DJ/Electronica Jazz

Jazz music community with reviews, MP3 (free download/stream) and forums

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

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4.83 | 4 ratings
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ANIMATION Agemo Album Cover Agemo
4.37 | 4 ratings
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FLYING LOTUS Cosmogramma Album Cover Cosmogramma
4.29 | 5 ratings
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DIGABLE PLANETS Blowout Comb Album Cover Blowout Comb
4.43 | 2 ratings
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SQUAREPUSHER Just a Souvenir Album Cover Just a Souvenir
3.98 | 4 ratings
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NUJABES Metaphorical Music Album Cover Metaphorical Music
4.00 | 2 ratings
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BUGGE WESSELTOFT Duo (with Henrik Schwarz) Album Cover Duo (with Henrik Schwarz)
3.80 | 5 ratings
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SPACETIME CONTINUUM Double Fine Zone Album Cover Double Fine Zone
3.95 | 2 ratings
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SQUAREPUSHER Feed Me Weird Things Album Cover Feed Me Weird Things
3.83 | 3 ratings
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NATHAN VINSON Bitter Struggle - Inevitable Outcome Album Cover Bitter Struggle - Inevitable Outcome
3.90 | 2 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)
3.90 | 2 ratings
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US3 Hand on the Torch Album Cover Hand on the Torch
4.00 | 1 ratings
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dj/electronica jazz Music Reviews

NILS PETTER MOLVÆR 1/1 (with Moritz von Oswald)

Album · 2013 · DJ/Electronica Jazz
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Norwegian trumpeter Nils Petter Molvaer is often mentioned as one of the pioneers of European and worldwide nu jazz. His solo debut, "Khmer", changed the European scene radically in 1997 by combining Jon Hassel’s "fourth world" music, Jan Garbarek's Nordic ambient jazz and drum & bass. During the next two and half decades Molvaer tried to combine his aerial trumpet sound with house and rock, all with only limited success. Like his compatriot and fellow nu jazz cornerstone figure, pianist Bugge Wesseltoft, (who in 2011 released an original and successful duo album with German techno producer and computer guru Henrik Schwarz), Molvaer, in 2013 tries a similar duo formula with another German techno cult figure, multi-instrumentalist and producer Moritz von Oswald.

Moritz, who was born and lives in Berlin, is one of the early key figures in minimalist techno. On "1/1" he builds a dark pulse-beat based dub/techno atmosphere, filled with similar minimalist Molvaer's trumpet soloing. Different from the Wesseltoft/ Schwarz album, which was more danceable, full of rhythms and more optimistic atmosphere, "1/1" is of the Berlin electronics school. At its best moments, this music stays close to Molvaer's "Khmer", unfortunately some compositions sound way too long since nothing happens for long minutes and it looks like both artists are not sure where they are going. Still, an interesting album, some fresh breath for Molvaer.


Album · 1994 · DJ/Electronica Jazz
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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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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.


Album · 2011 · DJ/Electronica Jazz
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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 ( 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 and for more information.


Album · 2011 · DJ/Electronica Jazz
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“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.

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