DJ/Electronica Jazz

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The DJ/Electronica Jazz genre at JMA is for artists who create jazz music with turntables, samplers, sequencers and the occasional live musician.

We are only interested in fully developed sophisticated jazz music. Breakbeat and hip-hop artists who have some jazz influence in their music are too numerous to list here. We also do not list generic trip-hop or other types of music built with obvious repeating looped samples.

dj/electronica jazz top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm

TALVIN SINGH OK Album Cover OK
TALVIN SINGH
4.91 | 3 ratings
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FLYING LOTUS Cosmogramma Album Cover Cosmogramma
FLYING LOTUS
4.38 | 4 ratings
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ANIMATION Agemo Album Cover Agemo
ANIMATION
4.40 | 3 ratings
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NUJABES Metaphorical Music Album Cover Metaphorical Music
NUJABES
5.00 | 1 ratings
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DIGABLE PLANETS Blowout Comb Album Cover Blowout Comb
DIGABLE PLANETS
4.50 | 1 ratings
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SQUAREPUSHER Feed Me Weird Things Album Cover Feed Me Weird Things
SQUAREPUSHER
4.50 | 1 ratings
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SQUAREPUSHER Just a Souvenir Album Cover Just a Souvenir
SQUAREPUSHER
4.02 | 3 ratings
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SQUAREPUSHER Hello Everything Album Cover Hello Everything
SQUAREPUSHER
4.00 | 2 ratings
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BUGGE WESSELTOFT Duo (with Henrik Schwarz) Album Cover Duo (with Henrik Schwarz)
BUGGE WESSELTOFT
3.80 | 5 ratings
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DIGABLE PLANETS Reachin' (A New Refutation of Time and Space) Album Cover Reachin' (A New Refutation of Time and Space)
DIGABLE PLANETS
4.00 | 1 ratings
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SPACETIME CONTINUUM Double Fine Zone Album Cover Double Fine Zone
SPACETIME CONTINUUM
4.00 | 1 ratings
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NATHAN VINSON Bitter Struggle - Inevitable Outcome Album Cover Bitter Struggle - Inevitable Outcome
NATHAN VINSON
4.00 | 1 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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dj/electronica jazz Music Reviews

DIGABLE PLANETS Blowout Comb

Album · 1994 · DJ/Electronica Jazz
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Rokukai
I was thrilled and surprised to see Digable Planets available to stream, with a comprehensive bio and all. "Blowout Comb" is one of those rare albums that can turn a non rap fan into a curious rap invesigator.

I was in high school when "Cool Like Dat" was on the radio, and I remember the kids making fun of it in gym class. Growing up in NE Wisconsin, not surprising. Yet I was mesmerized by the rhythm, the smooth vocal phrasing and the infectious beat of the song. Needless to say, Digable Planets was never thrown into our steady rotation of Motley Crue, Ozzy Osbourne, ACDC, Metallica, Tom Petty, and the Violent Femmes.

15 years and too many Dave Matthews Band bootlegs later, when I (re)discovered the genius of the young artists, I wonder why we never threw Digable Planets into the CD player in high school. Man, both of their albums are awesome! The beats, the rhymes, the creativity is beyond any of their contemporaries I've ever heard. In essence, "Blowout Comb" is a logical extension of an almost fully realized debut.

More jazzy interludes, plenty of electronic samples, extended songs with plenty of variety within the genre. Highlights include the May 4th Movement, Black Ego, and Axiom of Creamy Spies. The closing number, "For Corners" is a perfect end to the Digable Planets legacy. I can't even describe it, progressive electronica perhaps. Anyways, it's damn entertaining.

I don't consider myself a rap or electronica fan, but this is one of the glowing members of my collection. I don't listen to it much, but if I'm having a domino 40 party in the backyard, Blowout Comb will be blasting through the speakers. Ultra chill, happy, and friendly.

