Array ( [Event] => Array ( [id] => 10182 [date] => 2012-11-13 [artist] => Fink [city] => Vienna [state] => [country] => AT [venue] => Arena [promoter] => [description] => [ticket_url] => http://www.finkworld.co.uk/gigs/arena-vienna-at-13-nov-2012/ [image_upload_id] => 15102 [created] => 2012-06-15 16:53:28 [modified] => 2012-06-15 16:53:28 [year_slug] => 2012 [month_slug] => nov [day_slug] => 13 [slug] => fink-vienna-arena [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15102 [media_type] => image [artist] => Fink [title] => Fink Artist Press Shot 2010 [credits] => [buy_link] => [filename] => images/fink/fink-artistpress-72dpi.jpg [checksum] => 5351e0e8130b7122c12a4d3ae4134162 [mime_type] => image/jpeg [size] => 365184 [external_url] => http://media.ninjatune.net/images/fink/fink-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => fink [slug] => fink-artist-press-shot-2010 [created] => 2011-01-18 12:34:08 [modified] => 2011-01-18 12:34:08 [embed] => ) [Country] => Array ( [id] => 227 [name] => Austria [longname] => Austria [numcode] => 40 [iso] => AT [iso3] => AUT [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 451 [rght] => 452 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 4 [name] => Fink [description] =>

Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people. 

At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.

In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?). 

In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.

Who is Fin Greenall? All of the above. 

Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’

As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it. 

‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’ 

Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything. 

‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’ 

The young techno warrior was messianic. 

‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’ 

His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer. 

‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’ 

So the wheels of steel started to fall off. 

‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’ 

Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place. 

‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’

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[image_upload_id] => 18384 [label_id] => 1 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2013-08-22 13:03:49 [slug] => fink [fuga_id] => [description_clean] =>

Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people. 

At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.

In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?). 

In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.

Who is Fin Greenall? All of the above. 

Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’

As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it. 

‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’ 

Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything. 

‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’ 

The young techno warrior was messianic. 

‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’ 

His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer. 

‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’ 

So the wheels of steel started to fall off. 

‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’ 

Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place. 

‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’

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Fink Website

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) ) ) [1] => Array ( [Event] => Array ( [id] => 10317 [date] => 2012-11-13 [artist] => Spank Rock [city] => Amsterdam [state] => [country] => NL [venue] => Paradiso [promoter] => [description] => [ticket_url] => http://partyflock.nl/party/225313:Boys_Noize_live_Spank_Rock.html [image_upload_id] => 4067 [created] => 2012-07-17 10:57:48 [modified] => 2012-07-17 10:57:48 [year_slug] => 2012 [month_slug] => nov [day_slug] => 13 [slug] => spank-rock-amsterdam-paradiso [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4067 [media_type] => image [artist] => Spank Rock [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/spank-rock/Spankrockphoto1.jpg [checksum] => d5ded685b7b98107f24c4867b2f5ef72 [mime_type] => image/jpeg [size] => 2584650 [external_url] => http://media.ninjatune.net/images/spank-rock/Spankrockphoto1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => spank-rock [slug] => promo-shot-migrated-242 [created] => 2010-11-24 04:03:34 [modified] => 2010-11-24 04:03:34 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 64 [name] => Spank Rock [description] =>

Naeem Juwan, better known as MC Spank Rock, MC Super Disco Spank Ro' or just Spank Rock, grew up alongside two brothers and five sisters in a West Baltimore row house. Naeem began rapping in the 8th Grade, getting advice and ample criticism from a big sister who was a little more deep into the hip hop thing than he was. Through her, he was eventually introduced to Shaun J Period (the producer for Mos Def's groundbreaking "Universal Magnetic" EP), Mos Def and Last Emperor. Naeem, "moved to Philly, got wrapped up in the thriving 'Neo Soul' scene, started listening to punk, dropped out of college, partied like the world was ending and got rid of all of my hip hop cds." He was introduced by old school friend Chris Devlin aka Chris Rockswell to Alex Epton. Epton had known Devlin in Baltimore before moving to Boston to the New England Conservatory of Music where he "failed out" before moving on to New York, where he ended up joining pop-punk-electro outfit Zero Zero. After Alex had helped out engineering at sessions that Naeem was working on with Steve McReady, the MC began to go and visit the producer in Brooklyn. When Juwan heard Epton's own music, he knew he had to put something on top of it. The resulting album sounds like "the rap version of Prince's 1999 album," according to Juwan, or, more self-deprecatingly, from Epton, like "American kids ripping off European kids ripping off American hip hop." "Yo Yo Yo Yo Yo" was released on Big Dada in 2006 to instant acclaim and notoriety. After the release of the album, Juwan and Epton split, Naeem signing to Downtown Records and Alex concentrating on his own production work as XXXChange.  Epton has produced for and remixed a number of high profile acts including The Kills, Kele Orekeke, Björk, Charlotte Gainsbourg, Thom Yorke and TV on the Radio, as well as starting the band Win Win (along with Chris Devlin).  Meanwhile, Juwan released the "Abngers & cash" EP with Benny Blanco, recorded and toured with Mark Ronson and, in 2011, released a second Spank Rock album, "Everything Is Boring And Everyone Is A Fucking Liar."

