Ornette Coleman-Peace

After the mind-numbing day I endured today, it feels heavenly to enjoy the eternal vibes of Ornette's Coleman all but prophetic The Shape Of Jazz To Come. Although I'm no expert by any means on Coleman's discography, he seems to have developed a knack of slower-tempo'ed jawns that sooth the soul. And if such isn't the case for the whole of the man's discography, it is the case for Peace (word to Bob Marley).





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John Coltrane-I'm Old Fashioned

As you probably already know, this jawn comes off John Coltrane's Blue Train. Generally speaking, the whole album is worth copping, as it's only five tracks, and they all hold their own, even 50 years after the initial release date.
I'm Old Fashioned is slow, and relies on Coltrane's slower riffs that bite at you on occasion, but all the while soothing all malevolence.





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Charles Mingus-Goodbye Pork Pie Hat

Just started reaching into Mingus' discog as of late, and Mingus Ah Um has stayed on repeat for quite some time. The majority of the album is far too fast-tempo for my liking, but Mingus produces a gem in Goodbye Pork Pie Hat. Shit's slow and savory, listen to this after two Optimo's and shit will blow your mind.





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Miles Davis-Venus De Milo

Ain't ya knew that Miles has got styles upon styles for all the suckas? Venus De Milo can be found on Birth Of The Cool from 1950. Although it's one of MD's more mediocre records (in my most humble opine, of course), there are still countless gems to be found on Birth Of The Cool. Perhaps the greatest is a dedication to an famous piece of Greek sculpture. At least the Digable Planets haven't ruined that for us yet.





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John Coltrane-Lazy Bird

I'm not much of an jazz enthusiast, at least not enough of one to own a copy of John Coltrane's Blue Train. Turns out it was a gaping hole in an already incomplete collection.
Real talk, Blue Train is one of those albums that you can play the whole way through three or four times. Coltrane's prowess on the sax is not to be fucked wit'.





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Donald Byrd-Black Jack

This comes off the well-renowned Blue Breaks series, in fact it's origin derives from the OG copy. Vol.1 features countless other talented jazz musicians, however the sound is too upbeat to really get into. Donald Byrd is easily in my top 10, however Weasil (featured on this tape) is far from his best work.
Black Jack on the other hand, while hopelessly optimistic, is still illin' past belief.



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Till Bronner- Blue Eyed Soul

As if Till Bronner wasn't already ill enough, hearing his dope riffs over samples of Q-Tip and Common is worthy of smallpox sickness. Blue Eyed Soul is an album he made back in '02, and the self-titled track is acid jazz tinged with an large styling of hip hop. Sounds like DJ Premier meets Duke Ellington to a minor degree.





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Jimmy Heath- Maimouna

Jimmy Heath in all his splendor. To quote Jigga, what more can I say?



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Charlie Parker- Perdido

Another live gem, this time it's from Charlie Parker from Jazz At The Philharmonic, 1949. Parker had some insane skills on the saxophone, far ahead of his time, and it's great that we are still able to fully digest the man's greatness 60 years after the fact. Perdido is by far the illest jawn, especially when Ella Fitzgerald starts singing...





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John Coltrane- Psalm

My physical copy of A Love Supreme has grown ragged over the last week. John Coltrane was truly speaking to the gods when he was recording that album. And although A Love Supreme is an incredibly cohesive album (it better be with only four songs), Psalm has stood out to me as the superior jawn. The raw energy and the sound is undeniable.





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Louis Armstrong and Duke Ellington- Drop Me Off At Harlem

My ignorant ass knew nothing about this collaboration until a few days ago. And I've already packed in three or four full listens to The Great Summit: The Complete Sessions.
This particular song stood out to me not so much because it was aesthetically better than any of the others, but moreso because it took me to a place that I've only read about: The Harlem Renaissance. A cultural mecca of creativity and musical mastery. I wish I was a '20's baby.

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Miles Davis- Blue In Green

I'd go so far as to call this my all-time favorite song by Miles Davis. All the elements build up into an euphoric experience of epic proportions. Regardless of the genre of music, we can all appreciate auditory Utopia.





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Ghetto Philharmonic- Rhythm That We Give 'Em

I know criminally little about Ghetto Philharmonic, which is a shame since Hip-Hop Be-Bop is a criminally ill album that gets slept on like narcolepsy. So to make up for my inadequacies, here is a biography via Last.Fm:

The obscure Ghetto Philharmonic were a jazz-rap duo (G-Clef and Sledge) that unlike other jazz-rap groups of the time (A Tribe Called Quest, Digable Planets, etc.), were actually jazz musicians as well as rappers—G-Clef would constantly switch between rapping and playing his alto-saxophone during their songs, while Sledge would do the same with his trumpet. DJ Spinbad also worked the turntables and beats during their songs.

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Jazz Liberatorz- Loop Prisoner

A very upbeat jazzy Jazz Lib instrumental off Force Be With You. One thing I've noticed about the promising producers of today and tomorrow is that the days of a sole producer have gone the way of the 8-track. Groups like Cookin' Soul, Cool & Dre, Jazz Liberatorz, and Crust & Grimes are just a few of the examples.
Personally, I've always felt that producing was a very solo type thing, but what do I know?





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De La Soul (feat. Maceo Parker)- I Be Blowin’

One of various reasons why I fucks with De La Soul so heavily is their tendency to work with talented jazz musicians. On a far different tip than The Roots. Whereas The Roots rightfully call their forrays into alternate genres “experimentation”, Prince Paul knows the place for any and every joint. Even a track like this which is a solo jazz instrumental, not featuring any De La members, fits perfectly into Buhloone Mindstate.

This joint would fit perfect on the Do The Right Thing sountrack. Amazing jazz riff.

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I be blowin’ the soul out of this horn

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