Funk Jazz

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Funk jazz is a sub-genre of jazz fusion and is basically the blending of funk rhythms with jazz improvisation. Some classic funk jazz artists include The JBs, The Meters, The Brecker Brothers and Soulive. At JMA, additional funk jazz music can be found in the Fusion, Funk, Soul Jazz and Acid Jazz genres.

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funk jazz Music Reviews

EDDIE HENDERSON Mahal

Album · 1978 · Funk Jazz
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FunkFreak75
Here we find Dr. Eddie teaming up with several of his previous collaborators from both the Mwandishi days but even a Headhunter or two--including the one and only Herbie Hancock.

1. "Butterfly" [Herbie Hancock] (8:05) a remake of the Herbie Hancock "classic" (even though it's only four years old) with its creator taking part in the modernized version (as well as several Mwandishi alumni and Bennie Maupin who was one of the original Headhunters, too!) I love all of the innovative sounds Herbie, synth specialist John Bowen, and guitarist Ray Obiedo are employing to funk-up and "modernize" the song. So funny to have these songs re-covered A) so soon after their initial entry into pop consciousness and B) by members of the original lineup now four years "older"! LOL! It's even been discofied a bit! Though it is definitely different than the original, it's still a great song. (Perhaps its just one of those songs that you can never ruin no matter how you choose to approach it.) (14/15)

2. "Cyclops" [James Mtume] (5:18) Eddie and his record company felt good enough about this song to have released it as a 45-single! It's definitely catchy--like the instrumental ear candy that many jazz fusion artists were turning toward at this time--before Jazz-Rock Fusion was being spilled over into Smooth Jazz, Disco Funk, Adult Contemporary, Yacht Rock, 80s R&B and Hip-Hop, and even New Age. It feels as if the piano chords in this song were lifted directly off of the master tapes for the 1984 Soul/R&B hit song "Hey DJ" by The World Famous Supreme Team. It is a great, fun, highly enjoyable listen. (9.333/10)

3. "Emotions" [Eddie Henderson] (4:59) gentle yet sophisticated with Paul Jackson's bass notes and bass harmonics forming much of the foundation with percussive drum play turning to full kit use in the second minute. Eddie's flugelhorn lead is quite melodic--quite like hearing a human voice pronounce its words quite intentionally. The involvement of the rest of the band seems minimal, other than Herbie's Fender Rhodes. (9/10)

4. "Prance On" [James Mtume] (5:16) another Mtume song that falls right into the Disco world that James would stick with throughout the 80s, there are CHIC-like clavinet, rhythm guitar strains, and background synth "strings" accents and flourishes that would become absorbed and exploited fully by Michael Jackson's songwriting/production crew from here (Off the Wall) through Thriller, but the bass is all disco and novelty Funk-Soul/R&B. Overall, it's a little too drawn out and monotonous. (8.875/10)

5. "Amoroso" [Bennie Maupin] (5:38) interesting funk R&B with some novelty sounds covered by some great percussion and trumpet play. Using a fairly dull, straightforward drum "program" the syncopation comes complete from the horns and bass teaming up to carry the melodic rhythm track while Herbie and muted Eddie solo among the flurries of other contributors sneaking in their inputs. (8.875/10)

6. "Mahal" [Eddie Henderson] (4:27) I'm not sure where Eddie was at this time in his life but I find it interesting that the three compositions credited to him on this album are all rather slow, gentle, and tender. Love? Loss? Sadness? Transition? How does the doctor use his music for therapy? There are wonderfully tender inputs from Herbie (muted clavinet), John Bowen (Oberheim strings), Julian Priester, and Paul Jackson on this lovely little tune. (9/10)

7. "Ecstasy" [Eddie Henderson] (3:25) dreamy Mr. Rogers' Neighborhood-like fairy dust coming from Herbie's JOHNNY COSTA-like Fender Rhodes is the only support Eddie uses to express his ruminative mood--like something from FRANK SINATRA's masterpiece of late-night regret, In the Wee Small Hours, or Freddie Hubbard on several of his song remakes on next year's The Love Connection. I really like contemplative songs like this: makes me think that some humans (without the aide of alcohol) are really thinking about their lives. A rather beautiful duet but not really anything contributing to the expansion of the Jazz-Rock Fusion idiom. (8.75/10)

Total Time: 37:08

A-/4.5 stars; a near-masterpiece of Third-entering-upon-Fourth Wave Jazz-Rock Fusion that illustrates that Eddie (and Herbie) are still committed to continuing to push the boundaries of that which is possible for the movement.

