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Soul-jazz legend Roy Ayers, who made his mark in the seventies and early eighties with classic recordings like He’s Coming, Ubiquity, Red Black & Green, Vibrations, Everybody Loves The Sunshine, and so many others, has teamed up with Los Angeles based producers/multi-instrumentalists Adrian Younge and Ali Shaheed Muhammad (of also Tribe Called Quest) to release a brand new album on the newly formed Jazz Is Dead label.
Los Angeles based producers/multi-instrumentalists Adrian Younge and Ali Shaheed Muhammad (of Tribe Called Quest), who are the masterminds behind The Midnight Hour, have recently released an incredible new compilation, titled Jazz Is Dead, featuring new recordings from jazz legends Roy Ayers, Gary Bartz, Doug Carn, João Donato, Brian Jackson, Azymuth, and Marcos Valle.
Chicago-based composer, clarinetist, singer and educator Angel Bat Dawid and the International Anthem label have recently released a powerful new recording, Requiem for Jazz, that explores the strong interconnections between the foundations of jazz and the African American experience.
Highly innovative Los Angeles-based producer and multi-instrumentalist Mark de Clive-Lowe, who is always blurring the lines between jazz, broken beat, and experimental electronic-influenced music, has just released volume two of his new and brilliant Midnight Snacks Ep series.
One of last year’s biggest surprise (no pun intended) and critically acclaim releases was Surprise Chef’s incredible debut full-length All News Is Good News. Originally released in November on the band’s own College Of Knowledge imprint, the album ended up making it to the top of many “best of” lists. After a reissue of the release by Mr Bongo, the Melbourne group has just released their highly-anticipated follow-up full-length, titled Daylight Savings.
At times written off by the genre’s purists that the 1970s were a less than remarkable time for jazz, the decade was actually an era of major exploration for many jazz musicians, incorporating elements of funk, soul, rock, and early electronic sounds into their own recordings. This expansion of musical influences and an adaptation of more electric instrumentation helped lead to what some consider as a golden time for what has been coined “jazz-funk.”
Almost another year around the sun, and that means it’s that time again (hard to believe), where we revisit some of the best releases of the year. In regards of new music, 2023 was another incredible year. As always, it was admittedly extremely challenging pulling together a “best of” list, however I’m excited to have been able to expand to 40 releases, which still didn’t feel like enough. As always, I’m sure I missed a few worthy selections.
It’s that time again (hard to believe), where we revisit some of the best releases of the year. In regards of new music, 2022 was one of the best in recent memory. It was admittedly extremely challenging pulling together a top 30 list, as many their were many additional favorites that unfortunately didn’t make the list. If there is time before the month is up, I might go back and extend the list to 40 or 50 releases. As always, I’m sure I missed a few that were just not fully on my radar.
Throughout the seventies and into the early eighties, jazz-funk legend Brian Jackson collaborated with the late great Gil Scott-Heron on some of the most forward-thinking and socially conscious music of our time, releasing tracks like “The Bottle”, “The Revolution Will Not Be Televised”, “Johannesburg” and numerous others. Following up on last year’s collaborative effort with Jazz Is Dead, Jackson returns with his first solo album in over 20 years, titled This Is Brian Jackson on BBE.
When it comes to organizing a record release, there might not be something more challenging than compiling music for a compilation. Unlike a Spotify playlist, these releases require sourcing and licensing the music, which is often much more challenging than selecting the tracks. That being said, compilations play an important part in telling a story about either a time period, a region, a sub-genre of a sub-genre and many times, all of the above. They often also serve as musical “gateway drugs” into whole worlds of lesser known music for listeners, in which they can continue to explore well beyond each release.