9 LAZY 9 Electric Lazyland

Album · 1994 · DJ/Electronica Jazz
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js
9 Lazy 9 wasn’t the first group to mix jazz, hip-hop and RnB samples into a new style of instrumental jazz, but their debut EP, “Paradise Blown” in 1992, was widely influential with its rich tapestry of layered sounds and its development of a new modern sound in jazz. Their follow up album in 1994, “Electric Lazyland”, followed a similar formula in which various looped rhythms and melodic snippets would be layered to create the sound of a modern jazzy ensemble. By the time the late 90s rolled around, this technique of building tracks by piling loops on top of each other had become an over played cliché, but in 94, “Electric Lazyland” was still fresh, and it has also held up well over time and still sounds much better than a lot of the cookie cutter acid jazz and trip-hop that followed in its wake.

The fine art of building tracks with looped samples was first introduced to the world of hip-hop in the late 80s on De La Soul’s creative debut “Three Feet High and Rising”, and this sound dominated rap and hip-hop until music laws caught up with the new technology involved and the original artists had to be paid for their sampled material. For a few years the world of rap dropped sampling like a hot potato and switched to live musicians. Meanwhile, a new culture of underground DJs who worked outside of popular rap circles began to develop and since they were out of the eye of the mainstream music industry, they were able to continue working with samples and loops, especially since now there was much more effort to disguise those samples. It is from this scene that 9 Lazy 9 emerged and set new standards for what was expected in the creation of “sampled jazz’ tracks.

A lot of 90s music built on samples has not aged well, many of the loops sound repetitive and simple by today’s standards, but as mentioned before, “Electric Lazyland” is creative enough that it has aged nicely. What we have on here are songs built with snippets of bop melodies from the likes of Dizzy Gillespie and Theolonius Monk, layered on top of complex funky hip-hop tracks with plenty of extra percussion and rhythmic hooks. On “Monk’s Dream”, pianist Giulliana Pella lends his skills in re-creating Monk’s classic tune, but now with a hard driving break beat. “Skarakesh” takes snippets of Dizzy’s “Night in Tunisia” and mixes it with traditional music from North Africa layered on top of a stuttering syncopated beat box. Ironically, the full melody from “Night in Tunisia” does not appear on “Skarakesh”, but does become part of a later track, “B Hip and Shop”.

It was fun re-visiting this old album. Although in the hands of imitators, these sort of tracks built on loops became very tired over the years, in the hands of originators like 9 Lazy 9, this music still sound like jazz from the future.

ANIMATION Agemo

Album · 2011 · DJ/Electronica Jazz
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gbruzzo
Disc 1 of Agemo is a new mix (from the original stems) of Animation's Asiento. The mix was produced by Mike Brady of 3D60 UK Ltd (http://www.3d60.co.uk/index.php?cat=work&page=agemo for more information). The mix is specifically targeted to the headphone user: compared to Asiento, it's a totally new mix-design - much greater dynamic range (up to 20db), generally lower levels, Kinsey's keyboards are now more prominent and visible, spacing out of Licata's kit, spreading out of the soundstage and sound-sculpturing of DJ Logic's performance).

The 3D60 process is specially targeted to the Headphone user - playing Agemo on a Quad System, though an interesting experiment (I tried 5+1 surround :-)) and one that gives insights, is not the way to listen to this recording. I wish we could provide a mix that catered simultaneously for surround/quad/headphone listeners :-), but that, I'm afraid requires targeted mixes. Summarising, I warmly encourage you to put some (decent) headphones on, load the disc and switch the world off for a little over an hour....that is the way it is meant to be listened to.

Disc is an attempt to shift our attention from a New mix to a RE-mix. The names are solid, Laswell, DJ Logic himself, Youth (e.g. Paul McCartney's partner in The Fireman and Killing Joke bassist, and, Gaudi, Fanu and Joaquin Claussell. We wanted to get to DJ Krush, but it was a little complicated :-)

You will find more information about how Agemo came about at http://www.densesignals.com/2011/12/28/rarenoiserecords-a-myopic-retrospective-part-4/ and http://www.densesignals.com/2011/11/01/new-rarenoiserecords-release-nov-28th-agemo-by-animation/ for more information.