FREDDIE HUBBARD High Energy

Album · 1974 · Funk Jazz
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FunkFreak75
Employing pretty much the same lineup as the previous album, Freddie decided to try his luck with a new record company (Columbia)--even going so far as taking his band to the West Coast to record the next album.

Line-up / Musicians: - Freddie Hubbard / trumpet, flugelhorn - Kent Brinkley / bass - Joe Sample / clavinet, organ - Dale Oehler / conductor, arranged by - King Errisson / congas - Ralph Penland / drums - George Cables / electric piano - Junior Cook / flute, tenor saxophone - Dean Parks / guitar - Victor Feldman / percussion - Ian Underwood / synthesizer [Arp] - Carmello Garcia / timbales - Harvey Mason / drums (A2, B1) - Ernie Watts / flutes (A1, B3), soprano sax (B2) - Dick Hyde / trombone solo (B1) - Pete Christleib / sax solo (B3) Trombones: Dick Hyde, George Bohanon

A1. "Camel Rise" (6:23) long sustained notes issued from Freddie and his horn section open this before a SANTANA-like wide assortment of collaborators jump into the fray. The expanded lineup and sound palette on this George Cables song sounds great: again, very SANTANA-like--even allowing for some funky wah-wah guitar and keyboard soloing over the percussion-rich rhythm section. Kent Brinkley does a fine job handling the bass duties on his own (on the previous album he was supported/doubled up by veteran Ron Carter--who was expressing more and more his distaste for the electric bass, his preference for the good old stand-up double bass) and the multiple keyboards and multiple horns playing a little more loosely than in standard big band formation. Nice Latin flavors like a Herb Alpert, Eumir Deodato, or Burt Bacharach easy listening tune even though the palette is so busy and full. (9.125/10) A2. "Black Maybe" (4:58) a late night contemplative tune (originally penned by Steve Wonder for his then-wife's 1972 album, Syreeta) that presents minimal support from bass, synth, and percussion and beautiful melodic flugelhorn play from Freddie. One of his most deeply connecting performances. With George Cables' Fender Rhodes play this could very well have been the template Vanegelis was using when creating "Blade Runner Blues" for the Blade Runner original soundtrack--and certainly the palette that Jack Elliott and The "New American Orchestra" (called "The Big 'O'" for its existence as the music producer for The Academy Awards ceremonies for 30 years) used for their Warner Brothers Studios-sanctioned version of the same song that they covered in order to produce the first public release of Blade Runner soundtrack-inspired music, which was published in 1982. (Vangelis did not release his own "official" OST until 1994 and his preferred "Final Cut" version in 2007.) Nice orchestration by David Oehler. (9.33333/10)

A3. "Baraka Sasa" (10:29) an awesome theatric opening on this Freddie Hubbard original leads into a funky DEODATO-like mid-speed motif that fully-displayed the multiple keyboards (clavinet, synths, Fender Rhodes), complex arrangements for the professional horn section, and fully-stocked percussion section. This awesome groove provides the support for some cool experimental trumpet soloing in which Freddie and his engineers play with some long delay, echo, and slow-fade effects--all the while a outer-spacey synth oscillates its tone like someone searching the radio for stations using their old hand dial. Big kudos to bassist Kent Brinkley, conga player King Errisson, Joe Sample's clavinet work, and Ralph Penland's drumming as well as Ian Underwood's spacey ARP play and Freddie's trumpeting. A very tight and well-performed high-quality composition even if the chorus comes up short in terms of hooking the listener. (18.25/20)

