Jah9 interview on Colourful Radio 04-September-2016

Deeply mystical, Jah9 has emerged from a chrysalis of poetry, dub and spirit to become a powerful femiNINE energy within a universal grassroots movement of consciousness. Inspired by the open spaces in the instrumental dub of 1970’s Jamaican roots music, Jah9 sings with a voice that belies the dimensions of her physical body, from a soul much older than its current vessel; “reminiscent of that darkly operatic wailer for truth & justice, Nina Simone.” Her philosophy–profoundly spiritual, and her style–Jazz on Dub. Born Janine Cunningham, Jah9 spent her first 9 years in Falmouth, Trelawny, on the rural western edge of Jamaica before moving into the city of Kingston, in 1991. Transplanted in the city, this country girl, used to the idyllic Falmouth where everyone knew everyone else, was suddenly struck by chaos disguised as order in Jamaica’s capital. Highly sensitive to her surroundings, she ventured inward and found an outlet for her feelings in the words that she wrote.

Growing up in a conscious family with a preacher for a father and a social worker for a mother, Janine had always been aware of the injustices in the world. However, it was not until she was on campus at the University of the West Indies that she would embark on a pivotal journey to find her true voice. At UWI, she would gather with a group of fellow socially conscious and Rastafari brethren by a fire to steam herbs and reason for long hours. There her heart was opened to the teachings of Haile Selassie I and her ears to the hypnotic bass of the heavy dub rhythms of roots reggae. Janine eventually embraced her childhood nickname, Jah9, as she learnt the significance of the word “Jah” and the number “9”. A staple on Jamaica’s underground poetry scene by 2009, in instrumental dub she found a place where her words could live, and the songs she started to write found eager encouragement. Jah9 began recording with renowned keyboardist and flautist Sheldon Bernard and her demos caught the attention of the legendary Beres Hammond, who then began helping to develop her recording technique. She later teamed up with popular producer Donovan Bennett of Don Corleon Records and released her first 2 singles in late 2010.

Her focus and determination eventually culminated in the release of her debut album entitled “New Name”, an homage to her personal spiritual journey produced by pioneer dancehall selector and roots producer Rory ‘Stone Love’ Gilligan. Voted album of the year by AchisReggae.com, “New Name” has been described as “quite simply, the superb sum of its parts: a straight cultural roots album” by United Reggae’s Angus Taylor.

Since 2013, Jah9 has performed on the main stage with her band ‘The Dub Treatment’ at most major European and US reggae festivals. Described as “black magic” and “possessing a chilling yet bewitching vibrato evoking a young Ella Fitzgerald and a rootsy coolness à la Erykah Badu” her dub-filled live performances elevate consciousness and invoke a spiritual reawakening.
Jah9, a certified yoga instructor trained in Kemetic, Ashtanga and Iyengar methods, has been known to compel her audiences during her live set to pause, breathe deeply and feel empowered. She opens minds and soaks them in knowledge and positivity. As a way to intimately engage with her fan base, Jah9 also curates an organic rhythm-based yoga experience she calls ‘Yoga on Dub’. Jah9 is rooted in her African heritage and driven to serve. In 2015, while on tour in Italy and Malta she was intent on engaging with African refugees, sharing with them insight on the new environment they would face, natural wellness as well as yoga/breathing as healing therapy.

Jah9’s words are a reflection of the life she has constructed. Considered a nation
builder and community activist, she has been heavily involved in youth development work. She has helped develop programs for at-risk youth in Kingston, worked on the creation of “Healing of the Nation” public awareness campaign and been at the core of the creation of the non-profit youth and arts advocacy group known as Manifesto JA in 2005.

In 2016, the Universal year of 9 [2+0+1+6], Jah9 has established for herself a
foundation as a formidable lyricist and revolutionary force; and now shifts her energies to unveiling a deeper more personal deployment of her ‘Jazz on Dub’ sound. Empowered by her femiNINE – that which is found in the symbolism of 9, the symbol of creation and womb of the universe – Jah9 is set to release her sophomore album divinely-entitled ‘9’.

