RnB

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The line between jazz and RnB is often blurry. Both styles of music come from the same sources and both influence each other as they constantly cross paths. The Jazz Related RnB genre at JMA pays tribute to RnB bands that are not jazz bands in name only. For example, the early to mid-70s version of Earth Wind and Fire caught the attention of many jazz and fusion fans with their virtuoso horn charts, poly-rhythmic foundation and extended harmonies over modern jazz chord changes. Many of the RnB artists listed in this genre had a strong impact on the development of jazz.

rnb top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 24 hours caching

STEVIE WONDER Songs in the Key of Life Album Cover Songs in the Key of Life
STEVIE WONDER
4.80 | 13 ratings
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STEELY DAN Aja Album Cover Aja
STEELY DAN
4.57 | 29 ratings
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STEVIE WONDER Innervisions Album Cover Innervisions
STEVIE WONDER
4.60 | 18 ratings
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EARTH WIND & FIRE Gratitude Album Cover Gratitude
EARTH WIND & FIRE
4.70 | 6 ratings
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CURTIS MAYFIELD Curtis/Live! Album Cover Curtis/Live!
CURTIS MAYFIELD
4.77 | 4 ratings
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STEELY DAN Countdown to Ecstasy Album Cover Countdown to Ecstasy
STEELY DAN
4.41 | 21 ratings
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STEVIE WONDER Fulfillingness' First Finale Album Cover Fulfillingness' First Finale
STEVIE WONDER
4.46 | 10 ratings
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ISAAC HAYES Hot Buttered Soul Album Cover Hot Buttered Soul
ISAAC HAYES
4.37 | 9 ratings
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STEVIE WONDER Talking Book Album Cover Talking Book
STEVIE WONDER
4.32 | 12 ratings
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SADE (HELEN FOLASADE ADU) Diamond Life Album Cover Diamond Life
SADE (HELEN FOLASADE ADU)
4.37 | 7 ratings
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EARTH WIND & FIRE All 'n' All Album Cover All 'n' All
EARTH WIND & FIRE
4.25 | 9 ratings
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SADE (HELEN FOLASADE ADU) Promise Album Cover Promise
SADE (HELEN FOLASADE ADU)
4.22 | 9 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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rnb Music Reviews

THE BUDOS BAND Frontier's Edge

EP · 2023 · RnB
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js
Thanks to the acid jazz movement of the late 80s and the rare groove DJs, a lot of 60s music was given a new life. Genres such as blaxploitation soundtracks, exotica, psychedelic RnB and soul jazz were pushed aside in the 80s as being too much of their time period and way too kitsch for sophisticated tastes. Surprise, all of these genres became cooler than ever since the mid-90s and are continuing to hold a steady popularity among devoted cult followings. This leads us to the Budos Band who hit the scene in 2005 playing their approximation of Ethiopian jazz mixed with Afro-beat and other influences. In recent times, they have been sliding towards 60s psychedlic funk and RnB, which is the case with their latest EP, “Frontier’s Edge”.

This is a power packed EP with seven compact tunes and no wasted space. Budos is a large ensemble, featuring anywhere from eleven to thirteen band members. Their horn sound is very African, sounding similar to Cymande or King Tubby’s dub experiments. The foundation of the group is trap set plus percussion and their jams are driven with funky wah-wah guitar and Farfisa organ, tying the pop music of Africa with the sounds of early Funkadelic and the Chambers Brothers. There are occasional short solos, but mostly this band is about great melodies pushed by a polyrhythmic base and sprinkled with psychedelic pixie dust. The effects from analog tape delay and the characteristic feedback such machines can produce is a big part of their colorful sound. This is righteous vibes music, drop the needle and let the party start.

FRANK ZAPPA Cruising With Ruben & The Jets (The Mothers Of Invention)

Album · 1968 · RnB
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js
Frank Zappa’s “Cruising with Ruben and the Jets”, is probably one of the more misunderstood and under appreciated albums in pop music history. Often called a satire on doo-wop music, or a parody, this album is actually a labor of love of sorts as Frank and his band mates, sincerely (mostly anyways) try to pay tribute to the music of their youth. Yes, there is some silliness on here, but doo-wop was music by, for and about teenagers, it is by nature a somewhat silly form of music in the first place. About half of the songs on here are straight ahead doo-wop, expertly performed and souped up with some creative chord progressions and arrangements. In addition to that, there are a couple of doo-wop meets art rock creations, and then, since it is Zappa, there are also a couple of kind of ‘silly’ tracks too. The more straight ahead doo-wop numbers are excellent, this band had killer vocalists and their vocal arrangements are stunning. Add to that, the production on here is some of Frank’s best, every little vocal detail is crystal clear. This is doo-wop, so you can bet all the lyrics deal with teenage romance, especially the heartbreak of failed teenage romance.

