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    Origine du Groupe : North America

    Style : Nu-Soul , Nu-Jazz , Hip Hop , R&B

    Sortie : 2012

    By Adam Kuhn  from

    When one thinks of today's mainstream pop music, one does not immediately think of jazz. In fact, I have been of the opinion for the longest time that jazz needs to find its way back into
    mainstream pop music. It was once king and those glory days are far behind, but I think it will return one day, perhaps in a different form, sort of like this. While Norah Jones may be the
    closest thing to jazz in pop music today, it is hard to deny that the hip hop world has nestled itself comfortably into that world of pop music as well. So what Robert Glasper has decided to do
    here is blend his music prowess, which is that of a jazz pianist, with the musical talents and styling of today's hip hop music. An interesting experiment to be sure, Glaper collaborates with
    various artists throughout and the result is a mixed bag.

    The greatest attraction in jazz music for me is the moody transportation of the arrangements. The music manages to seep into my atmosphere from out of the speakers and take me to a musical
    paradise when done really well. That sort of experience can be found on this album, it is just a shame at how sporadic it comes. Glasper plays a great jazz piano, but his trouble on this album
    are his collaborators, who are mostly hit or miss. When paired with the delightfully soulful Erykah Badu on "Afro Blue", the classic standard with a slight twist this time, Glasper arranges an
    instantly gratifying experience. The hip is really downplayed for most of the album, featuring mostly jazz numbers with slightly influenced hip hop beats. In reality, the singers are jazzy or
    soulful and manage to compliment what Glasper is going for. The problem is sometimes they aren't all that interesting.

    Perhaps more songs like "Always Shine", which features Lupe Fiasco, would have benefited the overall effectiveness of the album. On that track, Fiasco's rap pairs uncannily well with the jazz.
    For being an "experiment", Glasper should have gone further in marrying these musical styles. That being said, it is like nothing else I have heard, though I also haven't exactly listened to very
    much modern jazz to know if this was innovative or not. Glasper flirts with a great album, but honestly falls short not because of his talents as a musician, but as an assembler of talent. It is
    worth a listen for the handful of good tracks, and perhaps for the direction it may move the music industry over time.

    Tracklist :   

    01 – Lift OffMic Check (feat. Shafiq Husayn)

    02 – Afro Blue (feat. Erykah Badu)

    03 – Cherish The Day (feat. Lalah Hathaway)

    04 – Always Shine (feat. Lupe Fiasco and Bilal)

    05 – Gonna Be Alright (F.T.B.) (feat. Ledisi)

    06 – Move Love (feat. KING)

    07 – Ah Yeah (feat. Musiq Soulchild and Chrisette Michele)

    08 – Consequence Of Jealously (feat. Meshell Ndegeocello)

    09 – Why Do We Try (feat. Stokely)

    10 – Black Radio (feat. Mos Def)

    11 – Letter to Hermoine (feat. Bilal)

    12 – Smells Like Teen Spirit


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    Origine du Groupe : Sweden

    Style : Nu-Jazz

    Sortie : 2009

    From http://shop.monocle.com

    Hailing from Stockholm, this eight-piece Swedish group are one of the most promising young jazz collectives in Scandinavia. Originally formed as a sextet by trombonist and band-leader Peter
    Fredriksson, later additions included Sofie Norling's soaring vocals, creating a unique and uplifting sound that exemplifies the best of the Nordic jazz tradition.

    Tracklist :

    01 Looking East 05:38

    02 Chapter One 04:53

    03 Swell 05:40

    04 The Search 04:15

    05 New Friends 05:16

    06 Green Eyes 05:37

    07 Stockholm 04:57

    08 The Aggressive 05:05

    09 Sun 04:32

    10 Helsinki 05:23

    11 Fly Me To The Moon 06:43

    12 The Runner 04:30

    13 Quiet Nights 05:48

    icon streaming




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    Origine du Groupe : Germany

    Style : Nu-Soul , Nu-Jazz

    Sortie : 2010

    Par Sandrine pour http://www.leszindeructibles.com

    TOK TOK TOK, c’est avant tout un duo black and white, formé par Tokunbo Akinro, chanteuse d’origine nigériane et Morten Klein, saxophoniste danois.