Jeniqua interview on Colourful Radio 21-August-2016

The Australian born singer/songwriter is equally comfortable with R&B, Soul, Jazz fusion & dance.
Her voice blends elements of these genres naturally to create a unique sound where every note
exceeds expectations.

Jeniqua, nominated for a Shorty Award, in 2014 for ‘best singer’, does all her own backing vocals, vocal arrangements, and co-production on her songs. She writes songs straight from the heart.
Always inspired by much on her journey, a deep love for God and a desire to connect with listeners across the globe, her rawness and personal revelations of much learnt in life so far, has captured the hearts of many and helped them on their journey too. Her mission through music, is to uplift, encourage & empower people in their own lives and meet them where they are at, whether expressed in a silky smooth ballad, or soaring to great heights in a powerful and funky dance track.

“Jeniqua is a phenomenal singer & songwriter that is not afraid to be herself. The out-pouring of her lyrics are truly positive & captivating. I recommend her music, not just to music lovers, but also for those who are seeking comfort & trying to find some release”, says Norma Carby, Lifestyle Mentor & Coach (NY).

Jeniqua was born into a BIG family. Unique, in that, referred to, as the ‘1,2, 3 Family’, (an Australian Mother’s record). Her parents, had, first child, then twins & then triplets. Jeniqua is one of the triplets. Born in Australia, though parents heritage is European (Swiss, Danish, Polish, French, Irish, Scottish).

Always known she had a God given gift and talent for singing, as a young girl, Jeniqua chose to take her natural gift further. Her voice was once assessed by a local vocal coach where she picked up the skills to be able to pass on her natural talent, along with knowledge of vocal posture, to others and began vocal coaching. She had also written poetry from a young age, went on to teach herself piano, adding melodies and chords to poetry verses and eventually writing lyrics to her own songs, as her creativity continued to blossom.

With a continual flow of songs in her heart, Jeniqua is constantly writing and has many more songs to share with you and grateful to all the radio stations, that feature her on playlists and in rotation and to her fans across the Globe, who support her music.

Jeniqua has track record of writing catchy tunes. From 2010 to present, she has released many songs filled with heart and inspiration, such as ‘MAKING LOVE’, her ‘JENIQUA EP’ both charting on playlists in UK and the USA. In August 2014, single: ‘U GOT IT GOIN ON’, was released also receiving great reviews and fast becoming a favourite on the airways.

Fast forward to May 2016, ‘HOW DO I LOVE YOU’ single was released, gracing both
Gospel/Christian contemporary and mainstream playlists. Then ‘Awaken my soul’ 7 song CCM/Gospel LP/ALBUM was released on 21st July 2016.

Forthcoming releases include, Jeniqua’s song ‘YOU R MY SMILE’ featured on Social Climax Part 2 mixtape from the UK, with DJ Niceness and her highly anticipated debut album and further singles.

These are just a few, among the many projects she has been working on. Continuous writing and inspiration, fills her day.

Jeniqua’s huge voice and talent has been compared to many established recording artist that influenced her development, though make no mistake as a vocalist, her voice is an unmistakably unique and divine gift. Her combined talents and style make her the complete package entertainer.
“Jeniqua’s voice, stage presence, raw talent and work ethic will have a huge impact on the industry.”

Nana Genesis interview on Colourful Radio 14-August-2016 

Nana Genesis is a singer-songwriter, vocal coach and performing arts teacher from London, Great Britain.

The Beginning

Having started singing and performing at the tender age of 6 to family and friends, writing her first song at the age of thirteen and leading harmonies in school productions, Nana was clearly born to perform.

Nana’s musical flair did not stop there, as she successfully joined the London Allstars Steel Band and played at the famous Notting Hill Carnival. At the same

time, she decided to learn to play the guitar and hasn’t looked back since. Whilst still at school, Nana sneakily auditioned to be part of the band, Ezeke and Aqua Vita . She got the job, but was not able to tour with them until she finished school. Having completed her education, Nana was finally able to go on a world tour with Aqua Vita. Meeting and sharing the stage with Natalie Cole, Ella Fitzgerald, Cher and Ben Vereen . Whist playing at the Monte Carlo Sporting Club, Nana was able to secure a solo slot, performing for Princess Grace of Monaco Grace Kelly! where Ms Kelly took to the floor on her own, dancing as Nana sang.

