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Mohan

Seattle indigenous and resident Dave “Elmo” Nugent, also called Mohan, continues to be sporting different hats within the music world. Performing and documenting as Dave “Elmo” Nugent, the musician/manufacturer/composer/arranger is actually a hard-swinging jazz saxophonist in Pacific Northwest circles and understands his way throughout the tenor as well as the alto saxes along with the soprano sax. However when he goes on Mohan, Nugent transforms his focus on electronica — particularly, the softer and much more melodic aspect of electronica. Within the ’90s and in the 21st hundred years, the word electronica continues to be used to spell it out a multitude of digital music — a few of it severe, forceful, dissonant, and abrasive (techno, for instance), a few of it very much kinder and gentler. And Nugent’s club-friendly are Mohan certainly falls in to the last mentioned category. Concentrating on the chillout, downtempo, and ambient varieties of electronica, Nugent’s recordings as Mohan have already been rhythmic yet extremely melodic or even lush or ethereal. Although Nugent’s Mohan result (a few of which includes been instrumental, a few of which has highlighted various feminine vocalists) is known as electronica rather than urban contemporary, even R&B continues to be an impact on a few of his vocal offerings — even R&B such as Sade, even R&B such as Soul II Spirit doing “Continue Moving,” even R&B as with N’Dea Davenport performing “Stay IN THIS MANNER” and “Under no circumstances Prevent” when she was with the newest Heavies in the first ’90s. Past due-’80s and early-’90s R&B performers like Sade, the newest Heavies, Davenport, Karon Wheeler, and Spirit II Soul experienced a major effect on a lot of the 21st century’s chillout and downtempo recordings, and the ones types of performers have influenced a few of Nugent’s Mohan result (which includes featured feminine vocalists such as for example Havilah and Tanya Asmundson). For the pop part, Mohan’s vocal offerings also owe something to Julee Luxury cruise and similar performers. After playing jazz saxophone around Seattle through the entire ’80s, Nugent started to enter electronica in the first ’90s. But also for Nugent, discovering electronica didn’t mean quitting or forsaking straight-ahead jazz — and in 2004, his jazz-oriented recording Gates of Tolerance premiered on the 3rd party, Bellingham, WA-based Jazz Task label (Dave Nugent’s Gates of Tolerance may be the name from the jazz group that he offers led in Seattle). It had been also in 2004 that Nugent started documenting his electronica-oriented Mohan recording, As Can be Where Can be, which he completed documenting in early 2005. About half a year after As Can be Where Can be was finished, the 60-minute Compact disc premiered on Audio Visual/Delvian in america. Nugent does small saxophone playing on As Can be Where Is; rather, his role can be that of a composer, maker, and arranger who takes on keyboards and grips a lot of the digital programming, sampling, etc. As Is normally Where Is continues to be in comparison to 2000s recordings by Olive, Delerium, Honeyroot, Jakatta, Chris Coco, and Thievery Company (amongst others).

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