    Ayant fait leurs classes musicales ensemble au Conservatoire d’Hanovre et à l’issue de différentes collaborations musicales, ils décident de former ce groupe en 1998,  auquel s’adjoignent
    d’autres musiciens au fil des projets .

    Leur riche discographie – plus de 10 albums à leur actif –  alterne entre compositions originales et reprises de Stevie Wonder, Ray Charles, Lou Reed ou plus récemment Norah Jones, James
    Brown et Herbie Hancock.

    C’est avec l’album « Revolution 69 » entièrement consacré aux Beatles que l’on applaudira Tok Tok Tok, sur la scène parisienne du Réservoir à l’occasion d’un concert privé France Bleu, le 20
    septembre prochain.

    En attendant, vous pouvez déjà vous procurer le Cd.

    On y retrouve « Come Together », dynamique et entraînant, parcemé de solos au saxophone et soutenu par une  basse très funk, et« We can work it out », le tambour de basque en moins.

    Blackbird » est quant à lui très étiré, la voix ayant pour seul soutien rythmique, contrebasse en pizz et batterie, avant l’arrivée de solos de saxophone.Même procédé pour  « She’s leaving
    home », où harpe et autres instruments à cordes ont disparu pour laisser place à une rythmique entêtante mais discrète, et des interventions parlées de Morten.

    Dans un « Taxman » de velours, saxo et fender se substituent aux guitares électriques alors que « Get back » flirte avec des influences reggae, de part le choix des sonorités et de la rythmique.«
    Dear Prudence » et « Revolution 1 » sont quant à eux, littéralement cristallins et vaporeux.Changement total de registre, avec « Lady Madonna » à l’origine très enlevé et que l’on redécouvre dans
    une version on ne peut plus sensuelle.

    Enfin, Intro a cappella de rigueur, pour  une version plus langoureuse de « Help ».

    En bonus, une reprise de « Workin’ Day and Night «   laisserait elle présager d’un futur album consacré au roi de la pop ? A suivre…



    Tracklist :

    1 Come together

    2 We can work it out

    3 Blackbird

    4 Taxman

    5 Get back

    6 Dear prudence

    7 Il will

    8 Lady Madonna

    9 Being for the benefit of Mr. Kite!

    10 She’s leaving home

    11 Help!

    12 Run for your life

    13 Why don’t we do it the road?

    14 Revolution 1

    15 I’ll follow the sun

    16 Workin’ day and night




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    Origine du Groupe : North America

    Style : Alternative , Acid Jazz , Nu-Jazz , Nu-Soul

    Sortie : 1997

    From http://artistwiki.com

    Internationally acclaimed artist Jhelisa Anderson was born in Jackson, Mississippi, her father is a gospel radio show host, the Anderson family was a singing family with Jhelisa father on piano
    and organ, she is the cousin of the equally famous singer Carleen Anderson

    She began her career in 1990 in London the British band Soul Family Sensation released album "New Wave" on One Little Indian With lablemates Shaman Jhelisa then played two top ten hit singles
    "Love Sex and Intelligence" and "Phorever People earning Jhelisa a platinum album with The Shaman She has also guested on Bjork "Debut" album

    1994, after developing into an accomplished solo artist singing writing and producing during his first name Jhelisa she released her first album "Galactica Rush "on Dorado Records, followed two
    years later with" Language Electric ", both highly acclaimed Shortly after she began recording with Bryan Ferry, Courtney Pine Massive Attack Chaka Khan, and Da Lata Jhelisa most famous track is"
    Friendly Pressure "

    Touring the UK Europe and Japan Jhelisa shared the bill with the legendary James Brown, The Roots Michael Franti and Roy Ayers In addition to his musical activities Jhelisa was a member of the
    Italian film "The main character," starring British actress Tilda Swinton and was also one of the artists on Nitin Sawhney Tour in 2003 to open up for Sting and culminated in a successful
    performance at Royal Albert Hall in London on såltut audience

    Tracklist :