Rediscovering Reggae

Looking for a new challenge, Nana decided to tap into her love of Reggae, having grown up listening to it as her father was Jamaican. Nana travelled to Jamaica where she worked with the legendary Gregory Isaacs.

She also went onto back the formidable Freddie McGregor . It was a dream come true and Nana finally secured her reputation as a strong vocal artist and excellent backing singer.

With Reggae finding its way back into her life fulltime, Nana went on to work with Earl Sixteen, Culture, Junior Delgado, Johnny Osbourne and the Mad

Professor at Ariwa Sounds Having been writing her own songs for years, Nana was finally able to record some tracks with PWA Records and went on to perform them across the UK, with her most successful single, Holding On .

Me, Now

Nana has continued to work as a backing vocalist. Recording in the studio, on stage, covering Pop, Soul, Jazz and Reggae . She also writes for other artists and performs her own material.

Whilst continuing to work on her own music and perform with high profile artists, Nana wanted to pass on her knowledge to other budding musicians so completed a Performing Arts Access course gaining a Distinction . She currently works with various performing arts companies and schools as a vocal coach, training singers and performing for nationwide events and charity functions.

Whilst doing all this, Nana also uses her exceptional talent to work with people who have Dementia, as a singing coach. Her work with clients has proven to boosts their brain activity, manages stress and stimulates positive interaction with others.

Whilst teaching and writing, Nana continues to tour as a busy artist, performing at many festivals and venues with the likes of Max Romeo, John Holt, Michael

Prophet, Wayne Wonder, Ken Booth, Chucka Demus & Pliers, Queen Ifrica, Levi Roots, Little Roy and Gappy Ranks ( on the Jools Holland Show BB2 ),

Derrick Harriott, Savanna, Nature, One Love Orchestra and Mary Wilson from the Supremes.

Nana’s musical influences spread far and wide, but the key artists include: Judy Mowatt, Barbra Streisand, Nina Simone, Whitney Houston, Bob Marley and Marcia Griffiths.

Nana is now ready for the next phase in her career and has written and produced her own album, The Story So Far , and will be promoting it and performing very soon. Watch this space!

Marsha Ambrosius interview on Colourful Radio 07-August-2016

A great song takes you on an emotional journey. It’s an exploration into and embracing of longing, passion, remorse, romance, friendship, love, pain, happiness and everything that falls in between.

Multi-Grammy® nominated musician Marsha Ambrosius knows a little something about writing great songs. Whether it’s as one half of Floetry, on her chart-topping solo debut Late Nights & Early Mornings or her career as an acclaimed songwriter /producer, her observations on love and life paired with her soulful and honest vocals flip the personal into a universal truth.

Marsha Ambrosius will unleash her next tale of love and life through the release of her sophomore solo album, Friends & Lovers. Produced and written by Marsha, Friends & Lovers features collaborations with Charlie Wilson, Skye and Lindsey Sterling. The sixteen-track album plays host to a variety of standout records including the hip-hop flavored “Stronger” featuring Dr. Dre, which is a remake of Sade’s “Stronger Than Pride.” The track, produced by Marsha, is the perfect combination of soul and hip-hop. When discussing the collaboration, Marsha joyfully offers, “I’ve been privileged to be under great wings that have allowed me to shine.”

The first single is the moody, yet inspirational “Run.” According to Marsha, “Run” was not intended to be a single, but instead was “just a magical moment in the studio. I remember sitting behind the piano and it’s like (the song) wrote itself. I kept hearing – ‘What am I running from, what am I running towards? It was run away from the pain I feel now.’ Everything that I thought I was reaching for brought me down. It was that wake up call, that this could not be my life. I had to run towards something bigger and better. I feel like people get so caught up in who they think they’re supposed to be. You’re supposed to have plans but rules are made to be broken and plans change, all the time. There are curve balls that change your perception, and that’s what ‘Run’ is to me. There’s a melancholy tone but the lyrics have a rejoiceful, hopeful narration.”

