Rock Candy Funk Party “The Grooove³”
Rock Candy Funk Party knows how to do the math : The supergroup consisting of de Tal Bergman (drums), Joe Bonamassa (guitars), Renato Neto (keyboards), Mike Merritt (bass) et Ron De Jesus (guitar) named its third album The Grooove³ -or The Grooove Cubed. Funk/rock to the max with 14 new tracks arguably to superior Groove Is King, released in 2015 ! The band is still expert at blending instrumental funk with other genres (jazz-fusion in “In The Groove”, Blaxploitation mood in “Mr. Space”, the downtempo and dusky “After Hours”) and has a great taste for imaginary soundtracks and spectacular mash-ups when “Funk-o-potamia” and “The Token Ballad” mix Led Zeppelin with prog-rock thanks to keyboardist Renato Neto, a former Prince band member.
In The Grooove³ , Rock Candy Funk Party adds a new ingredient to his groovy gumbo : singer Ty Taylor (Vintage Trouble) shines on the catchy single “Don’t Even Try It” while Mahalia Barnes delivers a great and imaginative update of James Brown’s “I Got the Feelin’”. This third album also ends with a surprising twist with the swinging “Ping Pong”. And how can you not like a band who names its tracks “This Tune Should Run for President” and “Two Guys and Stanley Kubrick Walk into a Jazz Bar” ?
Rock Candy Funk Party The Grooove³ ****(Mascot Records). Available October 20 on CD, double-LP and digital version.
Live Report : The Stanley Clarke Band, Scranton Jazz Festival (08/06/2017)
Throughout his career, Stanley Clarke has collaborated with many artists serving under different genres of music while also creating his own personal material. At this point, the 66-years old bassist now wears a different hat, having organized a trio of outstanding jazz musicians to accompany him for his new group, The Stanley Clarke Band. Clarke is not only the band’s leader but what may be perceived as a father figure to the group as he brings much knowledge and experience to his fellow band mates who are all thirty years of age or younger.
During the show, it is evident that Clarke has returned to his roots as a jazz bassist, playing mostly extended instrumental jazz pieces. The Stanley Clarke Band consists of drummer Mike Mitchell, keyboardist Cameron Graves, and pianist Beka Gochiashvili. Clarke’s preferred instrument of choice during the night is a double bass in which he masters, running his fingers across the strings with ease while precisely plucking and slapping every note. When the band attempts to make their music feel funky, they succeed by incorporating Graves’ use of the keyboard’s vocoder. Clarke only picks up his electric bass once throughout the main performance, playing an upbeat version of Charles Mingus’ “Goodbye Pork Pie Hat”. Clarke also asks trumpet player Nate Birkey and saxophonist Sal Giorgianni from the band Nate Birkey & Friends to join him on stage for an impromptu jam session that quickly energizes the crowd.
Clarke concluded his performance and exited the stage, only to return seconds later equipped with his electric bass for a funk-filled encore. The audience stood, chanted, and danced for the first time as Clarke paid tribute to his late friend and music legend, George Duke. Clarke was overcome with liveliness as he played “Oh Oh” from volume three of the Clarke / Duke Project, as well as his own creative version of George Duke’s “Dukey Stick”. Clarke’s unique bass playing technique and solo performances can almost seduce the crowd into thinking he is playing a six string guitar. As one of the most talented bass players in the world, Stanley Clarke has a rare knack for satisfying various types of ears throughout his show and thrilling all audience members.
- Instrumental Jazz Piece
- Goodbye Pork Pie Hat
- Instrumental Jazz Jam
- Oh Oh
- Dukey Stick
Live Report : Lettuce feat. Chaka Khan, Peach Festival (Scranton, PA) 08/11/2017
For the first time, Chaka Khan paired with the powerhouse funk band Lettuce, for a night that transported the audience back to the 1970’s and 80’s. Chaka Khan and Lettuce complemented each other immensely and should strongly consider joining forces in the future. For those who came to The Peach Festival looking to dance the night away, they received more than they expected.
Lettuce is primarily an instrumental group that relies heavily on their two piece horn section, continuous drum beats, and synthesizers. Prior to Chaka’s appearance on stage, Lettuce warmed up the crowd and got their blood pumping with non-stop funk jams. The band does not shine the spotlight on just one member as each musician contributes equally to the performance, creating sounds with the likes of James Brown, Parliament-Funkadelic, and Zapp & Roger.