B1. "Crisis" (5:44) this song--which is another Freddie Hubbard original--is funky and sassy with Kent Brinkley's bass, Joe Sample's clavinet, Ralph Penland's drumming, and Dean Parks' amazing rhythm guitar work. Dale Oehler's orchestra contribution is also significant (though I think the song would be better off without the orchestral strings) (the horns are great), and Freddie and Junior Cook take full advantage of the mood and encouragement to produce some great solos. (9/10)

B2. "Ebony Moonbeams" (6:55) the album's second George Cables composition proves to be a sophisticated Latin-jazz tune with several tempo, stylistic, and motif changes throughout its seven minute length. The flow and suite-like feel are interesting and admirable but, like a lot of the George Cables melody making that I've heard, his gift for creating major melodic hooks is in the middling range. It's pleasant enough but it's nothing special enough to write home about. (13.333/15)

B3. "Too High" (6:37) another cover of a Stevie Wonder song (from Innervisions). It's funky, and jazzy with its horn arrangements, but the bass line, drum, percussion, and horn hits, for me, completely loose the staccato "punch" power that Stevie's original had. I like Freddie's solo work--both the experimental sound effect use and the straightforward play--but the rest is, for me, just missing the mark--and the only other soloists are sax players Junior Cook and Pete Christleib, in the middle. (8.75/10)

Total time: 41:06

Freddie is definitely on board with a full and serious commitment to sophisticated Jazz-Rock Fusion--and he's definitely got the funk working on all ofthise songs.

A-/five stars; a minor masterpiece of peak era Jazz-Rock Fusion.

DONALD BYRD Thank You ... For F.U.M.L (Funking Up My Life)

Album · 1978 · Funk Jazz
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FunkFreak75
A very pleasant collection of easy listening pop/Soul/R&B songs with Donald practically stepping into the shadows instead of leading from the spotlight. Not much of the Jazz-Rock Fusion elements left in this music.

Line-up / Musicians: - Donald Byrd / trumpet - Ed Watkins / bass - Anthony Cox / drums - Melvin "Wah Wah" Watson / guitar - Paul Jackson Jr. / guitar - Rick Littlefield / guitar - Greg Phillinganes / piano Vocals: Angela Winbush, Art Posey, Donald Byrd, John Lehman, Josef Powell, Lisa Roberst, Marlena Jeter, Maxine Anderson, Patricia Henderson, Ralph Turnbough, Stephanie Spruill, Syreeta Wright.

A1. "Thank You For Funking Up My Life" (4:15) What a line-up! One of the best Funk rhythm sections you'll ever see in the 1970s! This funky PARLIAMENT-like anthem is sung by one of its songwriters, Art Posey. This is actually a very contagious song! (9/10) A2. "Sunning In Your Loveshine" (5:40) spoken voice with muted trumpet in the background over rich smooth jazz sexy-love music. Lead singing voice over the choir in the main body of the song is none other than Syreeta Wright, Stevie Wonder's first wife. Pretty and poppy. (8.75/10)

A3. "Your Love Is My Ecstasy" (5:03) another Art Posey song and performance. A near-Al JARREAU performance of a Al Jarreau/BARRY WHITE-like orchestra-supported song. There is very little footing in the world of Jazz-Rock Fusion on this one: it's more like 1980s Kool And The Gang fare. Still, it is pretty. (8.75/10)

A4. "Loving You" (4:48) not the Minnie Ripperton song: Joe Hall. Funky pop music with group choir vocals until Jim Gilstrup shows up in the second half of the second minute. It's a EARTH, WIND & FIRE/CAMEO type of a song and performance. A Minnie Ripperton-like high soprano voice steps up to the microphone in the third minute for some wordless vocalese before stepping back for the horns to work and then for Jim Gilstrup to return to the spotlight. Solid dance romance music. (8.75/10)

B1. "Have You Heard The News?" (4:42) Another smooth pop-funk song with some catchy group and male-led vocal passages. Near-future Kool And The Gang again comes to mind as I listen to this one. (8.75/10)

B2. "In Love With Love" (4:48) gentle Disco with Art again in the lead. He's got a very pleasant voice--not unlike that of a mild-toast version of Al Jarreau or even Ray Parker, Jr. Donald is really ripping it up with his trumpet but it's muted and it's mixed very much in the background--as if playing in the alley outside. (8.75/10)

