TRIBE

Livin In A New Day

Tue, 26 Aug 2008 16:04:06 -0700

Livin in A New Day (C2 Remix)

Tue, 26 Aug 2008 16:02:57 -0700

Vibes From The Tribe

Tue, 26 Aug 2008 16:02:10 -0700

Gemini Ii

Mon, 20 Aug 2007 08:38:18 -0700

How Do We End All This Madness? (Vocal)

Mon, 20 Aug 2007 08:33:45 -0700

Doug Hammond - For Real

Mon, 20 Aug 2007 08:31:28 -0700

David Durrah - Space I

Mon, 20 Aug 2007 08:29:17 -0700

In The Moog

Mon, 20 Aug 2007 06:44:17 -0700

Doug Hammond - Wake Up Brothers

Mon, 20 Aug 2007 06:40:55 -0700

Space Odyssey

Mon, 20 Aug 2007 06:37:01 -0700

Tribe in session 2007

Mon, 20 Aug 2007 06:32:10 -0700

The Tribe Legends with Gayelynn McKinney (Tribe Sessions '07)

Doug Hammond

Mon, 20 Aug 2007 06:31:35 -0700

Straight from Linz Prof. Doug Hammond (Tribe Sessions '07)

Phil Ranelin

Mon, 20 Aug 2007 06:31:00 -0700

The Master Phil Ranelin (Tribe Sessions '07)

Wendell Harrison

Mon, 20 Aug 2007 06:30:19 -0700

The One and Only Mr. Wendell Harrison (Tribe Sessions '07)

Marcus Belgrave 2007

Mon, 20 Aug 2007 06:29:37 -0700

Prof. Marcus Belgrave (Tribe Sessions '07)

Carl Craig discusses Tribe album with EARPLUG

Tue, 26 Aug 2008 16:13:55 -0700

Earplug: What's up with this new jazz project you're working on? Carl Craig: It's about Tribe -- [trumpeter] Marcus Belgrave, [trombonist] Phil Ranelin, [drummer] Doug Hammond, [saxophonist] Wendell Harrison, and [pianist] Harold McKinney, who's not with us anymore. It's a project based around music these guys wrote and released 30-35 years ago. We've done new versions of [their material]. Basically, I'm producing an album for this music that I really love and have a lot of pride in. These are fellow Detroiters and legends as well. It's a re-presentation of these guys, re-introducing them to the world. EP: Have you finished the recording sessions or are you still working on it? CC: Yeah, we recorded the album. I've had a lot of other obligations that have been going on, but I'm on a pursuit of perfection with this music, so I want to make sure that it's the most perfect record that I could ever make. I want to make sure every piece fits correctly, so that people who love Marcus, Wendell, and Phil will love this record, while kids used to hearing music completely synthesized and sequenced can get into it too. As I go through the album, I just want to make sure everybody is on point. It will be the perfect jazz record. We're going for our Grammy win this year! [laughs] EP: Did you play along with them, or are you strictly acting as producer? CC: We went into the studio together and I just guided them through the process. My role was like a coach, but ultimately it was as a fan. It's way different compared to making a record of my own stuff, where I'm involved with every aspect of it. I had a lot of help from Kelvin Sholar, my right-hand man musically. I leaned on him a lot to find the best young musicians we could, as well as some friends of Tribe that came and joined in, like Ralph Armstrong, who played on an early Tribe record. There's a lot of history that comes with Tribe. They have mentored a lot of young kids from the '70s who became prominent musicians, like James Carter. You can relate Marcus Belgrave in every aspect of Detroit music because he's mentored somebody, somewhere, sometime. Marcus has an indirect influence on hip-hop because he mentored Amp Fiddler, and Amp Fiddler was the one who taught J Dilla how to program MPCs. Tribe isn't just a few guys that made a couple of records back in the day. These are guys that have been ultra active in the Detroit music community and have a very prominent influence. EP: What's the principal reason you're doing this record? CC: It's completely a labor of love. There's no marketing strategy for a record like this, other than the fact that they're legends and they make great music. It's not like they're going to stand up onstage and dance like Chris Brown or something. I try to work on whatever I can stand behind and really, what I do with it makes a statement. I try to work with special things, and this is a very special project to me.