As Chaka Khan took the stage, it sounded as if Lettuce transformed into Chaka’s former group, Rufus. Chaka was full of energy and joy throughout the entire performance as she belted out her iconic hits that left concert goers with their jaws hanging on the ground. The sound of her voice is stupendous and her vocal range is incredible. Chaka hasn’t lost a beat since she first entered the music scene. Funk is very important to both Lettuce and Chaka and their goal is to keep it relevant. In a world where music Icons are growing sparse, Chaka Khan sets the bar high for what it truly means to be one.
- I’m a Woman (I’m a Backbone)
- Tell Me Something Good
- Love the One You’re With (Crosby, Stills & Nash Cover)
- Sweet Thing
- Ain’t Nobody
Live Report : Chic/Earth Wind & Fire, Philadelphia (08/01/2017)
When the musical elements of the universe, Earth, Wind & Fire join together with an eloquent sound that is Chic, a mesmerizing musical experience forms. Earth, Wind & Fire along with Chic feat. Nile Rodgers are currently traveling throughout the United States to bring audiences a night of soul, disco, and funk that will leave fans with sore feet the following day. The 2054 Tour surely conveys a type of concert that would be seen 37 years from now due to its futuristic stage effects that compliment the timeless music created from the two iconic bands.
Chic’s presence on stage exactly reflects the meaning of the band’s name. The band, led by Nile Rodgers has the appearance of a pristine jazz club band but with an energetic twist. Nile Rodgers narrates the band’s entire performance discussing the development and significances of each song that he helped create. Chic not only delivers their classic hits but also dives into songs that were created through Rodgers’ collaborations with such artists as Daft Punk, David Bowie, Sister Sledge, and Diana Ross. Chic is truly a spectacle to see with Nile Rodgers’ funky chops on his legendary “Hitmaker” Stratocaster, bass player Jerry Barnes’ superb skill of generating alluring beats, and the heavenly voices of singers Folami Ankoanda and Kimberly Davis. Chic not only creates a “Good Time” for concert goers but captivates the audience with their individual and unique skills as musicians, having audience members constantly directing their attention to different members of the group throughout the show.
The second Earth, Wind & Fire takes the stage, audience members are surrounded by sounds and visual effects that would make it appear as if they were transported to another planet. Earth, Wind & Fire consists of eleven talented musicians with three remaining members from the original group : Verdine White, Ralph Johnson and Philip Bailey. The band performance is nothing less than extraordinary. Philip Bailey not only astonishes the audience with his magnificent voice and vocal range but adds the group’s distinct sound throughout the concert by playing the kalimba. Bass player Verdine White causes an irresistible sensation for fans to dance as he constantly boogies around the stage thumping his bass. Throughout the performance, each musician in the band takes turns stunning the audience with solo instrumental and vocal performances. It’s truly a family affair as Philip Bailey’s son, Philip Bailey Jr., assists in background vocals as a member of the group while the band pays tribute to the founder of the group and brother of Verdine White, Maurice White. Earth, Wind & Fire truly makes a statement with their performance by showing how an old school band that has been around for over forty years only gets better with age like a fine red wine.
Over the years, each band has created a memorable soundtrack for people’s lives. The 2054 Tour is sure to generate pleasant reflections for long-time fans that grew up during each band’s prime, while also creating a night to remember for everyone in attendance, no matter their age. We can only hope that when we reach the year 2054, performances and musicians like this will still exist.
Chic Set List
- Everybody Dance
- Dance, Dance, Dance
- I Want Your Love
- I’m Coming Out
- Upside Down
- He’s The Greatest Dancer
- We Are Family
- Get Lucky
- Let’s Dance
- Le Freak
- Good Times
Earth, Wind & Fire Set List
- Shining Star
- Get Away / Let Your Feelings Show
- Sing a Song
- On Your Face
- Serpentine Fire
- Kalimba Story
- Can’t Hide Love
- Head to the Sky / Devotion
- That’s the Way of the World
- After the Love Has Gone
- Power / Africano
- Boogie Wonderland
- Let’s Groove
- Fantasy / In the Stone
Live report : The Revolution, Philadelphia (Theater of the Living Arts 04/30/2017)
Amidst all the music award show performances and various artists attempting to pay homage to the Purple One, the greatest live tribute to Prince is currently traveling from theater to theater across the United States, run by his most iconic band, The Revolution. After over 30 years since the band split, they haven’t missed a beat; if anything, they’ve become better with age. Members Dr. Fink and Lisa Coleman electrify the audience with their mastery of the keys while drummer Bobby Z. continues to hold down the rhythm that penetrates through the building. Fans dance and stare in awe as Brown Mark energizes the room as he slaps the funk out of the bass and Wendy Melvoin spews guitar licks that represent her incredible talent with six strings and her musical likeness of Prince. To add flare to the lead vocals shared by both Brown Mark and Wendy, the band has invited Mint Condition’s and Minnesota’s own Stokley Williams to tour with the group, whom Wendy claims was beloved by Prince. Stokley not only aids in providing a falsetto tone to memorable Prince hits but adds his own unique, recognizable voice to classic songs that instantly makes you become a fan of his as well, if not already.
