At a distance, far enough away that you can’t hear it
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Yeah, their youtube videos are fire but I was kinda underwhelmed by their album, it’s like someone told JD Beck to stay calm and to not do all the magical things he does usually. I think he’s too shy in the album and also the compositions sound sometimes like elevator music. But this doesn’t mean they are not very talented, JD Beck is just amazing and Domi is very impressive, especially when she does the bass line with her hand or foot and she improvises with the other hand. This dexterity is astonishing.
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I’ve only heard the first track actually but it was clearly a different vibe to what I’d heard before. I think to a big extent they’ve gone for something that’s a lot more ‘commercially viable’ for want a better way of putting it, not that I wouldn’t listen to those drums all day.
I feel like most of what we’ve heard so far is their passion music, but being Berklee grads I suspect they picked up some savvy and know-how that they’re putting to work in making a name for themselves.
Either way they just ooze talent, they’ll go far!
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I love this. The L.P. I had made the saxophones come out very strong. Plus the melody and rhythm are crazy yet still organic.
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For anyone who likes ambient music and has a hard time getting into jazz as I do I would really recommend checking out Miles Davis’ In A Silent Way.
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I like jazz (not all styles), specially when played live. Also, I tried playing some, without much success, and I find that is a very fun music to play.
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I love jazz but certainly not all of it. Free jazz, vocal jazz and big band aren’t really my bags.
Introducing some basic “jazz language”/simple theory concepts into tracks is a great way to expand the tonal palette and surprise the listener. Things like tritone substitutions, pedal points, voice leading and extension yield exciting results while keeping your core track banging.
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Ive got them all but especially love this one.
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Actually i think jazz to be the pinnacle of musical expression…we have digressed and de evolved exponentially since its heyday.
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I fucking love jazz.
I spent a whole lot of time listening to Weather Report, and forcing my friends to appreciate them.
Kamasi Washington’s The Epic was the best album of 2015, had it on constant rotation. Saw him in Birmingham a few years back, absolutely amazing.
I also love Tortoise, those guys were crazy.
Jaga Jazzist are an intrinsic part of my musical evolution, seen them live many times and would see them many times more given the chance.
There’s a wonderful classic jazzy math rock band called Suffer Like G Did who I miss very much.
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A genre I almost completely ignored. Only had contact to it through samples. All the jazzy hip hop and the old amon tobin, cinematic orchestra etc stuff…
I love jazz sample based music, but jazz itself feels too much for my brain. I heavily rely on repetition and loops it seems
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Thats precisely why i love it. I have a problem with loops as they get stuck in my head and its hard to get rid of the loop. Wheras jazz i never get this.
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There’s something so fitting about the demand for seriousness in a thread about jazz appreciation.
This is a serious comment
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This one is beauty.
Discovering it now. Thanks.
To answer the question, a bit of unashamed self promo, made a few years back when i didn’t even know Elektron existed (already posted in another thread but the occasion is too good) :
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The root of jazz is being able to fully express yourself emotionally on a single acoustic instrument. In many ways this is the antithesis of electronic music.
Edit: also swing baby, if ain’t swinging then it’s not jazz
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If I’m not listening to Talk Talk, Tears for Fears, or Depeche Mode this past couple years, it’s almost definitely free jazz. Gone hard lately for the 70s stuff that didn’t get as much respect like the non-Art Ensemble of Chicago AACM stuff, Braxton. Then some of the FMP stuff like Peter Kowald and Wolfgang Fuchs, and finally dove into Japanese free jazz. Spent more money on two Motoharu Yoshizawa LPs than I ever thought I’d spend for records. But it just felt necessary 
I had a big phase of the more typical stuff like Coltrane (s), Miles, Mingus, Coleman through my late teens and early 20s. Fell down a major Dolphy hole too and still obsess about his stuff to a degree. But went a long while before I dipped into that next layer and appreciated the 70s loft scene, etc.
My biggest musical obsession the last few years is figuring out a small modular case that I feel is expressive, immediate, and gestural, so that it feels like ‘this is my horn’. Totally inspired by a Braxton, Mitchell, or Kaoru Abe sort of zone.
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Dolphy hits notes that will break your heart, then gently lift you back up. He drew from the deepest of wells
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I have an entire record collaging his horn with bird sounds mashed up into some blend of Nurse With Wound, Phill Niblock, and Eliane Radigue. If I had to pick one horn player I was “stuck with” for the rest of my life, and no other, it’d definitely be him.
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Yeah, but I’m really only familiar with the classics: Miles, Thelonius, Dave, Coltraine…
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It’s like while Coltrane was flying through the cosmos, Dolphy was exploring the inner world of the human soul.
For anyone who needs an out of body experience here you go:
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