New York Times review of Tribe at JVC JAZZ FESTIVAL

Tue, 26 Aug 2008 16:11:24 -0700

JVC Jazz Festival in Review Le Poisson Rouge Tribe was a musicians' collective and a record label and a magazine started in Detroit in the early '70s. It operated in a self-empowerment, community-building spirit that was similar to other musician-run cooperatives in Chicago and Los Angeles and St. Louis, all outgrowths of the Black Arts Movement. Tribe's sound was street and chic and spacey, but always concerned with straight-ahead entertainment; these musicians had gotten their chops through Detroit hard bop and Motown and the Ray Charles band. They were the local elite. The trombonist Phil Ranelin, the tenor saxophonist Wendell Harrison and the trumpeter Marcus Belgrave, among others, recently recorded a new Tribe album in the old sound, this time produced by the Detroit techno D.J. Carl Craig, a club-music superstar one full generation younger. The record comes out in the fall, and the band has already started promoting it. The three older musicians, with a younger rhythm section, played a set of new and old instrumental music with socially conscious spoken-word inserts, and giving a few New Yorkers one of those necessary periodic lessons about jazz history from other parts of the country. It was especially fascinating to hear Mr. Ranelin, a player whose name is associated with '70s soul-jazz and free jazz, because he's such a disciplined player in the hard-bop mold. His solos used long, warbling tones, then changed into stiff percussive blasts and smart melodic lines. Mr. Belgrave, well known as a teacher but still underrated as a performer, played subtle, wide and logical solos on trumpet and fluegelhorn that were like compressed pieces of wisdom. Mr. Harrison played the most mannered and authentic '70s solos, fitting the tone of the music (and Mr. Ranelin's poetry) with honks and flurries and shouts. The music used ebb-and-flow vamps, a little boilerplate rhythmically but with shrewd harmony; the mentholated music sounded like electric Miles Davis meeting James Brown's backup group in the early '70s, and a bit like the European downtempo electronic music it inspired in the early '80s. In the back line were musicians with mostly Detroit roots: Kelvin Sholar on electric piano, Damon Warmack on electric bass, John Arnold on guitar, and Jaimeo Brown on drums. But this was a wandering, solo-oriented music, and most action came from the old heads up front. Ben Ratliff

Carl Craig discusses TRIBE album with FACT Magazine UK

Tue, 26 Aug 2008 16:09:52 -0700

FACT: I was going to ask if, working on remixes, you miss the physical act of collaboration, actually being in the same room as musicians, but presumably for this Tribe record you're getting that kind of fix? CARL CRAIG: Yeah, that's right. As far as individual, one-on-one collaboration goes, I'm really bad at that. FACT: Can you elaborate? I'm guessing it's a control thing... CARL CRAIG: Yeah, it is a control thing and I mean...I'm not a difficult person to work with - actually I'm doing a one-on-one collaboration right now, but it's on a remix project, it's a classical thing for Deutsche Grammofon with Moritz Von Oswald from Rhythm & Sound. That's fun because we're just screwing around, and I'm learning a lot from him because he was a classical percussionist years ago, so I'm hearing the music differently than what I'd usually hear, but when I work by myself I can get into a zone, almost like a trance, and then it just happens, you know? There's no discussion, whereas with collaboration, there's a lot of discussion. With the Tribe thing there's a lot of discussion, sure, but there's a lot of process as well, the guys play and it's like "OK, that's really good, let's try it again", and then you get three takes and say "OK, let's go to the next song" [laughs]. So it's a little different than, "OK, well, why don't we play this in C?" and "Yeah, OK, let's try to step-sequence some shit, let's try to add some chords" and "No, NO, I don't like what you just did! Do something else" [laughs]. It's kind of like you're sounding out composition instead of just having a composition and playing it.

Listen to Tribe in Jam session for Gilles Peterson Worldwide

Mon, 20 Aug 2007 07:32:20 -0700

Gilles Peterson Worldwide show - BBC1 - London UK - Broadcast June 14th 2007

Wendell Harrison Detroit Radio session

Mon, 20 Aug 2007 07:29:45 -0700

Detroit Jazz Stage special on Wendell Harrison from February 2007