On a couple songs, Frank and his crew merge doo-wop with art rock tendencies such as changing rhythmic meters, unexpected chord changes and psychedelic guitar work. Of this lot, “You Didn’t Try to Call Me” and “I’m Not Satisfied” are master pieces. Then there are the numbers that contain overly silly elements, such as the rap part in “Desire”, or the gun fire and scream insert in “Stuff Up the Cracks”, which would have been a much better song without the extraneous sounds. Many reviewers will dutifully point out that there are Stravinsky musical quotes on here, but that’s what happens when people copy someone else’s review because it would be nice if they actually knew where the alleged quotes are because a listen to the album does not seem to reveal any such thing.

Zappa was not too fond of hippie culture and most hippie music. With this in mind, “Cruising” could be seen as Frank’s attempt to deflate the pretentious and overly serious nature of the trendy ‘revolutionaries’ of the late 60s. No doubt, fun mindless teenager music such as doo-wop was considered very un-cool when this album came out in the late 60s, and it seems that had a lot to do with why Zappa put "Cruising" out in the first place.

RANDAL CLARK Stargazer

Album · 2022 · RnB
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Carmel
Randal Clark is a contemporary Salt Lake City-based alto saxophonist and composer. Clark's dynamic playing crosses elements of jazz and smooth jazz to form a sophisticated fusion sound that is pleasing and based on groove. Clark's latest album, Stargazer, is the altoist leading various bands of fusion icons Jeff Lorber, Jimmy Haslip, Randy Brecker, Vinnie Colaiuta, Gary Novak, Paul Jackson Jr., Nick Kellie, Michael Thompson, David Mann, Oliver Leiber, and Scott Kinsey. "Pivot" is a funk-filled exploration of groove and melody. Clark leads an ensemble of Jeff Lorber on keyboards, David Mann on saxophones and flute, Jimmy Haslip on bass, Jimmy Branly on percussion, and Gary Novak on drums. Clark's playing on this Lorber original is expressive as his technique and lyricism combine to form powerful phrases. The groove is maintained as the composition flows through several riff-based melodies. Clark's improvisational style is one of energy and a beautiful tone to form colorful and musical lines. "All About It" is given a easy-going funk groove. Clark's alto saxophone sits perfectly above the ensemble of Jeff Lorber on keyboard, Kenji Aihara on guitar, Alec and Tara Clark on trumpets, Howard Summers on trumpet, David Mann on saxophone and flute, Jimmy Haslip on bass, and Vinnie Colaiuta on drums. Haslip and Colaiuta keep the song's motion moving forward as the horn adds many colors hits to the melody. Clark's soloing is tasteful and melodic as he expresses his methodology of building an organic and meaningful solo. Haslip also performs a musically defined solo. Stargazer has much to offer in its fusion-based smooth jazz appeal. Clark is a very expressive player, and everything he plays has heart and flow. Each composition gives the listener an opportunity to enjoy the music and its cornucopia of sounds. Each musician that performs on the album is equally masterful, and together they create a joyful aesthetic for the overall project sound, which is a beautiful musical experience.

ONENESS OF JUJU / PLUNKY & ONENESS / PLUNKY Bush Brothers & Space Rangers

Album · 1996 · RnB
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snobb
On the wave of the unfading popularity of African influenced jazz in England, UK-based label Strut continues their series of US funk-RnB bands from 70s Oneness Of Juju reissues. The band's debut, "African Rhythms", has been reissued by Strut in 2002, and in 2018 once again. Band's second album, "Space Jungle Luv"(originally from 1976), has been reissued by Strut in 2002 and 2021. "Bush Brothers & Space Rangers", chronologically the band's third recorded album, received its European reissue in 2022 for the first time ever (recorded in 1977, this album has been released for the first time in 1996 only, and reissued only once after - in 2002 in Japan).

