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

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 5 min. caching

TALVIN SINGH OK Album Cover OK
TALVIN SINGH
4.83 | 4 ratings
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BUCKETHEAD Monsters And Robots Album Cover Monsters And Robots
BUCKETHEAD
5.00 | 2 ratings
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ANIMATION Agemo Album Cover Agemo
ANIMATION
4.37 | 4 ratings
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FLYING LOTUS Cosmogramma Album Cover Cosmogramma
FLYING LOTUS
4.29 | 5 ratings
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JAGA JAZZIST Starfire Album Cover Starfire
JAGA JAZZIST
5.00 | 1 ratings
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DIGABLE PLANETS Blowout Comb Album Cover Blowout Comb
DIGABLE PLANETS
4.38 | 2 ratings
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SQUAREPUSHER Just a Souvenir Album Cover Just a Souvenir
SQUAREPUSHER
3.98 | 4 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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SPACETIME CONTINUUM Double Fine Zone Album Cover Double Fine Zone
SPACETIME CONTINUUM
3.95 | 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)
DIGABLE PLANETS
3.90 | 2 ratings
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NATHAN VINSON Bitter Struggle - Inevitable Outcome Album Cover Bitter Struggle - Inevitable Outcome
NATHAN VINSON
3.90 | 2 ratings
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US3 Hand on the Torch Album Cover Hand on the Torch
US3
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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BUCKETHEAD Monsters And Robots

Album · 1999 · DJ/Electronica Jazz
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siLLy puPPy
My very first experience with BUCKETHEAD was 1999’s MONSTERS AND ROBOTS which to this day still remains his best selling album. This is for good reason. For all his eclecticness and productivity, the sounds he creates on this 5th album are by far some of the most accessible and most dynamic in balancing all the elements he has become known for. All the funk, metal, jazz, DJ turntables and electronica come together in perfect harmony on this one. This is BUCKETHEAD’s defining moment and the fact that all these sounds work so well together is because of his avant-garde style being smoothed out with the efforts of Les Claypool from Primus who helps out constructing many of the tracks, plays bass and even contributes vocals on “The Ballad Of BUCKETHEAD.”

Also on board here is Bootsy Collins (Parliament, George Clinton, James Brown, Praxis etc) lending some vocals on four tracks, Bryan Kei Mantia (Godflesh, Praxis, Primus etc) on drums, SF Bay Area DJ Disk on turntables as well as rap vocals by Ovi-Wey, Max Robertson and The Chicken Scratch Choir. The results of this menagerie of talents is what makes this amongst the most golden of finds in the Easter egg hunt in vastness of BUCKETHEAD’s discography.

The album begins with the energetic electronica meets heavy metal “Jump Man” (3:38) with Bootsy Collins declaring he can’t ever stop workin’ hard. This is beautiful aggressive metal riffage that has an electronica drum backing and some seriously flavorful guitar solos. In the middle it changes into a serious funky bass line with electronic embellishments and then back to the main metal riffage. This is an awesome track where every element is perfectly balanced and a deliciously discerning glimpse into the album’s brilliance in general.

Track two “Stick Pit” (4:28) starts with a jittery guitar solo and a steady pummeling bass line designed to simultaneously soothe the soul and unravel the nerves. It changes into a hard metal riffage with cool electronic effects that dance with the jittery guitar solo. This one is all instrumental and conjures up the image of cruising the streets of a town filled with chickens like its their day before meeting their maker at the slaughterhouse.

Track three “The Ballad Of Buckethead” (3:38) is a Les Claypool showcase with a funkier than slunk bass line that actually clucks like a chicken and is the only track where Les lends his vocal duties explaining the origin of the chicken lover. This has an accompanying video and is a very surreal and needless to say bizarre experience all the while keeping one in that feel good funk mode that classic 70s funk bands like Parliament and Funkadelic were so adept at evoking.

“Sow Thistle” (4:28) is one of the strangest on the album. It has Bootsy Collins narrating the quandaries of living in the universe and the perplexing properties of time, life and humankind’s irrational fears that are leading to our demise. Musically this has a rather avant-garde DJ beat that is 4/4 in timing but has bizarre electronic embellishments, scorching avant-garde solos and a very strange breakdown at the end that creates a musical instability that leaves the listener scrambling for some order that has totally broken down.

“Revenge Of The Double Man” (3:34) starts with a nice grungy guitar riff, funky bass and drums and has a subdued vocal arrangement. Riffs alternate and change it up. Nice drumming and creative use of turntables and electronic effects. Melodic and powerful.