Throughout the performance, Wendy fights back tears as she tells stories about their relationship with Prince and the impact he had on their lives. Lisa and Wendy pay a personal tribute to Prince by providing an instrumental and vocal duet performance of the song all three created together, “Sometimes it Snows in April”. Fans in attendance received an unexpected surprise when the band went deep into The Vault, playing the unreleased songs “Destiny” and “Roadhouse Garden”. The entire night was a celebration, giving fans a taste of what it must have been like to be in a Minneapolis night club in the 80’s.
Sadly, we will have to live the rest of our lives on this Earth knowing that we will never see another prolific live performance from Prince. Luckily, the Revolution has discovered a way to entertain his fans as if he were on stage. It is evident that they will make sure the Minneapolis Sound continues to echo throughout the world.
Take Me With You
Sometimes it Snows in April
Let’s Go Crazy
When Doves Cry
I Would Die 4 U
Baby I’m a Star
Prince Live 1979-1980 : The First Tour
Out April 27th, the Prince live 1979-1980 : The First Tour limited collector book features new and never-seen before pictures of Prince’s very first national tour shot in December 1st, 1979 at the Houston Palace during the Prince tour and February 24th, 1980 at the Sam Houston Coliseum supporting Rick James.
These rare pictures capture early Prince stage performances soon after the release of the Prince album in October 1979. This 56-pages photo book limited to 1000 copies also contains exclusive interviews and comments from Prince former band members André Cymone, Dez Dickerson and Gayle Chapman.
Prince live 1979-1980 : The First Tour (56 pages, language English + French)
Available April 2017 exclusively at www.funku.fr. Price for Europe : 30 €. World : 35 € (international shipping included)*.
Orders available through PayPal by sending the selected amount (Europe : 30 €; USA/World : 35 €) at the following PayPal address : firstname.lastname@example.org
* Please contact us at email@example.com for multiple orders.
Interview : Ed Motta “A wonderful experience”
Perpetual Gateways, the brazilian musician/songwriter/producer/record collector, steps away from the AOR genre to enter the spiritual jazz territory with the help of Patrice Rushen, Greg Phillinganes and Hubert Laws. A transatlantic interview with Ed Motta.
Funk★U : Perpetual Gateways, your 15th album, explores the boundaries of jazz and spiritual jazz on several tracks. Why did you chose that particular direction ? Did you want to make a departure from the AOR sounds of your most recent recordings ?
Ed Motta : I had already recorded some jazz-oriented albums like Dwitza & Aystelum. Dwitza with a certain soundtrack influence using harpsichord, symphonic instruments etc. Aystelum has spiritual/free jazz with Broadway musicals I might say a bit like Escalator Over The Hill from Carla Bley.
I compose all the time many different things, soul ballads, jazz waltzes, pop songs, soundtrack inspired pictures searching for a movie and things. After AOR came to me some of these jazz inspired tunes and it’s very natural since I listen jazz everyday with all other kind of music I love.
But definitely I will record something strictly into AOR idiom very soon, I have many new songs for it.
The Perpetual Gateways casting is quite impressive : How did you manage to enroll Patrice Rushen, Greg Phillinganes and Hubert Laws on this record ? What did they bring to the general sound of the album ?
Who helped me to organize this event was the great musician Kamau Kenyatta. It was such a joy to hear these people I know from record collection playing my composition and arrangements. They are gifted artists so they come full of style, such a wonderful experience to me.
During your last performance in Paris, you have mentioned that this was the first time you wrote all the lyrics on one of your own albums. Is this really the case ? If yes, is this the trickiest part of your job ?