Equally emotional is “Love” and like the sensation itself, the song is alternately hopeful and tinged with sadness. Quoting the lyrics, Marsha says, “‘When love knocks at your door, don’t turn it away, let it inside and invite it to stay… Just let it be.’ Don’t be afraid and if this is how you feel this must be love. There’s so many ways to spin what love is for you. It can be the most joyful and terrifying time to love at the level that you feel you deserve. With this song it was literally that morning, standing on the balcony, cup of coffee overlooking wherever in the world …I read the morning paper but there’s nothing in there about the love I have for someone. Yet this is the biggest news I have in my life…no one is reading about little old me. But for me, it was an affirmation and reminder of what to do when that is exactly what it is.”

“Spend All of My Time”, a special duet with the legendary Charlie Wilson addresses another facet of what it means to love and what it feels like to say goodbye. “This is about me missing my grandmother and my aunt to the point where it hindered how I carried on my day. I lost my grandmother in 2003. I lost my Aunt way too suddenly to cancer and to watch her deteriorate before my eyes made me look at what is important. Music became my importance. I felt guilty for that and I know that’s what they would have wanted for me. I had no choice, but to keep living. I’m out here trying to get this money so we can get to Disney World. Everyone is rooting for me and wishing me well and there’s me not being able to be by their side. All the happiness this money can’t buy, I wanna spend all my time with you.”

A native of Liverpool, England, Marsha burst on the music scene as the singing half of Floetry. Their 2002 debut Floetic produced “Say Yes” and “Getting Late” as well as four Grammy® nods. Following their 2005 sophomore album, Flo’Ology, the duo opted to take different paths and despite the difficulties of ending a long-time partnership, Marsha continued to build a name for herself as a songwriter and producer. Creating “Butterflies” for the late Michael Jackson in 2001, Marsha has also worked with the likes of Alicia Keys, Kanye West, Jamie Foxx, Busta Rhymes and Nas. She’s been nominated for a total of six Grammys®, honored by BMI as their “Songwriter of the Year” and has a devoted fan base that includes her musical idols Prince and Stevie Wonder.

Released in 2011, Late Nights & Early Mornings entered the Billboard Hot 200 at #2 and debuted at #1 on the Top R&B/Hip-Hop Albums chart. The single “Far Away”, was a staple on BET and Marsha was the recipient of a Centric Award at the 2011 BET Awards. “With my first project, I just knew that I just wanted to do an album. This time the concept came immediately, the stepping stone was already laid. So I was like, ‘Where do I go from here? What do I speak about?’ So I met a whole bunch of new friends I care about dearly and some potential lovers… it was like the sequel. I’m always connected to music but from a movie standpoint. Every song I create I see the movie, I visualize the video, I’ve connected to this character that you have to become to deliver the music. Even going back to the Floetry days, when I wrote “Getting Late” I knew that the lady had been divorced, that she had two baby daddies and the first one kept coming back,” Marsha laughs.

Asked what she hopes people will take away from Friends & Lovers and Marsha’s answer is as passionate as her music. “I wanted this album to be a thing that felt timeless. There are so many trends that come and go that if you find the space that makes you nostalgic, then that’s exactly the angle I was going for. To make you feel like you’ve heard this before or that it’s so relatable and you’re so able to connect with the story behind it, like ooh. I’ve had that wild night or I’ve had that early morning or I’ve met that friend who then became a lover. There are all these pieces of a puzzle that just come together in one project. I want them to know that she’s talking to me. On this album, my perspective is I want to hear you say what I want you to tell me.”

Will Downing interview on Colourful Radio 31-July-2016

Danielle Ponder interview on Colourful Radio 24-July-2016

Teri Tobin interview on Colourful Radio 17-July-2016

Flip through any old stack of underground disco and boogie vinyl released between the late ’70s and mid-’80s. If the name Leroy Burgess isn’t in the credits of at least one out of the first 50 you scan, consider it a fluke. Despite the fact that Burgess released a grand total of one single under his own name, he had his hand in so many recording sessions that even devout fans had trouble keeping tabs on his activities. Each release — some were by short-lived studio projects, others were by full-blown groups — was either aided or carried by Burgess, a multi-instrumentalist, vocalist, producer, arranger, and songwriter who made a significant impact on dance music during his hottest period of activity. Even if Burgess never had a single note of his voice recorded, his value to black music (including the birth of house) would be firmly in place — but it’s this facet of his career that has gained him the most attention. A supremely expressive gospel-steeped baritone, Burgess belongs alongside the soul greats when it comes to conveying all the life-affirming joy that comes with blissfully surrendering to love. One Leroy Burgess song is likely to temporarily lift all the weight off your shoulders and strip you of cynicism.

