Sly and Robbie meets Nils Petter Molvær at Kesselhaus Berlin / Sunday, 05.07.2015

Jazzwerkstatt presents another excellent lineup and a must see for dub fans this time with legendary rhythym and bass duo Sly and Robbie taking to the stage at the Kesselhaus in Prenzlauer Berg. The will be joined by Nils Petter Molvær on trumpet and Vladislav Delay on samples and electronics.

Sly and Robbie are a prolific Jamaican rhythm section and production duo, associated primarily with the reggae genre. Drummer Sly Dunbar and bassist Robert Shakespeare teamed up in the mid-1970s after establishing themselves separately in Jamaica as professional musicians. Sly and Robbie are estimated to have played on or produced 200,000 recordings, many of them on their own label, Taxi Records.

Sly Dunbar, then drumming for Skin Flesh and Bones, and Robbie Shakespeare, playing bass and guitar with the Aggrovators, discovered they had the same ideas about music in general (both are huge fans of Motown, Stax Records, the Philly Sound, and country music, in addition to Jamaican legendary labels Studio One and Treasure Isle), and reggae production in particular. They first worked together with The Revolutionaries for the newly created Channel One studio and label, operated by the Hoo Kim brothers.

https://youtube.com/watch?v=7U4nm0Vvcz8

Nils Petter Molvær also known as NPM (born September 18, 1960) is a Norwegian jazz trumpeter, composer, and producer. Molvær is considered a pioneer of “future jazz”, a genre that fusing jazz and electronic music, showcased on his most commercially successful album, Khmer, on the ECM label in October 1997 in Europe and early 1998 in North America. He joined the bands Jazzpunkensemblet with Jon Eberson and Masqualero, alongside Arild Andersen, Jon Christensen and Tore Brunborg.

Masqualero (named after a Wayne Shorter composition originally recorded by Miles Davis) recorded several albums for ECM Records, and Molvær recorded with other ECM artists before his 1997 debut solo album, Khmer. The record was a fusion of jazz, rock, electronic soundscapes, and hip-hop beats – and quite unlike the delicate “chamber jazz” typically associated with ECM.