I co-wrote some things in the past, but I never started any sentence in lyrics in fact I have been all my life kinda less interested in words, the abstract side of music always attracted me more as something really free, something really out of our society scheme.
I started to write as a joke, and find it ok because I was trying to write some different situations than love songs or things like “Don’t You Wanna Dance ?”, all these repetitive subject of popular music.
I might say it’s into storytelling, my dream is to one day have it on a Broadway musical style, like Stephen Sondheim one of my favorite composers ever.
Your vocal performance on this new album is amazing. Did you want to put an extra focus on your vocals on Perpetual Gateways ?
Merci ! I think because there’s less orchestration so the voice has more space to work, and we hear it better. On AOR I recorded two times, doubling vocals like Maurice White & Donald Fagen. But Kamau asked me to work in just one channel to have more soul in my voice. Kamau was very important in this voice sound, it was pretty much his idea.
What’s next for Ed Motta ?
Be rich (laughs) ! hope to keep writing songs, that’s my mission I do it as a special daily oxygen. I’d like to have again a radio program, I had one in São Paulo for two years.
I’d like also to record a solo DVD just myself on piano and guitar playing my hits, and things from the others I love…
Interview by Christophe Geudin. Photo : Sabrina Mariez.
Ed Motta Perpetual Gateways (Membran Records/Harmonia Mundi). Available on CD and digital version on February 5.
Ed Motta -Overblown Overweight
“Groove Revolution”, the ultimate Black Power boxset on CD and Vinyl
Available worldwide on February 9 through Wagram Music, Groove Revolution delivers 60 tracks of mind-blowing jazz, soul & funky music from the 60’s & 70’s. The virtual soundtrack of the Black Power movement selected by the Funk-U Magazine team ! This compilation is available in a 4-CDs boxset and a single LP version (see tracklistings below).
More than mere music genres, funk and its elder relative soul music are closely related to the political and social aspects of the afro-american history. The 1960 and 70’s Black America musical landscape deeply roots into the cultural zeitgeist of its time, somewhere between politics, fashion, advertising and movies.
Exhilarating like a Martin Luther King speech, hard-hitting like a Malcolm X quote and sexy like a blaxploitation flick starring Pam Grier, this is the soundtrack of the Black Power movement with 60 tracks by Gil Scott-Heron, Cymande, Betty Davis, Fatback, Millie Jackson, Barry White, Darondo, The Brief Encounter, Apple and the Three Oranges, Camille Yarbrough, Little Beaver and more. Say it loud !
Ultimate tracks and mind-blowing jazz, soul & funky music from the 60’s & 70’s
CD 1 – Heavy Funk & Hard-hitting Street Grooves
1/ Angela Davis We’re Threatening the Oppressors
2/ Gil Scott-Heron The Revolution Will Not Be Televised
3/ Darondo Get Up Off Your Butt
4/ Joe Simon You Don’t Know What You Got
5/ The Fatback Band Yum Yum (Gimme Some)
6/ Cymande Brothers on the Slide
7/ Eugene Blacknell We Know We Have To Live Together
8/ Millie Jackson Two-Faced World
9/ The Propositions Africana
10/ Turner Bros. Sound of the Taurus
11/ Master Plan Inc. Bright Lights, Big City
12/ Mike James Kirkland The Prophet
13/ Apple and the Three Oranges Curse Upon the World
14/ The Whatnauts Why Can’t People Be Colors Too ?
15/ Brother To Brother Chance With You
CD2 – Blaxploitation Vibes
1/ Joe Bataan Shaft
2/ Sounds of the City Experience Getting Down
3/ Don Julian and the Larks Shorty The Pimp
4/ Doris Duke Woman of the Ghetto
5/ Creative Source Who Is He And What Is He To You ?
