All Ya Needs That Negrocity

  • All Ya Needs That Negrocity

Now enter­ing our sec­ond decade, Burnt Sugar The Arkestra Cham­ber con­tin­ues an obses­sive drive to bring Franken­stein back to musi­cal hybridity–brutally graft­ing and re-charging funkys­tanknasty older tribal forms with present-day post-soul ener­gies while leav­ing all man­ner of wires, lesions, sutures, scars and micro­sur­gi­cal fil­i­gree loose, open and lubri­cious in the bloody bargain.

Track List

  1.  The Cold Sweat Vari­a­tions -  Feat. Myles Reilly, Flip Barnes , Qasim Naqvi
  2.  Lib­er­tango (I’ve Seen That Face Before) -  Feat. Lisala Beatty , Maya Azucena
  3. The Guru’s Lover / Clau­dine -  Feat. Lisa Teasley
  4. Clau­dine -  Feat. Swiss Chris, Flip Barnes, Har­ald Keisedu
  5. Burn­ing Crosses -  Feat. Abby Dob­son , Rene Akan
  6. Bliques Haff Mo Funn —   Feat. Avram Fefer, Micah Gaugh, Vijay Iyer
  7. Whut Rough Beast -  Feat. Michael Veal, Jared Nick­er­son , Dave Smoota Smith
  8. Bliques Strategems  — Feat. Vijay Iyer , Jason Di Matteo
  9. Throne Of Blood 33 1/3:( Encrypted Ver­nac­u­lar)  — Feat Andre Las­salle , Mikel Banks
  10. Blood Music

All music com­posed by Burnt Sugar Arkestra & Greg Tate.
Except for “Lib­er­tango” com­posed by Astor Piaz­zola, Lyrics By Nathaly Delon, Barry Reynolds, David Wilkey
& “Cold Sweat”  com­posed by Pee Wee Ellis

“Burn­ing Crosses”  Lyrics By Tate
“Lib­er­tango” : Poem recita­tion By Maya Azu­cena
“The Guru’s Lover” : Poem recita­tion by Lisa Teasley

Recorded At Peter Karl Stu­dios, Brook­lyn NY. 2008–2011



“Sonically and structurally grounded in jazz, Burnt Sugar’s latest album, All Ya Needs That Negrocity, continues the group’s tradition of exploding walls between genres. While there’s something for everyone here, the group’s commitment to idiosyncracy and hybridization runs deeper: they cite Duke Ellington, Sun Ra, and Parliament Funkadelic as influences, all artists who sampled freely from various genres of black music. For Burnt Sugar (founded by bassist Jared Nick­er­son and Vil­lage Voice icon Greg Tate), constantly mixing genres is political, conscious subversion of the commodification of black music by the record industry. And it sounds good, too.”
by  David Lewis