Oneness of Juju were the mid-70s continuation of early 70s SF/NYC - based sax player James Plunky Branch's avant-garde jazz band Juju, who moved to Richmond, Virginia in late 1974 and switched the direction towards funk and RnB. Their debut album (still partially with old Juju line-up) under the new name, "African Rhythms", was critically acclaimed, and contained more commercially popular music for the time with a mix of funk and RnB with African-spiritual jazz elements.

For their third album, recorded two years later, the band adds guitarist Ras Mel Melvin Glover, drummer Tony Green (instead of Babatunde) and pianist Brian Jackson (both - from Gil Scott-Heron's band) and percussionist Okyerma Asante. As a result, they loose a bit of funky edge, but receive a more sophisticated sound.

The album's opener,"Breezin'", is probably better known from George Benson's instrumental version, but it's originally a Bobby Womack song, and it comes with vocals here, a nice dreamy relaxed RnB piece. "African Rhythms", Plunky's original, is represented here by a longer very percussive acoustic version, and it sounds even better then on the band's debut, one of the album's top tracks. "Nooky", another Plunky original, is placed somewhere between the band's earlier funk-jazz and the more polished RnB, with soloing sax on the front all the time.

Side B opens with an interesting example of an early "ecological" protest song, "Be About The Future". "Afro Beat" is a very percussive funky song. "Plastic (Is Easy To See Thru)" is another one of the album's top cuts, very much a George Clinton-like piece of P-funk. The album's closer, "Rhythms Timelessness", is a two minutes-long funky instrumental with lots of guitar soloing on the front.

Japanese P-Wine reissue for the first time presented 5 never before released bonuses, on the latest Strut reissue they are available as downloads. "West Wind" is a longish relaxed African-ballade with a flute, "All Blues" is a bluesy RnB with lot of sax and piano soloing and strong vocals, sounds a bit out of place here though. "The Stuff To Make You Move", is danceable RnB and the more funky, "Get Your Head Together", with male vocals, both don't add much to the album.

JOHNNY "GUITAR" WATSON A Real Mother For Ya

Album · 1977 · RnB
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js
You have to admit that “Real Mother For Ya” has a real mother of an album cover . Yes that’s Johnny’s mom pushing him in a baby carriage that has been made to look like a gold Rolls Royce, implying that young Johnny has grown up to do pretty well for himself in the music business, which indeed he did. Starting in the 50s, Watson was a star guitarist and vocalist in the blues world, especially in Houston where he was from. Moving out to LA, Johnny made the transition to a modern funk sound, and did so convincingly, scoring several big hits, while still maintaining much of his blues flavor. One such big hit was this album’s title track, with its humorous tales of ironic disappointment, rip-offs and plain bad luck. These are the kind of lyrics that anyone can relate to and Watson delivered them with plenty of funny asides in his distinctive twangy voice. The song became a real mover on the dance floor with its double heavy bass reinforced with a heavy analog synthesizer. As is typical for dance records, the title track comes first on side one so that DJs will have no problem finding it.

Sometimes albums like this, which are centered around a big hit, have nothing but filler after the hit passes, but the rest of “Real Mother” contains some well written and creatively produced tracks. Johnny covers all the bases on here, writing all the songs, playing all the instruments except horns and drums, and taking care of production as well. Watson is a great producer, different parts stand out and shimmer as he achieves great separation and clarity, and often puts some semi-psychedelic glitter on things. Johnny’s writing style combines blues, RnB, jazz and art pop, like a mix of Curtis Mayfield, The Ohio Players, The Crusaders and The Beatles. Some interesting tracks include the somewhat spacey, “Your Love is My Love”, on which Watson delivers all the vocals through a vocoder foreshadowing today’s frequent use of such vocals and, “I Wanna Thank You”, on which Johnny reveals he is just as good on the piano as he is on the guitar. “Nothing Left to be Desired” has a dreamy middle section on which Watson builds vocal layers over a jazzy chord progression. Johnny’s lyrics are never deep or heavy, but he delivers them with plenty of clever humor and spoken asides. Looking at the horn section, I see frequent Frank Zappa sideman Walt Fowler on trumpet. As many already know, Watson delivered some humorously over the top vocals on Zappa’s “One Size Fits All”.

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