6/ Millie Jackson I’m Free
7/ S.O.U.L. Love Peace and Power
8/ Don Julian and the Larks Where I’m Comin’ From
9/ Black and Blues A Toast To The People
10/ Willie & West Attica Massacre
11/ HP Riot The Dollar Sign
12/The Rimshots Takin’ It
13/ Herbie Hancock Watermelon Man
14/ Don Julian and the Larks Savage ! (Title Theme)
CD 3 – Funky Women & Soul Protest
1/ Camille Yarbrough Take Yo’Praise
2/ Betty Davis Anti-Love Song
3/ Carla Whitney War
4/ Betty Padgett Sugar Daddy (pt 1)
5/ Lynn Collins Think (About It)
6/ James Brown Night Train
7/ Bobby Williams Funky Superfly (Part 1 & 2)
8/ George Scott My Neighborhood
9/ Darondo Let My People Go
10/ The Whatnauts World
11/ Joe Simon Get Down Get Down
12/ Black Ivory I Keep Asking You Questions
13/ Leon Thomas Welcome to New York
14/ Don Julian Message from a Black Man
15/ Gil Scott-Heron Home Is Where The Hatred Is
16/ Cymande The Message
CD4 – Latin Moods, Spiritual Jazz & Boogie
1/ H. Rap Brown Excerpt From Speech #2
2/ The Brief Encounter The Brief Encounter (Intro)
3/ Seguida Funky Felix
4/ The Fatback Band Mister Bass Man
5/ Mongo Santamaria Black Dice
6/ Gato Barberi Tupac Amaru
7/ Roberto Roena Sing a Simple Song
8/ Malone and Barnes Road Man
9/ The Rimshots A Hot Day in Harlem
10/ Brother to Brother In the Bottle
11/ The Philly Armada Orchestra For the Love of Money
12/ Little Beaver Concrete Jungle
13/ Manu Dibango Motapo
14/ Barry White Ghetto Letto
15/Timmy Thomas Why Can’t We Live Together
1. The Philly Armada Orchestra « For the Love of Money » (6,30)
2. Joe Bataan “Shaft” (5,55)
3. HP Riot “The Dollar Sign” (4,36)
4. Malone and Barnes « The Road Man » (3,24)
5. The Rimshots « Takin’It » (3,25)
6. Cymande « The Message » (4,19)
1. Eugene Blacknell “We Know We Have to Live Together” (5,51)
2. Brother To Brother “Chance With You” (4’50)
3. Mike James Kirkland « The Prophet » (4,12)
4. Little Beaver “Concrete Jungle” (4,54)
5. Manu Dibango « Motapo » (5,27)
6. Timmy Thomas « Why Can’t We Live Together » (3,32)
Audio : Charlie Wilson “Infectious” featuring Snoop Dogg
Two years after releasing Love, Charlie, legendary Gap Band singer Charlie Wilson is back with Forever Charlie, a brand new uptempo album featuring a lot of songs to fill the dancefloor. Listen to ”Infectious”, a groovy duet with Snoop Dogg (and Justin Timberlake as a backup singer ?) in the player above.
Video : Rick James “Unsung TV Series”
The Unsung series starts 2015 with a Rick James special. Sex, drugs, domestic violence with a little side of funk !
Interview : Sound engineer Ben Kane and the making-of D’Angelo’s “Black Messiah”
Sound engineer and dedicated funkateer Ben Kane tells Funk★U about the making-of Black Messiah, D’Angelo latest album, studio brotherhood and the current state of the music industry. “Let the art speak !”.
Funk★U : How do you feel, a month after the release of Black Messiah ?
Ben Kane : I’m feeling great. It has been a long journey working on this album, so it feels wonderful to finally be able to share this music and for it to have received such a positive response.
Who are you exactly Ben? What’s your professional career before working with Russell Elevado and D’Angelo ?
I’m an engineer/mixer and producer on a constant quest to make inspiring music and to keep creating new sounds that make people feel something.
I started working with Russell and also with D’Angelo pretty early in my career. I started as an intern at Electric Lady Studios back in 2003. I was 19 years old at the time. I soon became a house engineer for the studio and engineered for many amazing artists there. In those days, I also became Elevado’s main assistant while at the studio as well as the engineer for his production work including the album Circles by Krystle Warren who is now actually based in France as some Funk★U readers may be familiar. I met D’Angelo very early on at my time at Electric Lady and worked with him a good number of times before delving very deeply into this project around 2008.
Who are your favourite musicians and the “must have” in your record collection?
I’m definitely a funk/soul head at my core, so artists like Sly Stone and Stevie Wonder and Shuggie Otis and Herbie Hancock get listened to a lot from my record collection (and I’m happy to tell that to a magazine called Funk★U !). But I listen to everything from jazz to folk to rock. Usually, I gravitate towards artists whose music seems to come from a soulful place regardless of genre.
Is it true that Black Messiah has been entirely recorded in analog ?
Yes. Everything that you hear on Black Messiah has hit analog tape and was mixed through tape and analog gear without the use of any plug-ins. Some things we would work with through ProTools for an edit or to preserve our tapes, but in the end, analog ruled on this record.