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[image_upload_id] => 4074 [label_id] => 2 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Spank Rock [created] => 2010-07-17 22:15:59 [modified] => 2013-01-09 12:31:11 [slug] => spank-rock [fuga_id] => [description_clean] =>

Naeem Juwan, better known as MC Spank Rock, MC Super Disco Spank Ro' or just Spank Rock, grew up alongside two brothers and five sisters in a West Baltimore row house. Naeem began rapping in the 8th Grade, getting advice and ample criticism from a big sister who was a little more deep into the hip hop thing than he was. Through her, he was eventually introduced to Shaun J Period (the producer for Mos Def's groundbreaking "Universal Magnetic" EP), Mos Def and Last Emperor. Naeem, "moved to Philly, got wrapped up in the thriving 'Neo Soul' scene, started listening to punk, dropped out of college, partied like the world was ending and got rid of all of my hip hop cds."

He was introduced by old school friend Chris Devlin aka Chris Rockswell to Alex Epton. Epton had known Devlin in Baltimore before moving to Boston to the New England Conservatory of Music where he "failed out" before moving on to New York, where he ended up joining pop-punk-electro outfit Zero Zero. After Alex had helped out engineering at sessions that Naeem was working on with Steve McReady, the MC began to go and visit the producer in Brooklyn. When Juwan heard Epton's own music, he knew he had to put something on top of it. The resulting album sounds like "the rap version of Prince's 1999 album," according to Juwan, or, more self-deprecatingly, from Epton, like "American kids ripping off European kids ripping off American hip hop." "Yo Yo Yo Yo Yo" was released on Big Dada in 2006 to instant acclaim and notoriety. After the release of the album, Juwan and Epton split, Naeem signing to Downtown Records and Alex concentrating on his own production work as XXXChange.  Epton has produced for and remixed a number of high profile acts including The Kills, Kele Orekeke, Björk, Charlotte Gainsbourg, Thom Yorke and TV on the Radio, as well as starting the band Win Win (along with Chris Devlin).  Meanwhile, Juwan released the "Abngers & cash" EP with Benny Blanco, recorded and toured with Mark Ronson and, in 2011, released a second Spank Rock album, "Everything Is Boring And Everyone Is A Fucking Liar."