    1. Language Electric

    2. Sending You A Message

    3. Freedom From Pity

    4. Sell Me Away (who Will Protect Me From My Own People)

    5. Bete Noir

    6. That's Bullshit Woody

    7. My Ego Needs Me Tonight

    8. Everybody Jump Off

    9. Story Of A Musician's Madness

    10. Feelings Of Love

    11. Live No Lie




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    Origine du Groupe : North America , Germany

    Style : Nu-Jazz , Nu-Soul , Acid Jazz , Electro-Jazz , Lounge

    Sortie : 2008

    Par kemistry pour http://www.juslisen.com

    C'est une américaine qui vit en Allemagne ! Elle s'appelle Brenda Boykin , vient de San Francisco et s'est installé en Allemagne et parcourt l'Europe de festivals en festivals ^^

    Le fil conducteur de son album est le Jazz ( sa voix rappelle même les grandes voix du passé )

    Mélangé à la Soul , le Blues et la Bossa Nova , un album somptueux tantôt reposant , swinguant , groovy et ....parfait ! Sa voix est si magnifique ! J'avoue que j'ai pris une claque , que dis je
    ? un aller retour !!!

    Je vous en prie , ecoutez son album , son myspace mais ecoutez là !! Elle travaille egalement avec le collectif allemand nu'jazz " le club des belugas " ! Elle a écumé les festivals depuis
    quelques années , même Montreux , et a sorti cet album sur un label indépendant ! Quelle richesse dans cet album ;-))))))

    Tracklist :

    1. Be My Lover

    2. Ride Rich Rhythm

    3. Chocolate & Chili

    4. Wonderful

    5. Love Is In Town

    6. Hard Swing Travellin´ Man

    7. Talk With Your Hands

    8. State Side Blues

    9. Across The Stars

    10. He Doesn´t Know

    11. Moaning

    12. Listen To The Beat

    13. Freedom Song

    14. Rockabye Me

    15. Be My Lover (Acoustic Bossa Remix)



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    Origine du Groupe : Germany

    Style : Nu-Jazz , Experimental , Instrumental

    Sortie : 2011

    Par Mickael pour http://www.dmute.net

    Du haut de ses 70 ans, Billy Hart est un marathonien du jazz. L’avènement des années 60 signe sa naissance à la musique. Derrière ses fûts, il épaule les plus grands, de Miles Davis à Lee Konitz,
    en passant par Stan Getz, McCoy Tyner ou Pharoah Sanders. Ainsi fait-il passer ses talents d’artilleur à l’épreuve de tous les styles du jazz contemporain : cool, be-bop, free, fusion, ou même
    bossa. En 2011 néanmoins, personne n’aurait parié retrouver notre baroudeur de percussionniste au sein du Tied & Tickled Trio, au côté des Allemands Marcus et Michael Acher, les deux têtes
    pensantes de The Notwist.

    Depuis maintenant une dizaine d'années, les frères Acher donnent le la à tout un collectif de musiciens et artistes regroupés sous le nom de scène de Weilheim. The Notwist, par sa notoriété, est
    évidement son cœur battant. La musique qu'on entend dans cette ville de Bavière va pourtant bien au-delà du simple croisement entre pop et electronica. D'ailleurs c’est souvent quand ils
    délaissent l’electro-pop douce-amer de The Notwist que nos deux frangins nous surprennent le plus. Citons 13 & God par exemple, leur collaboration avec le groupe de hip-hop Themselves...et
    avec plus d’enthousiasme encore ce fameux Tied & Tickled Trio.

    D’assez loin, on peut dire que Tied & Tickled Trio est l’entité la plus polymorphe de la scène de Weilheim. C'est un groupe qui n'a jamais manqué de nous surprendre. Un album comme Observing
    Systems par exemple est solidement encré dans le jazz contemporain, tandis que EA1EA2 le fait se confronter à une electronica super ciselée. Plus récemment encore, l'étonnant Aelita se frayait un
    chemin entre un dub suranné et un jazz lunaire dans une ambiance de vieux films soviétiques de science-fiction. Saisissant en tout point ! Pour La Place Démon, la surprise de taille est donc la
    présence du mastodonte Billy Hart derrière la batterie.