B3. "Cristo Redentor" (4:45) a Duke Pearson composition, this is the album's first that has felt to contain/represent anything akin to Jazz-Rock Fusion. There is mystery, tension, and experimentation present in the intro, but then the strings enter and the band congeals into a smooth funk motif--but they retain the mystery and tension (until the chorus--a rather corny/sappy affair). Donald's trumpet is paired with the background "singers" of orchestral instruments just as a voice and backup vocalists would be--which lends itself to the very natural conclusion that this is a cover of a former pop song--something Freddie Hubbard made something of a career doing. Still, Donald is up front (and ummuted) for the only time on the album, which is great. Female background vocals join in for the last minute and a half. (8.875/10)

B4. "Close Your Eyes And Look Within" (5:15) yet another eminently likable tune from Art Posey and his posse. Pulsing with BARRY WHITE sexuality and very little complexity (and very little Donald Byrd). (8.75/10)

Total Time: 39:11

Despite vocalist Art Posey's involvement with six of the album's eight songs I must point out that he was never a sole songwriter of any of these songs, only contributing (probably lyrics). One Joseph Powell is involved in all of them as well as a number of other names, including Melvin Ragin and Orville Saunders--neither of which play any part in the production of the album. As for Donald's participation, it is rarely up front, usually from behind with his muted trumpet or within a background horn section. The music Donald sponsors on this album is very pop Soul/R&B oriented--would all make great dance song for lovers in a disco just as soon-to-be Kool And The Gang's music will soon turn (under the guidance of Eumir Deodato).

B/four stars; this is good music--very engaging and pleasant if simply-crafted--but it's all pop-Soul/R&B, nothing much of any relevance to the Jazz-Rock Fusion movement (except as a testament to the exodus of artists to the more financially-lucrative Easy Listening, Adult Contemporary, Dance and party anthem domains.

EDDIE HENDERSON Comin Through

Album · 1977 · Funk Jazz
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FunkFreak75
Recorded in Eddie's "backyard"--in San Francisco--at Wally Heider Studios--sometime in 1977--the album is reputed to have had a July release from Capitol Records.

1. "Say You Will" (4:28) so this is how it's going to be: Disco Jazz-Funk! There is the skillfully-played musicianship coupled with repetitive dance grooves with their instrumental riff "hooks" and engageable melodies. The main melody as presented by Eddie on his trumpet prepares us for Debbie Harry's awesome 1980 hit, "Rapture," while the mesmerizing bass 'n' drum line beneath feels as if it came straight out of The ISLEY BROTHERS' 1975 release, The Heat Is On (like a slightly less bass-heavy "Fight the Power"). (8.875/10)

2. "Open Eyes" (3:53) slow it down to Bob James pace, Paul Jackson's funky note-sliding bass line is so cool! Active horn section, Patrice Rushen's clavinet, and choir sultry background vocals make for a great cocky-urban groove to fall into. Here the effect of the percussion ensemble is felt and Eddie really lets us hear his trumpet talents. Nice--though it is faded out to end it (indicating, of course, that the original jam went on for some time longer). (9/10)

3. "Morning Song" (5:38) discarding the Disco and R&B stylings for a song is a good thing. Here they are reaching back into the soulful early 70s with a Bob James/Steely Dan kind of spacious style. I like this very much as it reminds me much more of the true essence of some of those original pioneers of Jazz-Rock Fusion--the ones who were seeking to catch listeners with melody, comfort, and ease. Eddie's lead trumpet play is quite smooth and modest, rarely showing his skills, settling more for the engaging melodies of the classic soul singers of the 1960s. (8.875/10)

4. "Movin' On" (5:54) I'm wondering if the "dirty" production on George Cables' electric piano intro was intentional or not. No matter. After 30 seconds of solo electric piano, the band appears with a Disco-lite motif that predicts HERB ALPERT's 1980 hit, "Rise." George's clavinet play above Paul Jackson's centering bass line is great while the electric piano strays and spices things up beneath the steady beat provided by the Locksmith. The long reverbed trumpet notes are pretty cool even if they are mixed a little further back than I would have expected (or liked). With so many percussionists employed for this song I would have expected more noticeable action coming from that department, but no. My favorite part of the song (beside the clavinet and Fender Rhodes play) is Manny Boyd's excellent sax solo in the third and fourth minute. Again, like Herb Alpert in "Rise," Dr. Eddie stays the course pretty firmly with his long- sustained reverb note playing throughout. (9/10)

