Afrikaans), samples from real traditional instruments (drums, in particular, something integral to African music), and heavier basslines than you might find in House music from elsewhere. A track might use a harmony or melody from an old South African song, and the lyrics, minimal though they might be, will be about something people recognise, something political, humorous, traditional, celebratory, etc. It's party music, but it still ties in with South African identity and history, and has meaning beyond music.

This flexible hybrid is what you'll hear in South Africa's clubs, or if you turn on the radio, take a ride in a taxi (it was through taxis that the early house music compilations were distributed), visit a shebeen or a shisa nyama, basically wherever there's music playing. And with the world's dance music lovers' growing hunger for the "foreign but familiar" you're almost as likely to hear the same sound whether you're clubbing in London or Miami. Which is why the biggest names - Oskido, Black Coffee, DJ Fresh, DJ Cleo, etc. - have been racking up airmiles on the international DJ circuit for the past five years.

As we did with the Kwaito piece, here are 12 of the best from the last few months, followed by some album recommendations. First, though, we tip our hat to DJ Mujava, the man behind the 2006 hit Township Funk. DJ Mujava wasn't the pioneer of South African House - that honour belongs to DJ Oskido and DJ Fresh - but this was the track that first tuned the world into South African House.

I'LL HOUSE YOU!! Deep House Mix Special Thanks to Steve Ike Shaw,Mildred Velasquez aka (Millie Moe),Jus June,and Nylatina Quietstorm and most of all Tommy Rio for making this mix possible you guys are the best......Mix and produced by Jazz 42 also can't forget Basement Collective.....

Something to chillout with smooth jazz..Enjoy Special Thanks two Amazing Ladys Sharon Pain and NYLatina Quietstorm for making this mix possible. Checkout NYLatina Quietstorm @ http://nylatina.podomatic.com/ Produced and mix by Jazz 42

Sometimes you just want to chillout and get into a nice and smooth mix...Enjoy produced and mix by Jazz 42

Those was the days Big Shout out to the DISCO TWINS,NU-SOUNDS,DJ breakout and funky 4mc,charlie chase and cold crash crew,Zulu Nation,Grand master flash,Infinity machine, And all the Pioneers That made it happen back in the days of n.y.c.....Mix and Produced by Jazz 42

Roots reggae is a subgenre of reggae that deals with the everyday lives and aspirations of the artists concerned, including the spiritual side of Rastafari and with the honoring of God, called Jah by rastafarians. It also is identified with the life of the ghetto sufferer, and the rural poor. Lyrical themes include spirituality and religion, poverty, Black pride, social issues, resistance to government and racial oppression, and repatriation to Africa. The increasing influence of the Rastafari movement after the visit of Haile Selassie to Jamaica in 1966 played a major part in the development of roots reggae, with spiritual themes becoming more common in reggae lyrics in the late 1960s. Important early roots reggae releases included Winston Holness's "Blood & Fire" (1970) and Yabby You's "Conquering Lion" (1972).[1] Political unrest also played its part, with the 1972 election campaign of Michael Manley targeting the support of Jamaica's ghetto communities.[1] Increasing violence associated with the opposing political parties was also a common lyrical theme, with tracks such as Junior Murvin's "Police & Thieves" and Culture's "Two Sevens Clash".
The heyday of roots reggae is usually considered the latter half of the 1970s – with artists such as Johnny Clarke, Cornell Campbell, Bob Marley, Peter Tosh, Burning Spear, Dennis Brown, Max Romeo, Horace Andy, Hugh Mundell, and Lincoln Thompson, and groups like Black Uhuru, Steel Pulse, Israel Vibration, The Gladiators and Culture – teaming up with producers such as Lee 'Scratch' Perry, Bunny Lee, Joseph Hoo Kim and Coxsone Dodd. The experimental pioneering of such producers within often-restricted technological parameters gave birth to dub, and is seen by some music historians as one of the earliest (albeit analogue) contributions to modern dance music production techniques.
Roots reggae also became very popular in Europe in the 1970s, especially among left-wing white youths in Western Europe.[3] The Wailers' popularity in Europe opened the door for other artists, and roots reggae artists became popular with punk rock fans.[1] When Jamaicans turned to dancehall, a lot of black, white and mixed roots reggae bands were formed in Europe. Later on roots reggae also made its way into the United States with the mass migration of Jamaicans to New York. This took place with the reforms made to American immigration laws in the early 1960s. Along with localized traditions and food, reggae music was inevitably brought as well, contributing to the New York City soundscape.
While roots reggae was largely overtaken in popularity in Jamaica by dancehall, several artists from the original era, such as Culture, Burning Spear, and Israel Vibration continued to produce roots reggae and artists like Beres Hammond and Freddie McGregor continued the use of roots reggae, as a musical style and thematically, through the 1980s. In the 1990s younger Jamaican artists became interested in the Rastafari movement and began incorporating roots themes into their music. Most notable among the new generation of "conscious" artists was Garnett Silk, who's positive spiritual message and consistent use of roots and rocksteady riddims gave him cross generational appeal with Caribbean audiences. While other notable dancehall stars like Capleton and Buju Banton became devout Rastas and changed their musical direction as a result.[1] Other modern roots artists and bands also emerged at this time, including Luciano, Junior Kelly, and Morgan Heritage.Enjoy mix and produced by Jazz 42