    S'il possède toutes les couleurs du jazz, La Place Démon est avant tout un album où les références les plus variées se croisent, se confrontent ou s'embrassent. Contrairement à Aelita, le trio
    affectionne ici les compositions à tiroir, les changements de registres, les décalages les plus subtils. Dans un même morceau, on trouve des thèmes dignes de musiques de film, des structures
    anguleuses propres aux musiques électroniques, ou des moments de jazz toujours très référencés. Dans d'autres morceaux, on trouve aussi tout ça en même temps, dans une même embardée.

    De cette manière, les titres de La Place Démon oscillent sans cesse entre évolutions subtiles, revers soudains, traditions et avant-gardes. On pourrait voir d'ailleurs comme une filiation entre
    La Place Démon et On This Night, l'un des albums les plus aventureux d'Archie Shepp. Les tintements d'un vibraphone ou certains motifs ébauchés par le saxophone ténor de Johannes Enders nous y
    font penser. Notamment quand ceux-ci esquissent l'atmosphère d’un film noir ; quand ils nous plongent au cœur de quartiers inquiétants, battus par une nuit pluvieuse.

    Chacun leur tour ou tous à l'unisson, Billy Hart et ses comparses allemands explorent les limites d'un jazz cinématique sans cesse en ébullition. Les trois sections de The Three Doors illustrent
    parfaitement le dynamisme de la collaboration entre le batteur américain et Tied & Tickled Trio. Répartis tout au long du disque, chacune d'elle offre une facette différente de leur
    association en puisant dans un très large panel de structures et d’influences.

    Sur un rythme soutenu The three Doors Part 3 ébauche un swing synthétique et sans doute improvisé où basse et percussions, synthétiseurs et cuivres avancent en rang serré, ne s’embarrassant
    d’aucun détour inutile. C’est une pièce très progressiste quand, de son côté, The Three Doors Part 2 est un moment de jazz hors du temps qui sonne presque anachronique au milieu des desseins plus
    contemporains des autres compositions.

    Enfin The Three Doors Part 1 est le morceau le plus explosif du disque. Billy Hart en est l'attentif maître d'œuvre tout autant que l’artificier. Au côté du contrebassiste, il impose une cadence
    de plus en plus soutenue, trace un sillon le long duquel les zéphyrs électroniques d'Andreas Gerth et toutes sortes de cuivres et d'instruments à vent dessinent des motifs alambiqués et
    dramatiques. Un violon frondeur se frotte à l'ensemble pour provoquer enfin un sursaut frénétique qui viendra d'un solo de sax bien senti en tout point par Johannes Enders.

    Ailleurs sur le disque, des titres comme Calaca ou Violent Collaborations Part 1 proposent des solutions musicales toutes aussi convaincantes et efficaces. Mais on trouvera vraiment à se régaler
    sur l’iconoclaste Lonely Woman/Exit La Place Démon/The Electronic Family. C’est une longue pièce qui s’ouvre sans cesse des lignes de fuite vers autre chose que ce jazz cinématique qui est la
    substantifique moelle du disque tout en arrivant à conserver la même tension inhérente au genre.

    Au final La Place Démon s'impose comme un album passionnant et bouillonnant qui maintient sans cesse l'attention de l'auditeur en alerte. Billy Hart, qui ne s'est pas limité à relever de ses
    frappes fantastiques les compositions des Allemands, a aussi mis la main à la patte et ça se ressent. Jamais la musique du Trio n'aura paru plus sûre d'elle et plus ouverte.

    Tracklist :

    01/ The End Is The Same As The Beginning

    02/ The Three Doors Part 1

    03/ Calaca

    04/ Violent Collaborations Part 1

    05/ The Three Doors Part 2

    06/ Violent Collaborations Part 2

    07/ Lonely Woman/Exit La Place Démon/The Electronic Family

    08/The Three Doors Part 3

    09/ Ghost Allaround



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    Origine du Groupe : Italia

    Style : Nu-Jazz , Acid Jazz

    Sortie : 2011

    By Miss Congeniality from http://www.amazon.com

    Nicola Conte has rightly established himself as the premier Italian jazz maestro with a string of great albums.

    He returns to recording, and this time he is speaking of love and revolution in an album released by the legendary label Impulse!