Born and raised in Harlem, Burgess sang in church choirs and was tutored by Herbie Jones, a Duke Ellington and Billy Strayhorn associate; apart from that, his musical knowledge was picked up informally through his mother (a onetime opera singer) and the infrequent family reunion meet-ups with his uncle, legendary Philly soul arranger/producer Thom Bell. He cut his teeth in the late ’60s as one-third of a group called the Mellow Sounds. Burgess, Stuart Bascombe, and Russell Patterson were still in their teens at the turn of the ’70s, but they were extremely anxious to be heard and recorded. A producer, songwriter, and arranger named Patrick Adams eventually became involved in several significant aspects and renamed the trio Black Ivory. It wasn’t without a struggle that Adams helped Black Ivory attain a Top 40 R&B single with their debut, “Don’t Turn Around.” Money was scrapped together for the recording, and numerous labels weren’t impressed enough to take the gamble. Today took that gamble and succeeded with it, though the group never made a huge breakout. Burgess remained with the group until 1977, when he opted to part under good terms. By that time, Black Ivory had a few ballad-heavy soul LPs under its belt. Burgess often co-wrote songs with Bascombe, Patterson, and Adams, and his time spent with Adams had a profound effect that lasted throughout his career. After Black Ivory, Burgess would often team with Adams, a figure who influenced him in more ways than one.

Despite the departure from Black Ivory, Bascombe and Patterson weren’t through with Burgess. The group was in need of a couple songs for an album and Burgess donated a pair that had been abandoned from a project that hadn’t panned out. These two songs, “Mainline” and “Hustlin’ (You Gotta Be Dancin’),” made for a turning point in Burgess’ career. Not only did Burgess allow Black Ivory to use the songs, but he also made a temporary return to help with the recording session. “Mainline,” which has long since become a dancefloor classic, got Burgess’ disco ball rolling. This and “Weekend,” another Burgess tune recorded for Adams’ Phreek, kicked off a seemingly endless series of projects that is nearly impossible to accurately depict with a time line. Releases by Bumblebee Unlimited (“Love Bug”), Inner Life (“Moment of My Life”), Dazzle (“Reaching”), Phreek (“Weekend”), the Fantastic Aleems (“Get Down Friday Night”), Aleem (“Release Yourself”), Intrigue (“Fly Girl”), Caprice (“100%”), High Frequency (“Summertime”), Universal Robot Band (“Barely Breaking Even”), and Change (“You’re My Number One”) featured Burgess’ involvement in various capacities, as did material from solo artists such as Rick James, Dino Terrell, Fonda Rae, Venus Dodson, Ben E. King, Eddie Kendricks, Peter Jacques, and Narada Michael Walden. Needless to say, Burgess was in-demand. He could write a song, arrange it, produce it, sing on it, play keyboards — almost everything short of pressing the records and delivering them to the shops.

In the middle of all this work, Burgess also found time to helm a couple projects. After one particular 1981 session with two of his most frequent partners, bassist James Calloway and drummer Sonny Davenport (the trio, fleshed out by Burgess’ keyboards, made for one of the finest rhythm sections in the field of disco/boogie), producer Greg Carmichael allowed the musicians to use the remaining recording time for whatever they pleased. The result was “Let’s Do It,” a sweet mid-tempo single full of all sorts of interlapping, oddball synth sounds and Burgess’ ever-beaming vocals (not to mention some valuable background help from Dorothy Terrell and Burgess’ sister, Renee). Released under the name Convertion, the single sparked a partnership with Carmichael that culminated in the Logg LP for Salsoul. The Convertion crew intended to continue under that name, but legal issues with SAM — the label that released “Let’s Do It” — prevented Burgess and company from using the name on another label. Regardless, Convertion continued as Logg and delivered a horribly overlooked self-titled LP on Salsoul in 1981. The album spawned three singles — “I Know You Will” (remixed by Larry Levan), “Dancing in the Stars,” and “You’ve Got That Something” — that exemplify the era that followed disco and predated house. Those three songs took up half the space on the album; the three non-singles were hardly slouches either. Amazingly, only “I Know You Will” had any effect on the charts, registering at a bonkers number 81 on the Billboard dance chart.