ANIMATION Agemo

Album · 2011 · DJ/Electronica Jazz
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js
“Agemo” is a re-mix of Animation’s previously released “Asiento” album. “Asiento” was a bold experiment in which saxophonist Bob Belden led an all-star cast in a live recreation of the classic “Bitches Brew” album, but with the intention of adding drumnbass and Weather Report influences. The combination of Miles’ open-ended jams with drumnbass flavored rhythms plus a Weather Report interactive ensemble mentality was successful and fortunately made for some great material to re-mix with. The idea of a “Weather Report approach” could have gone many different ways, but Belden and his crew wisely chose Weather Report’s hyper-syncopated years with Alphonso Johnson, as well as WR’s earliest experimental years for their influence, and eschewed the more heavy-handed WR of later years. Likewise, the drumnbass rhythms supplied by drummer Guy Licata fit the original Brew bass lines like a glove and nothing sounds forced or contrived. Interestingly enough, the combination of Matt Garrison’s Alphonso influenced bass playing with the Miles style jam sessions often recalls similarly styled bassist Marcus Miller’s work with Miles in the early 80s. Also, the way the Brew tunes are strung together in a live concert also recalls Miles’ classic Fillmore concerts and albums.

The “Asiento” album certainly supplied some great material to work with, so how do the re-mixes on “Agemo” sound? Disc one is basically the entire concert in full, but given a very spatial headphone mix called 3D60. Although I usually listen to speakers, I gave this mix a test ride with a set of headphones and the spatial movement of the sound is very nice. Still wanting to hear the effects on a set of speakers, I also played this CD on an old quad system set on simulated quad sound and the simulation seemed to pick up a lot of the spatial movement. Disc two of “Agemo” takes the six original tracks on “Asiento” and assigns each track to a different DJ or producer for re-mixing in various dub, trip-hop and drumnbass styles. These re-mixes are mostly pleasant, but most don’t really bring anything new to the table. The one exception is Bill Laswell’s drumnbass re-mix of “Pharaoh’s Dance” which finds the perfect beat to drive the original snaky bass line.

Disc one of “Agemo” is excellent modern fusion with lots of wide open improvised instrumental sections that hold up very well to repeat listening. Each replay reveals new surprises and details previously missed. Disc two re-mixes that material into some nice club friendly beats, but with not as much adventure as disc one.

SQUAREPUSHER Squarepusher Presents Shobaleader One - D'Demonstrator

Album · 2010 · DJ/Electronica Jazz
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js
Its hard to know what to expect from Tom Jenkinson (AKA Squarepusher) these days. Once the leader of the jazzy/progressive end of the drumnbass genre, Jenkinson dabbled with odd electronic pop and rock on 2008’s “Just a Souviner” only to return to classic DnB on the follow up, “Numbers Lucent”. On his most recent release, “Shaboleader One - D'Demonstrator”, Tom returns to the electronic pop, only this time with nary a trace of his roots in jungle and drumnbass. Even to long time fans of modern electronic music, this is an odd one. Basically these are well crafted pop songs with hints of artsy 80s new wave and neo-prog rock played with purposefully plastic sounds, an 80s sounding drum machine and plenty of vocoder vocals. If you can imagine an unlikely mix of video game soundtracks, post-70s Stevie Wonder, 80s Genesis, Tears for Fears, Japanese anima, Seal and current electro-popsters Tobacco/Black Moth Super Rainbow, you might have some kind of idea what this sounds like.

You have to hand it to Jenkinson for being able to move past mash it up extreme slice and dice drum programming into actual song writing, and he proves he is actually one of the better writers out there, but the sound of this album is going to be really hard for a lot of people to get past. There is no doubt that Tom wants this music to sound very artificial in an almost kitsch sort of way; the drum machine is retro, the guitar samples sound like the earliest days of digital technology and the vocoder vocals are present on almost every tune. Although most of the music on here could be labeled as some sort of future pop, on "Cryptic Motion" Jenkinson’s restless exploratory side comes through with an odd mix of plastic tech thrash metal topped with heavy gothic keyboards. Also, "Maximum Planck" is cartoony speed metal topped with string synths, a perfect soundtrack for some high speed video game for the modern attention span deficit crowd.

This is an odd one, the plastic sounds are not for everybody, but there is no doubting the excellent craftsmanship and songwriting.

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