    "Love and Revolution", infused with a sense of spiritual jazz, will please his existing fans and gain others. His style of bossa based cool jazz using a full band of great musicians and vocalists
    is a winning formula. Jose James, Gregory Porter, Nailah Porter, Alice Ricciardi, among others, provide the vocals on great covers of "Love From The Sun'", "Ghana", "Temple Of The Far East", and
    original tracks "Black Spirits", "Shiva" and "Do You feel Like I Feel".

    Other great jazz musicians join in, lending a hand to this great project: Till Bronner, Fabrizio Bosso, and Flavio Boltro on trumpet, Magnus Lindgren and Tim Warfield on tenor and Timo Lassey on
    flute and baritone.

    The Italian master assembled these musicians for a 'live' recording - reserving only a few additions during post production.

    The CD is a reflection in music on the values of our society: values to recuperate, values that have continued to be a beacon for many generations, values sung by youths in the late 1960s. And it
    is precisely this cultural atmosphere that Conte refers to, both in his choice of repertoire and in the splendid arrangements by Magnus Lindgren, and perhaps above all in the lyrics.


    Tracklist :

    01 – Do You Feel Like I Feel

    02 – Love From The Sun

    03 – Here

    04 – Black Spirits

    05 – Mystery of You

    06 – Shiva

    07 – Ghana

    08 – Quiet Dawn

    09 – Scarborough Fair

    10 – Love and Revolution

    11 – Bantu

    12 – All Praises to Allah

    13 – Ra in Egypt

    14 – Temple of Far East

    15 – I’m The Air



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    Origine du Groupe : U.K , Germany

    Style : Acid Jazz , Nu-Jazz , Downtempo , Lounge

    Sortie : 2011

    By Dj Uilson From http://djuilson.blogspot.com

    After the huge success of their first 2 albums "Sitar and Bossa", and “D'Jazzonga” Bebo is back with perhaps his finest yet!

    With the spirit of whatever "Nu Jazz" might be, with a way-cool cinematic bossa nova-jazz groove that could pass for a genuine late-'60s or early-'70s soundtrack recording, garnished with early
    21st century electronic touches.

    Bebo blends elements of dance music, jazz, trip-hop, swing and downtempo into one delicious, happy cocktail and suggests the exuberant insouciance of parties, rides in convertibles on warm,
    full-moon nights, and an afternoon spent dancing barefoot with friends with a glass of sangria in your hand.

    The Album opens with the sublime title track, Nu-Jazz at its best! The albums flows into “Havana Jazz” and “Mambo & Cola” – lots of Brazilain Jazz here!

    Next is the swingin' dance tracks of Louis Prima’s “Sing Sing Sing” and “James Bonds theme” both done “Bebo style”. Funky beats of “Jazz or NuJazz” get you into the groove with sensual parisienne
    singer Luma’s vocals on “that’s the way I like it” and London’s top Jazz singer Iain Mackenzie breaks your heart with “now and ever”.

    Bebo gets back into cool seductive, jazz again with “chill radio bossa” and “the sun is shinin’” with “Jazz carnival” and “daikiri bossa dance” playing the album out.

    Lastly Chin Chin has added a bonus remix track of “Sing Sing Sing” done by DJ Gabriel’s with a dance floor New jazzy-grooved beat put to it!


    Tracklist :

    1. Saronno On The Rocks

    2. Havana Jazz Dance

    3. Mambo & Cola

    4. Sing Sing Sing

    5. James Bond Theme

    6. Jazz Or Nu Jazz

    7. That’s The Way I Like It (Feat Luma)

    8. Now & Ever (Feat Iain Mackenzie)

    9. Chill Radio Bossa

    10. The Sun Is Shinin’ (Feat Mr Concina)

    11. Jazz Carnival

    12. Daikiri Bossa Dance

    13. Sing Sing Sing (Koko Chanel Remix)



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    Origine du Groupe : Italia

    Style : Nu-Jazz , Lounge

    Sortie : 2009

    media player

    From Official Site :

    Smoma are three very talented italian musicians who got together in 2000 to perform. Tobia plays the keyboards and is the arranger, Andrea plays the trumbet and Simona is the lead singer with a
    powerful voice. They porfermed live formore than 100 days a year amd are one of the most important band in the live italian band. They perform in the trendiest italian club. They play hits
    arranged in chillout, lounge and soft dance style. Smoma is a fantastic Live-Trio