Burgess’ output was reduced to a slow pace by the end of the ’80s, though he did remain somewhat active throughout the early 2000s, collaborating occasionally with artists like Blaze, Glenn Underground, and Cassius. Burgess’ inability to become a household name can be attributed to a number of things. His happiness with anonymity, fostered by working under several aliases and with numerous groups, didn’t exactly enable name recognition. And the fact that the bulk of his work was released on small labels with little in the way of promotion — or radio stations willing to play music that was at the dance end of the spectrum — didn’t help either. Still, there isn’t a single history-aware house DJ who doesn’t know his or her Leroy Burgess. In 2002, the Soul Brother label tied up some of the many loose ends in Burgess’ discography by issuing two crucial releases: The Anthology, Vol. 1: The Voice and The Anthology, Vol. 2: The Producer. Around this time, Burgess began performing again with Black Ivory.

Incognito’s “Surreal” is one of the band’s freshest, most creative albums and sees the addition to their line-up of two outstanding new vocalists in Natalie Williams, UK jazz scene luminary, and 26-year-old German-born singer-songwriter Mo Brandis.

Incognito founder Jean-Paul “Bluey” Maunick originally wrote more than 30 songs for the project and whittled them down to the 14 selected for the finished album, which also includes vocal contributions from Maysa – described by Bluey as “my awesome musical muse” – and Vanessa Haynes.

The formula is beautiful songs over a bed of fluid bass lines and irresistible drum grooves, and the album reflects the energy of the band’s live shows, while adding a raw edge to their customary slick studio production.

Mo Brandis, born in Hamburg but brought up in Swaziland, began singing with Incognito on their live dates last summer. An accomplished pianist and sax player, he has already enjoyed success as a songwriter, responsible for a No 2 hit and Gold album in Germany last year. Mo sings and co-wrote the first single “Goodbye To Yesterday”, as well as the equally hooky “Don’t Wanna Know”. Bluey enthuses: “If there’s a young vocalist who can deliver on both sides as a modern R&B singer and a soulful old school crooner, it’s Mo”

Bluey is equally enthusiastic about the qualities that Natalie Williams – one of the most in-demand jazz-soul vocalists in London – brings to the band. “I first became aware of her when we played Ronnie Scott’s club and she was the singer with the house band – I thought she was amazing and began a pressure group to persuade this super busy bee to join us, which she finally relented to, with help from our keyboard player Matt Cooper”.

Natalie contributes the soulful “Above The Night” and the sparse Seventies-style bossa nova “The Stars From Here” as well as “Restless As We Are”. Vocal powerhouse Vanessa Haynes, who joined Incognito two years ago, is in blistering Loleatta Holloway-esque form on the album’s one cover song, “Ain’t It Time”, a little-known Seventies disco tune.

The album’s opener, the funky, bass-driven “The Less You Know” – written by Bluey with the band’s bass player Francis Hylton – is vocalled by the ever reliable Maysa. The US singer, who first featured with Incognito on their 1992 set “Tribes Vibes & Scribes”, also contributes a beautiful performance on “Capricorn Sun”, with its bubbling, rhythmic groove, which Bluey “wrote on my guitar after reflecting on a friend’s ongoing battles with his Capricorn partner”.

Long-time Incognito fans will be happy that there are two driving instrumentals – “Rivers On The Sun” and “Thoughtful Fantasies”, the latter continuing Bluey’s passion for Brazilian jazz funk with all horns blazing, and percussion breaks.

The band perform a 10-day US tour beginning March 28, and then begin several months of touring throughout the UK and Europe in support of the new album. They play London’s Islington Assembly Hall on May 25.