5. "Return to the Source" (4:32) a song that sounds like a slow-motion version of one of The Isley Brother's popular uptempo funk songs from their Heat Is On-Harvest For the World-Go for Your Guns period (1975-1977). Eddie's muted trumpet play is awesome, the pace a little discombobulating because it's slower than you would want or expect, but it does allow for plenty of chances to observe the talents of band members like the rhythm guitarists and vocal choir. Great rhythm guitar work from Lee Ritenour and some of the album's best trumpet playing by Eddie. (9/10)

6. "The Funk Surgeon" (4:59) fully committed to the Disco era: multiple rhythm guitars, slap and pluck bass, bass- and hi-hat-centered drums, EWF-like horn section, Patrice Rushen's novelty sound of duck-like Mini-Moog--it's all here for a dance-floor novelty song. Which is sad for the way in which Eddie's trumpet becomes so secondary (or tertiary) to the music--even going so far as getting buried within the mix instead of up front. (8.75/10)

7. "Beyond Forever" (4:38) one of the most interesting songs on the album--mostly due to its mid-song tempo increase and the remarkable instrumental performances that come with that. NOt only are the performances of Paul Jackson, George Cables, and Locksmith off the charts impressive, the composition (by George Cables) displays a songwriter who is anything but complacent--someone who wants to continue to keep the exciting, exploratory nature of jazz alive within the music industry. Great song! (Too bad they faded it out again: I would love to hear what else they had to say!) (9.375/10)

8. "Connie" (3:05) an Eddie Henderson composition that finds the flugelhorn player expressing from a tradition that feels closest to that of Miles Davis and/or Freddie Hubbard. George Cables is Eddie's lone accompanist--on a sparkling Fender Rhodes. Very reflective and introspective. I love Eddie's emotional side. (9.25/10)

Total Time: 37:07

Though full of plenty of funk and creativity, this album definitely presents a full commitment to the sounds and styles that were dominating the world of radio- (and sales-) friendly pop music at the time.

A-/4.5 stars; a collection of masterful songs that perfectly reflect so much all that was going on in the dance, radio, and Jazz-Rock Fusion world at the time (mid-1977).

MARC MOULIN Sam Suffy

Album · 1975 · Funk Jazz
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FunkFreak75
Though I was first introduced to this music via a YouTube posting of the 2005 release with all of MEDIAMOTION's remixes, I decided to go back to the original vinyl for my definitive review.

A1. "Le Saure" (6:00) since this was before sampling existed, I am going to go out on a limb and guess that Marc himself took on the duties of laying down the awesome electric bass track. The rest of the music has wah-wah-volume- pedal-controlled Charles "Skip" Pitts/"Shaft"-like rhythm guitar and piano-like electric piano with a whole bunch of interesting experimental synthesizer sounds parading around on top. I surmise that it is Marc, as well, who undertook the guitar part as it is also uncredited as otherwise. Awesome rhythm track. (9/10)

A2. "Misterioso" (1:43) Marc and Placebo-mates Philippe Catherine (guitar) and Richard Rousselet (flugelhorn) playing an indiosyncratic tribute to Thelonious Monk over drummer Garcia Morales funky/syncopated drum play. (4.375/5)

A3. "From" (3:35) mysterious cinematic music performed by Marc with keyboard maestro Jasper Van 't Hof and Garcia Morales' orchestral percussion support. But who played the STEVE HILLAGE-like "floating" guitars and the autoharp? Interesting and effective--even memorable. (8.875/10)

A4. "La Bougie" (4:14) fast-panning heavily-reverbed electric piano chord play opens this before Marc's synth bass and Garcia Morales' solid, driving drum track establishes a funky and rhythmically-mathematical rhythm track. Here Marc toys around with a synthesizer for his initial leads before giving way to his solo Brian Auger-like (electric? or electrically-enhanced?) piano. Whereas the bass lines offered on some of the other songs must come from a stringed instrument, this one is obvious that it's a synthesizer bass being played by the keyboardist's left hand. (8.75/10)

