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 | 60 min. caching

TALVIN SINGH OK Album Cover OK
TALVIN SINGH
4.83 | 4 ratings
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FLYING LOTUS Cosmogramma Album Cover Cosmogramma
FLYING LOTUS
4.29 | 5 ratings
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NUJABES Metaphorical Music Album Cover Metaphorical Music
NUJABES
4.20 | 5 ratings
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ANIMATION Agemo Album Cover Agemo
ANIMATION
4.18 | 4 ratings
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SQUAREPUSHER Just a Souvenir Album Cover Just a Souvenir
SQUAREPUSHER
3.98 | 4 ratings
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SPACETIME CONTINUUM Double Fine Zone Album Cover Double Fine Zone
SPACETIME CONTINUUM
3.95 | 3 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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SQUAREPUSHER Feed Me Weird Things Album Cover Feed Me Weird Things
SQUAREPUSHER
3.67 | 3 ratings
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SQUAREPUSHER Hello Everything Album Cover Hello Everything
SQUAREPUSHER
3.67 | 3 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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Que Me Duele?
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Ruler Rebel
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dj/electronica jazz Music Reviews

CHRISTIAN SCOTT (CHRISTIAN SCOTT ATUNDE ADJUAH) Ruler Rebel

Album · 2017 · DJ/Electronica Jazz
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snobb
New Orleans trumpeter Christian Scott made his name during the last few years on the wave of jazz crossovers oriented to young rock, RnB or techno fans, during an explosive growth of popularity (Kamasi Washington with his triple CD is another great example).

I happened to see Scott playing live two years ago during his European tour - he demonstrated his showman and leadership abilities leading his young musician's band, and being much more than a virtuoso trumpeter. He spoke a lot (really more than he played trumpet), mostly about racial problems in his hometown of New Orleans.

Two years later, in 2017, Christian Scott announced releasing a trilogy dedicated to "re-evaluation of the social political realities of the world through sound... slavery in America via the prison industrial complex, food insecurity, xenophobia, immigration, climate change, gender inequality, fascism and the return of the demagogue". Not surprisingly, the trilogy's first album "Ruler Rebel" goes deeper into electronics/hip-hop culture and demonstrates sounds that are more usual for London clubs than for New Orleans streets.

Christian Scott leads basically almost the same band as on his previous album, with flutist Elena Pinderhughes on board. The music on here is a quite beautiful mix of African rhythms, heavily adapted to modern urban culture's ears with wide use of samplers and rhythm machines. There are lot of Scott's trumpet soloing on this album, mostly all straight-ahead clear tones flying over electronic rhythms/samples somewhat similar to smooth jazz trumpeter Chris Botti's manner. Probably the main attraction in this album's music is a quite successful mix of New Orleans positive energy and modern urban electronic sound. Not strange is that Scott is even more popular in London clubs than in native America - what may sound as exotic in New Orleans is very close to most modern London youth club's sound standards, with conspicuous difference since similar British bands are usually rooted in Caribbean rhythms.

Not so much a jazz record, this new album's great mission is first of all to introduce young communities, often associated with different musical traditions, to jazz culture and its modern possibilities.

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.

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