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www.spankrock.net

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) ) ) [2] => Array ( [Event] => Array ( [id] => 10646 [date] => 2012-11-13 [artist] => Chris Bowden [city] => Birmingham [state] => [country] => GB [venue] => The Jam House [promoter] => [description] => [ticket_url] => [image_upload_id] => 3895 [created] => 2012-09-28 15:45:28 [modified] => 2012-09-28 15:45:28 [year_slug] => 2012 [month_slug] => nov [day_slug] => 13 [slug] => chris-bowden-birmingham-the-jam-house [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3895 [media_type] => image [artist] => Chris Bowden [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/chris-bowden/chrisbowden.jpg [checksum] => 92503c08491e14f9229f3d97dd93ac5f [mime_type] => image/jpeg [size] => 1532127 [external_url] => http://media.ninjatune.net/images/chris-bowden/chrisbowden.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => chris-bowden [slug] => promo-shot-migrated-70 [created] => 2010-11-24 03:40:47 [modified] => 2010-11-24 03:40:47 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 56 [name] => Chris Bowden [description] => Chris Bowden - BIOGRAPHY Let's face it, despite all its history, the myths and legends that surround its most famous exponents, the black and white photos, the recordings, the movies, even, the saxophone wasn't most contemporary music-makers idea of fun in the early nineties. Chris Bowden could easily have stayed one of the unsung backroom musicians of the British scene - a fine sax player, a talented and knowledgeable arranger and composer. He could have been a straight-up UK jazz man playing in tiny clubs to 30 or 40 devotees, as credible as fuck. He chose neither route. Chris Bowden chose to make 'jazz' that was as contemporary and relevant as sampled, sequenced music. He chose to ignore obscurity, but to give Kenny G the finger, too. In 1996 he released 'Time Capsule' (Soul Jazz) to immense critical acclaim and general appreciation. Space jazz with the rigour of a classicist, by turns forbidding and kitsch, a superb mood piece rather than just a succession of tunes, it established that Bowden was a huge talent in his own right. Of course many people (mainly the people he had worked with, or those who read record sleeve credits carefully) already knew that. Bowden had started his professional career in the heart of the acid jazz boom playing sessions and shows for Talking Loud's K-Creative. He had continued to work Simon Richmond (Palm Skin Productions) on Mo' Wax. He had also contributed arrangements and playing for Jessica Lauren (Soul Jazz) and Jhelisa Anderson (Dorado), contributing a disctintiveness to all these projects that would only be recognised as his in retrospect. After 'Time Capsule' came out, he also played a large part in helping 4Hero develop the more organic, jazz-soul take on drum & bass that made up the first half of their "2 Pages" album. He wrote the music, arranged the strings and played sax on their "Hero" single, performing with them at live shows too. Also Chris MD'd and performed for American jazz legends James Mason, who was touring music from his Rhythm of Life album, and Doug Karn, with a set compiled from his Black Jazz Records catalogue. He has also worked as a session musician for Basement Jaxx and, perhaps most pertinent here, played in The Herbaliser live band for the last three years. It was through The Herbaliser that Bowden came into contact with Ninja Tune and began working on the material we are now releasing (the 12" Beautiful Nasty produced, incidentally, by Jake Wherry). A direct development from his work on 'Time Capsule', the new material perhaps has a looser, funkier feel, but still showcases his excellent playing and exemplary, instantly-recognisable way with a string arrangement. As for live appearances, his band may have slimmed down from Time Capsule's twelve-piece, but his current trio (who blew the roof off Ronnie Scott's at Ninja's 10 year celebrations last autumn) is set to cause serious tremors wherever they play. Chris Bowden has chosen his own path. Follow it now. spankrock.net/SAXMIX.aif [links] => [image_upload_id] => 3897 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Chris Bowden [created] => 2010-07-17 22:15:59 [modified] => 2010-07-27 23:04:29 [slug] => chris-bowden [fuga_id] => [description_clean] =>

Chris Bowden - BIOGRAPHY

Let's face it, despite all its history, the myths and legends that surround its most famous exponents, the black and white photos, the recordings, the movies, even, the saxophone wasn't most contemporary music-makers idea of fun in the early nineties.

Chris Bowden could easily have stayed one of the unsung backroom musicians of the British scene - a fine sax player, a talented and knowledgeable arranger and composer. He could have been a straight-up UK jazz man playing in tiny clubs to 30 or 40 devotees, as credible as fuck.

He chose neither route.

Chris Bowden chose to make 'jazz' that was as contemporary and relevant as sampled, sequenced music. He chose to ignore obscurity, but to give Kenny G the finger, too. In 1996 he released 'Time Capsule' (Soul Jazz) to immense critical acclaim and general appreciation. Space jazz with the rigour of a classicist, by turns forbidding and kitsch, a superb mood piece rather than just a succession of tunes, it established that Bowden was a huge talent in his own right.

Of course many people (mainly the people he had worked with, or those who read record sleeve credits carefully) already knew that. Bowden had started his professional career in the heart of the acid jazz boom playing sessions and shows for Talking Loud's K-Creative. He had continued to work Simon Richmond (Palm Skin Productions) on Mo' Wax. He had also contributed arrangements and playing for Jessica Lauren (Soul Jazz) and Jhelisa Anderson (Dorado), contributing a disctintiveness to all these projects that would only be recognised as his in retrospect.

After 'Time Capsule' came out, he also played a large part in helping 4Hero develop the more organic, jazz-soul take on drum & bass that made up the first half of their "2 Pages" album. He wrote the music, arranged the strings and played sax on their "Hero" single, performing with them at live shows too. Also Chris MD'd and performed for American jazz legends James Mason, who was touring music from his Rhythm of Life album, and Doug Karn, with a set compiled from his Black Jazz Records catalogue.

He has also worked as a session musician for Basement Jaxx and, perhaps most pertinent here, played in The Herbaliser live band for the last three years. It was through The Herbaliser that Bowden came into contact with Ninja Tune and began working on the material we are now releasing (the 12" Beautiful Nasty produced, incidentally, by Jake Wherry). A direct development from his work on 'Time Capsule', the new material perhaps has a looser, funkier feel, but still showcases his excellent playing and exemplary, instantly-recognisable way with a string arrangement.

As for live appearances, his band may have slimmed down from Time Capsule's twelve-piece, but his current trio (who blew the roof off Ronnie Scott's at Ninja's 10 year celebrations last autumn) is set to cause serious tremors wherever they play.

Chris Bowden has chosen his own path. Follow it now.

spankrock.net/SAXMIX.aif

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