The next episode of Psychodelic Birthday PartyÂ featuring Driftkikker and Puck Cyson (produced by Daddo) should be online in about a month, as soon as it is out there I will be letting you all know.]]>
Thus, withÂout stealÂing or lazily recyÂcling from other genÂres, anaÂlogue and digÂiÂtal merge into an easy-listening flow of relaxÂing tunes, as it hapÂpens in Bright is my day, where Daddoâ€™s voice and lyrics give their best. This is true in Love is the way, where in aÂ bold encounter Emil Kuntoâ€™s accorÂdion and NelÂson Latifâ€™s cavaquinho keep teasÂing each other, resultÂing in aÂ tune meaÂsurÂing up with the best Gotan Projectâ€™s performances.Â The tresÂpassÂing into more upbeat rhythms of Oh my love, is also quite remarkÂable. Some jazzy cues in other tracks comÂplete the picture.newbeatsmedia.com, nbm dev, Mar 2010
You can read the whole article here written by Lorenzo Marvulli]]>
So, the new review just came in, this time from a Dutch Free Musiczine “Speaker”
Speaker is a free popjournal that is spread bi-monthly to subscribers, existing band members and relations which are associated with the PopUnion. Speaker is also spread around the podiums and the club circuit, festivals, record and music shops, rehearsal rooms, recording studios etc.
You can read it online as well or download it as a PDF (only Dutch sorry)
Next to that there is a streaming radio that features all of the reviewed artist from the last edition!
And for you living in Rotterdam you can walk down to the Centrale Bibliotheek and take a seat at the Luistertafel for all of the featured artists
Here is the transcription of a review and the English translation you can find right under.
Driftkikker is sinds 2006 het project van zanger gitarist Daddo, die vanuit huis en studio de programmering en (eind)productie van dit collectief voor eigen rekening neemt. Het resulteert op tweede langspeler D*Time in 12 ge(s)laagde warme tracks waarin analoog en elektronisch samenvloeien. Vanuit de jazz wordt met een hoog spelniveau moeiteloos van genre naar genre geswitched. Op de gevarieerde basis van bluesgitaar, toetsen, bass en drums brengen de gastmuzikanten extra kleur aan met o.a. saxofoon (â€˜Still Sometimesâ€™ enâ€˜One More Dayâ€™), accordeon (â€˜Love Is the Wayâ€™) en fluit (â€˜Oh My Loveâ€™). Driftkikker lijkt geÃ¯nspireerd door een band als Incognito, om in een volgende track aan bijvoorbeeld Jazzanova te refereren. Bindend element is de lage stem van Daddo die op de loom groovende ritmesectie zijn optimistische teksten brengt over liefde en zonneschijn. Gek genoeg doet de stem soms denken aan die van Fun Lovin’ Criminal Huey Morgan, in een poging Barry White in herinnering te roepen. Ieder nummer ligt lekker in het gehoor en de enorme diversiteit zal ook live zonder twijfel boeien.
Driftkikker is a project of guitarist singer Daddo since 2006, who from his home and studio does the programming and (end)production for this collective. The result is the second LP D*Time with 12 successfully warm tracks wherein analogue and electronica flow together. From the jazz that’s played on high level movement from genre to genre is effortlessly made. On the varied basis of bluesgitaar, keys, bass and drums the guest musicians bring extra colors s.a. saxophone (â€˜Still Sometimesâ€™ and â€˜One More Dayâ€™), accordion (â€˜Love Is the Wayâ€™) and flute (â€˜Oh My Loveâ€™). Driftkikker seems to draw inspiration from a band like Incognito, however the very next track refers to a for an example Jazzanova. Binding element is the low voice of Daddo who sings his optimistic lyrics about love and sunshine over a heavy rhythm sections. Oddly enough his voice makes you think of “Fun Loving Criminal” Huey Morgan, in an attempt to remind you of Barry White. Each track is easy to listen to en the wide diversity shall without a shadow of a doubt excite live on stage.
As they say picture speaks for thousand words. Here is the trailer of the movie “Blue Gold” please try to find the time to watch it, you won’t regret it and I’m sure you will feel prone to share it with your friends !
So what’s the news, today I got interviewed by Mijke van Wijk from NPS (Dutch National Radio) Radio6.
She picked up on Driftkikker whilst surfin and got curious about the whole lot behind it Gave me a call and we had a most pleasant conversation about how things came to be.
For you who are not familiar with Mijke, here are few words about her:
Mijkeâ€™s Middag stands for a pleasant mix of energetic jazz and soul!