    Tracklist :

    01. The Sweetest Taboo "2009 Version"

    02. On The Other Side Of The Horizon

    03. De Mi VIda

    04. Waiting In Vain

    05. Secret

    06. The Flight

    07. The Devil Is Loose

    08. All I Have

    09. Love So Good Inside

    10. All Alone

    11. I Want Your Sex

    12. All Around The World

    13. Just You And Me

    14. Give Me The Night "2009 Version"



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    Origine du Groupe : North America

    Style : Hip Hop Jazz , Groove

    Sortie : 1994

    As one of the few "hip hop bands" on the scene when they emerged in the early 1990s, Bronx outfit Justice System was often compared to the Roots, a likening that probably worked against them as
    much as it worked in their favor. While their tight jam arrangements and juxtaposition of poetic rap with full-bodied band orchestrations was certainly reminiscent of their Illadeph
    contemporaries' approach, Justice System had their own sound and were musical innovators in their own right. Their 1994 MCA debut "Rooftop Soundcheck" captures a young, visionary collective with
    a focused sound, smart production, and top-notch batch of material.

    On "Rooftop Soundcheck," Justice System's sound is equal parts jazzy and funky. The easygoing grooves and instrumentation would certainly garner comparisons to the original Roots crew, but
    "Rooftop Soundcheck" bears a much more full-bodied and choreographed sound than "Do You Want More?!!!??!" Driven by the sturdily flowing basslines of Coz Boogie and Eric G's energetic percussion,
    the music is smooth yet lively, marked by a crisp studio polish. I've heard some criticize this record as overproduced, but I find the group's balanced sound to be a strength—each of the
    instruments and sound elements is clearly distinguishable and comprises a tight, fluid sound. Guitarist Wizard C-Roc laces the songs with his rich funk licks, and the invaluable Mo' Betta Al
    holds it down on both the tenor sax and Rhodes piano, often on single songs. Individually Justice System is composed of some immensely talented instrumentalists, but together their results are
    truly extraordinary, bearing a tight and seamless quality rarely found in such hard-jamming bands, and their extended instrumental breaks and interludes provide countless highlights throughout
    "Rooftop Soundcheck." The LP thrives on its live sound and heavy-swinging arrangements, and the group proves its versatility by exploring a wide range of tempos, moods, and outside
    contributors—the sly, contagiously upbeat "Just Because" is based upon a killer muted trumpet part, while the deliciously moody "Soulstyle" plays like a rolling thunderstorm with its sparse bass
    and percussion and snaky sax echoes.

    The punchy, abrasive Folex and the smooth, cerebral Jahbaz make for ideal complements, trading literate, abstract rhymes ripe with the vernaculars of New York's historic neighborhoods and hazy
    jazz clubs. With thick accents, vivid descriptions of such borough staples as the Hudson and Bronx Rivers, and wistful shouts to old favorites Coltrane, Gillespie, Thelonius, Bambaataa, Simon and
    Garfunkel, Flash and Caz, and Red Alert, they form a bright yet distant mood for the album, brilliantly creative yet somehow reverent of a far off time and realm. Sporting the chemistry of Phife
    and Tip and the stylistic vision of Camp Lo's Geechie Suede and Sonny Cheeba, Folex and Jahbaz celebrate the sheer power of live music and their abilities to rock any crowd, all the while
    boasting artistic spirit that makes it easy to envision them as scat artists or poets had they been born in decades past. "Rooftop Soundcheck" was digitally reissued as "Sounds of the Rooftop,"
    which might be an even more apt title—the warm, mellow vibes make this an optimal listen for a summer evening, and the record oozes with the sounds of a busy, culturally rich city that might best
    be absorbed on a clear night from a towering rooftop.