Can you tell us exactly who was behind each instrument, on each track of the album?
I think I have divulged that information via my twitter actually ! Check out my “12 days of D’angelo” posts from right after Black Messiah dropped. My twitter name is @kanevibrations. I wanted all of the unbelievable musicians that we worked with to be recognized for their outstanding work on this project.
How was the atmosphere in the studio with Russel Elevado and the team?
Well, the core creative team for the most part on a day-to-day basis is D’Angelo and either Russ, myself or often the both of us. Then the other musicians come into our sessions as needed. It’s a nice, positive atmosphere in the studio. We’re really a group of brothers at this point, and we have a lot of fun creating and listening to music whenever we’re together.
Is there something which particularly surprised you during the recording of Black Messiah ?
Oh man, it’s a funny thing, because even when you’re around these incredible geniuses every day, you still get surprised by how good they are. Even when I know what someone like Pino Palladino or Roy Hargrove or Sharkey is capable of, it still blows me away the first time I hear one of their interpretations of these songs. You learn to expect the unexpected in the best possible way.
What did you answer to the critics, in particular those on the lack of understading some lyrics ?
I think D’Angelo’s vocal style has been consistent across his career. I think people have gotten used to these cookie-cutter R&B artists that always deliver a very bright clear sound with clear lyrics. You can understand every word they say, but they aren’t really saying anything (at least nothing artful or moving most of the time). And I can’t blame all of those artists as many of them don’t even write their own songs or lyrics. But that’s part of the problem. Some of that is specific to the perceived genre. No one criticizes Radiohead because you can’t understand every word that Thom Yorke sings. The artist has to perform in a voice that is true to him or herself and D’ is certainly doing that.
For Black Messiah, you may have to sit down with the lyric booklet (which is available online) to understand every word, but you are rewarded with lyrics that are meaningful and that come from a personal place. (Let me also commend Kendra Foster who co-wrote the lyrics for many of these songs with D’Angelo and Q-Tip who co-wrote the lyrics for “Sugah Daddy”). You might not understand every word in your first listen, but that’s the point. Hopefully this is music that can draw people in and give them something to keep listening to and keep finding more meaning and enjoyment in for a very long time.
Do you think Black Messiah is as groundbreaking as Voodoo ?
I think so. That said, time will tell. I think the term groundbreaking is often used after the fact and is determined by how other musicians react to something through their own art. I really hope that others can rise to the challenge. And that doesn’t mean copying the sound. I think if there is one thing that defines D’Angelo as an artist, it is that he paves his own creative path and is true to his own art instead of reacting to music-industry trends or making music based on industry assessments. I think that soulful approach will always create groundbreaking music and I hope that more artists embrace that path.
What do you think about the current state of the music industry ?
I feel a crisis. But it’s not just the music industry, it’s the whole world. In my mind, I don’t separate the crisis that is facing our planet and our food supplies and our poor and our marginalized populations from the crisis that faces our musical artists.
I think the industry is in an interesting point. We are finally at a place where artists have the power to break free of the corporate record-label reigns that have often been holding their art back. Yet the democratization of music over the last decade hasn’t necessarily resulted in a system where musicians get paid fairly for their art (and musicians still need to eat)! At the end of the day, I think that music can become part of its own solution to this global crisis as it has in the past. Let the art speak of and to the problems (as D’Angelo did on some of the material on this album), and then maybe it will inspire the listeners to help fight a system that among other things does not value art as it should.
What are your projects for this new year ?
I am currently in the studio finishing off mixes for a new album from Emily King and I’m also mixing some songs for Christian Gregory out of the UK.
I am also super excited for the release of the Chris Dave and the Drumhedz album that I mixed and engineered over this past year or so. That should be out quite soon as well. And that’s only the beginning !
Interview : Jim Zelechowski
Ben Kane portrait : Photo : Azikiwe Mohammed
Prince to play Le Zénith de Paris on June 1st
Expect the unexpected. According to French newspaper Le Parisien, Prince will play at the Zénith de Paris on June 1st 2014. Three years after a memorable night at the Stade de France, the funk legend is back in Paris for two shows next sunday, a first show will take place at 6pm and a second one at 9.30 pm. Tickets go on sale next wednesday at 10 am. Ready for a night of “Funk N’ Roll” ?
Ticket prices :
1) Pit (standing) : 77 euros
2) 1st Category (seated) : 143 euros
3) 2nd Category (seated) : 115,50 euros