Mijke van Wijk lets you hear that jazz is not necessarily a ‘moaning music’: “Jazz is Hip. I oftenly see jazzbands that are turning the clubs upside down. That is the sort of music you can hear on my show. In about five years the whole Netherlands will be listening to jazz at home”, says Mijke van Wijk.
Regularly there are live bands on the show and present the latest tracks or projects. Next to that Mijke is keeping you updated about the most important developments in the Jazz, Soul and World.
You can listen online every working day as well @ http://radioplayer.omroep.nl/radio6
Wanna listen to it today go to http://radio6.nl/uitzending-gemist/
Or catch the previous shows @ http://player.omroep.nl/?serid=4863
Driftkikker is a Dutch collective around singer/composer/multi-instrumentalist Daddo. His working method for this record : gather a list ofÂ musicians and let each play pieces separately so that afterwards he would weld the whole on his own. Still, this has not become a collage, but the whole has been well thought through and twisted together in one. A nightly get off in the loungy shimmer zones inbetween (fusion)jazz, pop, and r&b where all extremes are avoided but with extra addition of the right beats, grooves and soul. Not a Prefuse 73 but more likely JSP-jazz record with a modern shades or even in the footsteps of George Michael (‘Love Is The Way’!). Daddo have indeed selected class musicians for this experiment. Among which a guitarist Elliott Randall (Steely Dan), accordionist Emil Kunto (Mala Vita) and the bass player Randy Winterdal (Dee Dee Bridgewater) while the mastering ended in the hands of Wes Maebe (Sting, Roger Waters). Really innovative it is not, however this is the perfect record for the hip clubs. Not by chance does one of his tracks stand on a mixcompilation for a very well known and expensive car brand.
or, you can open a live stream in your favorite player;
itunes, choose music/advanced/open audiostream and copy this :
And if you don’t hear us… well, don’t stand still, get in touch with them and let em know they love it !
Big Thanks everybody, especially to Phil Horneman who does the show, big ups for you man !
oh yeah, don’t forget to check WJS @:
Here is a newbie for you ! Twitter approached me the other day offering a new service for artists, “Tweet for a track” sweeeeet,Â basically the idea is that you get a track for just one tweet, horaaah why… you might be asking yourself, well..Â every artist needs a promotion and help on his way, this is where you kick in, this way you will be ensuring that the artist gets exactly that and while supporting and promoting the artist you will be extending your musical library at the same time, as they say win win situation !
So, From now on you can find Driftkikker’s freebie “Still Sometimes” for just one tweet at http://www.tweetforatrack.com/driftkikker
Join in and let your family know, let your friends know, hell let your friends friends know and while you’re at it, let your family’s and friends neighbors know as well
Have fun !
And Thank You in Advance for your support !
When I came to the point of realizing this record I was wedging a bargain with my thoughts in between “What on Earth was I thinking when getting myself into this” and self satisfying smirk that yells with “OOOH,YEEEEEAAAAAH”.
Start was a smooth ride, laid down the tracks in the simple arrangements and send them to the guest artists, basically I wanted to go with the flow of the classic jazz records as far as the recording sessions were concerned, meaning I’d record first takes trying to keep the essence of the experience from every artist.
The trick for me here was not to allow any of the artists to hear the takes of each other so they wouldn’t be influenced by anything else but the basic arrangement.
From the beginning I picked my partners in crime carefully and diligently waited until each had the right feel for the moment, this provided some of the more memorable moments of my life.
Besides working with John Kakiay and Nenad Radosavljevic aka Ned both of whom you know from “Coming of the light” there are few extra interesting guest appearances.
Let me start of with Praful,
After getting in touch with Praful through mySpace I had a chance to meet him on one of his gigs, we talked extensively and what a great guy he is, we clicked and few weeks later one evening at the early hours as I was about to check my mail one more time before shutting the computer down, I received first takes from Praful, WHOOOA !!! I listened to that super funky flute he sent me that you can hear on “Oh my love” and was instantly blown away, literally and figuratively, so I sent him a reply immediately and guess what, he was still there, recording. As the night progressed I was receiving more and more files as we were chatting, “this man is a genius” I thought “he’s just pouring that stuff out”, and then a miracle, he sent me sax tracks for the “One more day” I’m sure you will agree, that lick on the chorus is a thing of beauty !
Very soon after that a good friend and great guitar and cavaquinho player Nelson Latif from Brazil came by to lay down some takes, basically we wanted to record some Latin flavored guitars and some cavaquinho in “Choro” style for what he is so famous for, what happened during that afternoon was beautiful and so true to the Brazilian spirit of his, as we finished with lunch he started playing on pots and pans in my kitchen, man I just had to have some of that raw flavor, we recorded that on track “Love is the way”.