A5. "Le Beau Galop" (1:58) bluesy piano and trumpet. N'Orleans here we are! (4.25/5)

A6. "Le Blouse" (4:37) a deeply-hypnotic EARTH, WIND & FIRE/BOBBY CALDWELL-like rhythm track that has my sampling-self salivating (I can understand the crowded lineup of Acid Rock and other 1990s and 2000s Hip Hop artists for sampling this.) Everybody will recognize this enticing groove for its presence in slightly adulterated form in "La femme d'argent" the massive hit from French band AIR's downtempo electronic classic 1998 debut/breakthrough album, Moon Safari. Steely Dan-like piano chord hits are peppered effectively throughout the song, over the amazing bass 'n' drum rhythm track, and the bass line is doubled up by a heavily-treated synth "boing! (spring)" sound in the main meaty sections of the song. Marc chooses an odd synth to quietly, almost unobtrusively, lead for the first half of the song, alternating with his "piano" for the choruses and electric piano for the solo in the extended instrumental passage that takes us to the end, but, otherwise, there's not much to this! (8.875/10)

B1. "Tohubohut" (17:20) (35.25/40) a. "Tohubohut I" (5:11) single piano chord hit, water in the tub-or-sink splashing sound, bass drum hits, toms, eventual awesome BARRY WHITE "(I'm Gonna Love You) Just a Little More Baby"-like solo drum track build before the synth bass and synth horns and, later, real trumpet form the meat of the tune. Nice Acid Jazz beat before there was such a thing as "acid jazz." If Bruno Castellucci is this good at imitating the drum patterns of Barry White songs (especially this, Barry's best song ever), it's no wonder that his drumming on Jan Akkerman's 1977 masterpiece, Jan Akkerman seduces me so. (9.25/10) b. "Tohubohut II" (4:09) 90 seconds of synth sound experimentation through chord progression hits, sounding exactly like the work of synth pioneer LARRY FAST on his early SYNERGY albums. Around the two-minute mark the music shifts into a funky Cobham-like drum, bass and reverberating Fender Rhodes groove over which Richard's "distant" wah-wahed muted trumpet solos. Then Marc steps to the fore with his right hand on the piano while his left continues to play the reverb Rhodes chord pattern (and funky synth bass line). (8.875/10) c. "Tohubohut III" (2:10) Richard Rousselet's trumpet soloing in what sounds like animal sounds (predominantly elephant) while something Marc is playing makes warthog grunting sounds--for two minutes! Quite playful, somewhat humorous, but, ultimately, selfish and masturbatory. Not sure I really wanted or needed to hear this! (4/5) d. "Tohubohut IV" (2:07) really fun, oddly-timed, hugely-spaced piano and trumpet hits. It's like performing (or being subjected to) one of Miles Davis disciplinary exercises--the ones that mess with your mind! I have to admit that it's kind of cool though not exactly the kind of music you want to listen to for relaxation, love-making, or background ambiance. (4.75/5) e. "Tohubohut V" (3:40) provides a return to the theme, palette, and style of the suite's opening movement. (8.875/10)

Total Time: 38:46

A lot of the music on this album feels quite experimental. In fact, I'd say Marc was more interested in fooling around with all of the new technologies in sound and sound engineering--especially with his synthesizers--than he was in creating new masterpieces of music that other musicians will want to emulate. It's all for entertainment: for both Marc and his perceived audience. (Witness the bass synthesizer throughout the album.) The music is smooth, funky (but not stanky), and quite serene, never really disturbing or grating. Marc's melody lines and chord progressions are, I'm sure, advanced and jazz-calculated but, like Bob James, they rarely stray outside the average, uneducated listener's comfort zone.

B/four stars; eminently entertaining and futuristic smooth jazz that is powered by Marc Moulin's creative curiosity and his drummers' considerable prowess. Just not the masterpiece other people are claiming (that I was sincerely hoping to find).

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