All Ya Needs That Negrocity

  • All Ya Needs That Negrocity
  • 2011 : AVANT GROIDD Musica

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