    The driving "Due Our Time" and "Trouble On My Mind" are the openers, immediately swallowing the listener with Eric G's expansive rhythms and the band's refreshing chord progressions as Jahbaz and
    Folex supply dizzying onslaughts of quotables with inspiring levels of conviction:

    "Day after day I awake in the AM

    Think of ways to survive, get my strength from a shaman

    It's the same old, same old, the clock keeps tickin'

    Got a few plans to get paid, but they never kick in

    Damn another heartache, damn another heartbreak

    So many people sleepin' while I'm just steady creepin'

    Through the cracks and the holes tryin' to get some juice

    Did a show or two so that I could get loose

    With the band behind me, cold rock a party

    C plays the line, girls shake their body

    I can see it, I can see it, pray so this'll be it

    Hopin', wishin', thinkin', so see it"

    After the twangy "Flexin' tha Ill Funk" and exuberant "Dedication to Bambaataa" comes the single "Summer in the City," a warm weather anthem colorfully portraying a hot July Saturday giving way
    to a mild midsummer's evening, moving from the park to the basketball court to the street and back to a house party:

    "Put your Timberland boots back under your bed

    And buy yourself some Nike Wait-a-Minutes instead

    So we can play ball for a little fun

    I'll rock the sport full court or even just twenty-one

    The playground is the place for mad kids to gather 'round

    Freaks, I mean queens, on the side lookin' rather phat

    So give me that booty back and take my beeper number

    So we can swing the whole damn summer"

    While the block party vibe of the original is more immediately irresistible, I actually prefer the subsequent "Sunshine Blend," a sparser arrangement buoyed by a staticky drum loop with laidback
    pipes and trumpet. "The Ill River Expedition" is less sunny but equally visual, allowing shine for both the MCs and the band with an extended instrumental outro. The tempo kicks up on the playful
    "Justice Funkin'," the rich, snarling jazz of "Take It to the Stage," and "Just Because," a lighthearted player's avowal:

    "I did not hear her call me, I had the headphones on me

    Sippin' on some coffee listenin' to some Sade

    Ten AM on the dot, coolin' at my favorite spot

    All my problems are forgotten as I'm shakin' to the sound

    On the ground I dropped my Discman, damn, what a switch, man

    She looked at me and this man froze in his toes

    She said, 'Ayo Jahbaz, man, you're the one that has that

    Summer in the City, yes, I've seen the video'

    I said, 'Now hold up, wait a minute

    A video a minute and I do want to get with it

    'Cause your body is bodacious, my schedule's kind of spacious

    I'll put you in between my Vibe and Source interviews'

    But then my beeper blows up, damn, I gotta close up

    Shop, I'm dedicated to my hip hop

    Not frontin' I'm flossin', from Broadway to Shaw, son

    My name is John Dawson and I got to move on, so kick it"

    The aforementioned "Soulstyle" may be the record's highlight, a delightful groove that's as eerie as it is exhilaratingly smooth. Jahbaz shines rapping softly in double time:

    "Versatility in verse, or is it straight originality

    I quote a black poet 'cause he stocked up on reality

    Justice System terrorist, the people wanna get with this

    B-boy fashion, vocal vibe mentality

    In my neighborhood the word is that Jahbaz be gettin' props

    Praise and accolades because the skills I have are tops

    Like a stallion, sportin' my medallion

    Justice System funkin' like a stack of rotten scallions

    I wear the funk like a fashion plate

    So you can recognize the program from state to state

    You can by the whole album but just like the dils-nick

    Please don't bite the style, now chill kid, chill kid"

    Despite a fiercely loyal club following, Justice System struggled to find airplay and was quickly dropped by MCA, relegated to the indies for subsequent efforts. With just a few reissues since
    its 1994 release, "Rooftop Soundcheck" remains a criminally overlooked record years ahead of its time; an expansive, stylish exhibition in superb songwriting and spectacular playing with hardly a
    second of skip material. Listeners still sleeping should graciously accept a late pass and prepare to lose themselves in the sounds of the rooftop.

    by Pete T. for  www.RapReviews.com

    Tracklist :

    1. Due Our Time

    2. Trouble on My Mind

    3. Flexin' tha Ill Funk

    4. Dedication to Bambaataa

    5. Summer in the City

    6. Santana

    7. Ill-River Expedition

    8. Justice Funkin'

    9. Jacquelina

    10. Just Because

    11. Soulstyle

    12. Take It to the Stage

    13. Summer in the City [Sunshine Blend]


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