I haven’t listened to footwork this bracing since the first time I heard DJ Rashad.
That thought ran through my head mere minutes into this incredible set by DJ Paypal, the brief but incredibly energetic Sold Out. If you’re familiar with the Rashad and the wider genre at all, you’ll know how bold of a statement this is.
Today is Don Cherry‘s birthday. He would have been 79 years old. To celebrate the inimitable jazz explorer’s life, I’m sharing my favorite album of his.
Here’s Brown Rice streaming in full. It’s one of the most warmly engaging releases of the entire free jazz universe and, as such, is a great entry point for those who have yet to experience the furthest reaches of the genre.
I just heard the sad news that pioneering jazz hero Ornette Coleman has died of cardiac arrest at age 85. The man left an astonishing legacy of progressive and experimental music that has influenced forward looking artists of all stripes for decades.
More important to me, he’s crafted some of the most innovative and profoundly affecting jazz albums I’ve ever heard. I’ve shared a few key moments from his epic discography below.
Inspired by a friend’s reminder, I cued up one of my favorite albums of all time: Blowout Comb, the underrated second and final release from Digable Planets. For those who aren’t familiar, they are jazz-inspired contemporaries of monumental groups A Tribe Called Quest and De La Soul… but they go way deeper.
This album is the real deal. Here’s the second to last song, a kind of manifesto:
Who is Kamasi Washington? He’s the guy who made all of the fantastic sax sounds that you loved on both recent (and brilliant) Flying Lotus and Kendrick Lamar releases. Albums You’re Dead and To Pimp A Butterfly would feel utterly lacking without Washington’s input; his freewheeling tones form the sharp jazz edge cutting through both masterpieces.
This 14 minute tune is but a small piece of the upcoming, appropriately-titled debut album The Epic – it looks to be a sprawling, three hour affair aiming to throw down the gauntlet for modern jazz. In a genre valued for innovation and stratospheric ambition, the traditional live jazz band has been laying in stasis for a couple decades now. Real innovation has come from beyond left field, from electronic artists playing with jazz forms and ideals while never really touching the live band setup. Washington could change that perception.
As Flying Lotus himself put it, “everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore.”
As a hardcore fan of the genre myself, I couldn’t put it any more plainly. This tune, along with a new exclusive song featured on Revive (I hope to have a copy streaming here soon) have jumpstarted my hopes for a new generation of the kind of wildly psychedelic, expansive, weird jazz that sits near and dear to my heart. Fans of later John Coltrane, Miles Davis, and especially Pharoah Sanders are highly encouraged to listen right now.
One last thing: Washington has been featured on this site before, as part of the Miguel Atwood-Ferguson ensemble. The band included Flying Lotus, Thundercat, Rebekah Raff, and Chris “Daddy” Dave, some of the best jazz musicians alive today. Their live take on Drips//Take Notice is one of the greatest live jazz performances recorded in the past few decades, if that’s any indication of this man’s talent.
Kendrick Lamar‘s new album, To Pimp A Butterfly, is out by surprise a full week ahead of time. It’s for sale digitally and streaming in full on Spotify. Click play below. Right now.
I’m sick. I woke up today too ill to even go to work. But then this happened. I’m feeling a bit elevated right now.
I don’t have anything too meaningful to say yet. Here’s a couple comments I made with friends during my first and only listen:
- I don’t care about what anyone else has to say on the first day of an album like this, that’s going to have a lot of discussion flying around. I like to hear it “pure” as can be, I suppose. So uh, after 2 tracks I’ll just say that I’m really enjoying this, and the dark swirl of production tics is reminding me of D’Angelo’s latest (Best of 2014 album by the way), in a really positive way. Old and new sounds mixing for something vintage but not dated sounding, maybe?
- Almost at the end. Loving the thick jazz sound. Not quite jazz-hop in that Digable Planets way, it does remind me of their masterpiece Blowout Comb in a very slight way… which is a good thing since that’s a top 10 album of the 90s for me.
There’s no need for a lot of discussion the moment something as important as this hits our collective ears. Just listen and absorb it. We’ll talk later.
Second listen observations: thinking that this evokes the warm but gritty production of D’Angelo’s Black Messiah, the sprawling, psychedelic structure of Shabazz Palaces‘ Les Majesty, and the free jazz embrace of Flying Lotus‘ You’re Dead. It’s no coincidence that all of these featured on my Best of 2014 list. I’m linking it again for emphasis – if you like this, there’s a lot of fun music streaming on that page. This album is hitting me with a deep and immediate connection.
This is a glowing gem known only to those who have burrowed deep enough into the inimitable catalog of jazz legend Alice Coltrane.
“Divine music is the sound of true life, wisdom, and bliss. This music transcends geographical boundaries, language barriers, age factors; and whether educated or uneducated, it reaches deep into the heart and soul, sacred and holy…” – Alice Coltrane