Just about the same time a week or two later another good friend Emil Kunto an accordionist from “Mala Vita” had a free slot and he complemented that very same track ever so beautifully with some intricate Balkan melodies with a touch of Tango.
Speaking of Balkan, I have an immense pleasure of knowing one of the most amazing jazz guitar players, Milos Dimitrijevic, who was there to give me sound advice and help me out with improving my skills every time I got stuck, his solo on “You & Me” is so smooth lyrical experience that breathes with simplicity and sophistication.
Since I’m hooked to that warm and Latin feel, I couldn’t have done some of the tracks without the input of Randy Winterdal a man with whom I had some of the most interesting musical conversations over the years, funny enough he was working on his 2nd CD at the time “Alma di mi tera” this naturally led to more musical conversations and was great to share the experiences we build up since our last collaboration, I always have good laugh with this guy, at one point during the session he detuned “E” on his 4 string bass to a low “B” on “The other way around” and we started cracking cause it was as if he was playing on rubber, but laughs aside his sound and groove are exquisite as always.
Somewhere in this period another great bass player RenÃ© Dissel had some spare time and this was a day to remember.
I met RenÃ© few years ago when recording some sessions in Amsterdam, I just couldn’t stop enjoying playing with this man, he’s so funky, raw and sophisticated at the same time. I knew instantly he’d be someone I had to collaborate with in future, so as I was writing my preliminary arrangements I had him in mind. He listened to the arrangements in the car on his way to recording session, came at “Silence Studio” and recorded 5 tracks in record time, just as we were to wrap up I noticed that he brought a bow with his upright bass so I asked him if he would play one more take on “Under the Sun” with a bowed bass, geee, that take was a pure magic if you ask me, you will hear RenÃ© gasping with relief and satisfaction at the end of that track.
Just as the luck would have it somewhere in the summer I received a call from Elliott Randall, with whom I had only pleasure to communicate through internet until then. Elliott was in Amsterdam for a Sound Engineers convention and wanted to meet up, things that happened that day… This man is a true legend and he was so kind to make my acquaintance with some of the worlds most renowned sound engineers and producers, soon before I knew it I was sitting with Geoff Emerick and was having one of the more interesting conversations of my life, as our conversation finished Elliott introduced me to Wes Maebe we talked a bit and in midst of our conversation he stopped and commented “aah the Tears for fears” I looked at him stupefied and tried to distinguish the track in that clutter of noise in the room, and after about 10-15 sec I heard it as well, I looked at him again and thought “this guy has to master my record when I’m done he’s got the ears of an elephant.”
As the afternoon progressed and event was coming to an end, Elliott and me took a short straw around Amsterdam and I asked him if he was interested in collaboration, explained him the basic concept and he was quite enthusiastic about it what made me feel in heaven. As he went back home I sent him the basic arrangements and very soon I received the musical response for “Move, Time won’t stop” and “Conurbation”. What can you say about Elliott’s guitar playing that hasn’t been said already, he’s simply GREAT, and I feel very privileged to have had a chance to collaborate with him.
Now, all I desperately needed were female backing vocals, but I had no more time, record had to be finished, I needed someone who’d be able to nail it in a crunch time, but I didn’t know anyone, luckily my friend Emil came through once again, he happened to know these lovely three Caribbean sirens. Indira, Deborah & Nadine walked at Ned’s “Silence Studio” after a few days of prep and sang it perfectly, they did exactly what I was hoping for.
I was done !
Well with recording that is now I had to edit the whole and then mix it down…
SO, I opened up sessions, imported corresponding tracks, pressed play and instantly started hating myself, now for the very first time I realized the amount of work in front of me. Every track was going each and every way and I had to make sense of it all, bring it to life as if everyone played together for years. My gut feeling was telling me that I’m on the right track but the problem seemed as a steep mountain to climb. I took a deep breath and dived into the unknown, after I was done with the third track I changed my tune and thought this is the way to go, suddenly the whole started making perfect sense and things just started to fill each other, I could distinguish all the intricate details I needed and place them where I wanted.
Two months went by and I was done with editing and mixing.
It was time for mastering
Remember Wes Maebe, well I still was. Called the man and sat up a mastering session GHQ Sonic Cuisine. Meeting with him in London just made that positive vibe take a firm root. We spent a great afternoon and he pulled the best of analogue and digital worlds, to get that specific sound of this record. After we were done we jumped for a cup of tea at Elliott’s place to share and brag a bit while anxiously looking at his face to hear his judgement. He was all positive that made a huge burden fall from my chest, cause last thing I wanted was that Elliott Randall and other artists feel uncomfortable for putting their trust in me.
I hope you will enjoy this record and have many memorable moments in life with it as I had making it!]]>