“Night Of The Slunk” (5:43) is a nice echo guitar riff that is melodic and has a nice electronic drum beat backing it up. It alternates with a heavy guitar riff chorus. It has a jangly guitar riff bridge. Extremely well done in every way. Also contains one of the best solos that pops in when least expected but is the crescendo of the subtleties.

“Who Me?” (2:08) is a short but sweet unaccompanied acoustic guitar track that has BH playing a melodic riff and then strikes a dissonant note with a vocal reactions. Repeats a few times with variations.

“Jowls” (4:25) is quite an oddball. It starts out with a crazed voice shouting “Save Me The Slunk” and then turns into a weird metal riffage that has squealing guitar solos, funky bass sections and avant-garde soloing that all melds together so well. The funky bass has an interesting slight dissonance with the guitars. Another gem that grew on me. At the end we get to hear which parts of a freshly slaughtered carcass are consumed!

“The Shape vs Buckethead” (5:40) is yet another oddball. Starts off with a lowered vocal saying “Did i hear you say is life worth living?” plus more dialogue then a scream and then just-inhaled-helium vocals by Bootsy Collins which continue the narration. A nice funky beat and avant-garde guitar squeals continue the horror story that alternates all the introductory vocal styles, dialogue and instrumental prowess. Very weird! Very cool! The mantra? “I’m not afraid to die, i just don’t wanna be there when it happens!” Cool guitar solos, production and electronic embellishments.

“Stun Operator” (4:13) begins with an impressive drum roll then a string of simple guitar chords. The funky bass kicks into high gear and then some background muffled voices and avant-garde guitar arpeggios. Weird! Spooky! Cool! Showcases Les Claypool’s magnificent bass skills.

“Scapula” (4:04) is an electro funky metal track that alternates between a steady psytrance beat that alternates with a metal riff and some supplemental mood inducing noises, guitar slides, vocalizations and even an unexpected solo that take you into the stratosphere.

“Nun Chuka Kata (4:28). The finale is an indo-raga meets metal feeling groovy track that starts off with a guitar riff that has the most pleasant distortion and a nice simply drum beat. As it progresses there is a jittery guitar riff and nice turntables, electronic effects. The track ratchets up the tension and concludes with a one of the most brilliant uses of lead guitar to end its majesty which at the very end finds it ending its reign with a pleasant trancy sounding drone.

MONSTERS AND ROBOTS is one of my absolute favorite BUCKETHEAD albums. Granted this took me a while to fully comprehend its magnificence but was easily accessible upon first listen. Perhaps it won’t be an instant hit for everyone but it has stayed with me for over ten years and i can pop this on anytime and still feel as excited about it as i did in the beginning. This is probably the most accessible of his higher energy creations and i would totally recommend this to any BUCKETHEAD newbies as the perfect jumping off point to explore the chicken lover’s musical universe for in my opinion it just doesn’t get any better than this one (at least from what i’ve heard so far!) The creativity is turned up to 11 and the production is absolutely flawless in how all the different sounds fit together. Brilliant! If you only check out 1 (one) album in BUCKETHEAD’s massive discography, make it this 1 (one) !

SANTANA Santana feat. Pitbull: Oye 2014

Single · 2014 · DJ/Electronica Jazz
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js
Latin house re-mixes of Santana’s classic “Oye Como Va” are hardly a new thing, but I guess Carlos got tired of hearing others do it and decided to cut his own version, “Oye 2014“. No doubt, mixing the well known opening organ montuno riff from the original “Oye” with a driving four on the floor house beat is an irresistible dance floor combination, after that, you don’t want to do too much that distracts from this simple, but very effective combination. Santana and his production crew do well on here, breaking the groove down into a stuttering 808 hip-hop beat for variation and bringing on Pitbull for some gratuitous rhyming. Pit’s rhymes are okay, mostly your standard braggadocio, but his delivery is sharp and right on time, it all adds up. Carlos also recorded some new guitar riffs and short solos, but in some ways, they may be hardly noticed. A lot of the original song’s old counter melodies are left off, some are missed, while others not so much.

I know people who feel very strongly about early Santana and roots Latin rock in general, and I would imagine to some, this sort of trendy modernization probably comes across as almost sacrilegious, but the bottom line is, whether in good taste or bad, this “Oye 2014” rocks like a mofo. These kind of gimmick songs can wear out quickly, so enjoy it while it lasts.

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

Album · 2013 · DJ/Electronica Jazz
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snobb
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.

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.

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Rating by members, ranked by custom algorithm
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