BBE

Over the course of nine albums in the 2000s for their producer-led Beat Generation series, BBE adopted an unusual stance. “Do what you want,” their artists were told for probably the first time in their careers. The label’s enormously liberal approach was the antithesis of stiff major record label A&R practices, their forward thinking rewarded handsomely by a truly diverse set of albums from some of the world’s most capable hip-hop architects. Among those picked to contribute were Golden Era greats (Marley Marl; Jazzy Jeff); acclaimed DJ/producers whose work habitually blurred genre lines (King Britt; DJ Spinna; Madlib); and those whose regular gigs didn’t afford them the creative freedom they craved (Will.i.am).

No-one made better use of the brief than Jay Dee, whose inspired Welcome 2 Detroit showed that despite all the techno and soul that seeped into and out of the Motor City there was still room to be influenced by the Carpenters and Sergio Mendes. Pete Rock, the hip-hop producer’s producer, filled his rapturously received PeteStrumentals disc with classic sample-led tracks packed with drama and finesse. DJ Jazzy Jeff’s The Magnificent celebrated the slew of Philly talent at his A Touch Of Jazz studios, Jill Scott guesting on an exalted Roy Ayers cover in finale. Then there was veteran cellist and arranger Larry Gold, on hiatus from adding strings to hits like Brandy and Monica’s ‘The Boy Is Mine’, who called upon fellow seasoned pros McFadden and Whitehead and Bunny Sigler for his piece of the puzzle. - Bandcamp

Recording and touring together on and off for several years now, sonic journeyman DJ Vadim and Californian songwriter Katrina Blackstone unveil their long awaited full-length album ‘Double Sided’, released on BBE Music. After providing a pair of stellar guest appearances on Vadim’s 2014 ‘Dubcatcher‘ album, Katrina Blackstone joined Vad on tour and the duo have been steadily laying down tracks ever since. Eschewing samples in favour of drum machines, guitars and a dizzying array of synths, Vadim’s compositions on ‘Double Sided’ range from dubby down-tempo grooves to upbeat afro-boogie business. Katrina’s crystal clear vocals, catchy melodies and highly relatable lyrics provide the perfect foil for Vadim’s raw productions. – Bandcamp

“DJ Vadim is a prolific DJ and producer, born in Leningrad, USSR (now Saint Petersburg, Russia), raised in London and currently residing in both New York and Berlin, whose music combines hip hop, soul, reggae and electronica. He has been described as "one of the few artists creating genuinely new work in the Hip-Hop field" and an artist who "cannot be ignored”.” - Wiki

“Is it possible to create something entirely new? What does one of the fathers of the new beat scene do in a time of such huge tectonic plate movements? 'Don't Be Scared' is an album about change, about progress, about moulting the old, cutting the dead wood away and bringing in the new. Part hip hop in mind-set, part electronic in sound, and part soulful in spirit with undertones of tribalism and some very ethnic and hypnotic elements, this album is rooted to bass culture, connecting dots along the way. Abstract dark sounds from previous albums such as USSR Repertoire (96) get rediscovered. Twisted dancehall crunked bass lines meet traditional African rhythms in a Bollywood cinema, whilst lush strings and grand pianos sit next to haunting morphed keyboards; afro beat licks and smoked out grooves.

This album focuses on the instrumental and brings the beat to the foreground, but look forward to vocals from long-time collaborator and fellow 'Oneselfer' Yarah Bravo, Sabira Jade (The Electric) gets political, and new sounds resonate from upcoming singers D'Angelo'esque Jazz Bailey, Hawaiian soulstress Karen Be and gruff funkman Greg Blackman. More pensive than recent albums, melancholy meets tropical vibes meets a strange BBC reporter high on eboga root. Even Jamie Fox makes a guest appearance talking dance moves.” - UndergroundHipHop.com

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TAV ESSENTIAL LISTENING / MUST LISTEN

The opening two notes of Welcome 2 Detroit, a dramatic double hit of modulated bass guitar and dusted organ, represent the culmination of a vast musical history. Not only was this album J Dilla’s debut as a 27-year-old solo artist, but it was also the first time that name appeared on a record cover. After nearly a decade of DIY releases, high-profile remixes, and productions credited to Jay Dee, slowly a renown bordering on reverence was built for one James DeWitt Yancey.

Though he had several creative phases yet to come, Dilla was, in many ways, operating at the very peak of his game at the turn of the millennium. His production work with A Tribe Called Quest had brought him into the neo-soul collective Soulquarians, a circle of like-minded collaborators who had just worked on a string of critically acclaimed LPs: the Roots’ Things Fall Apart, Common’s Like Water For Chocolate, and Erykah Badu’s Mama’s Gun. After donating his talents to artists, it was time for Dilla alone to step into the spotlight.

What Dilla ultimately delivered to the label was not even close to a beat tape, which was what he was ostensibly commissioned to create. As much a portrait of a city as a personal introduction, Welcome 2 Detroit is closer to a jazz-funk concept album like 1969’s Yusef Lateef’s Detroit than a conventional rap record, framing Jay’s own particular reinvention of hip-hop within the city’s multi-decade legacy, including live excursions into techno, electric jazz, and Afro-funk. – Pitchfork

A TAV Curator’s Pick.

The Shining is the third studio album by album by American hip hop recording artist J Dilla, who died February 10, 2006. The Shining was incomplete at the time of J Dilla's passing and was posthumously completed. Discounting the instrumental album Donuts, The Shining was the first full-length solo release by J Dilla (featuring vocals) since Welcome 2 Detroit five years earlier, and as such was highly anticipated. It was released on August 22, 2006 through BBE Records. An instrumental version of the album followed its release shortly afterward.

“James ‘J Dilla’ Yancey leaves behind an impression on Hip Hop that will last the test of time. A bridge between Hip Hop’s underground and mainstream, Dilla’s contributions ranged from single handedly defining Detroit Hip Hop as a founding member of Slum Village to providing his production talents to Common, D’Angelo, Busta Rhymes, Erykah Badu, A Tribe Called Quest, The Pharcyde, The Roots, Janet Jackson and Macy Gray.

The Shining marked the reunion of J Dilla & BBE, who had released Welcome 2 Detroit, J Dilla’s debut album. The Shining serves as showcase of J Dilla’s talents which features him not only as a producer, but also as a rapper, singer and musician. Featured guests on this album include Busta Rhymes, Common, Pharoahe Monch, D’Angelo, Madlib, Black Thought, Medaphor aka MED, and Guilty Simpson.” - BBE

“The first album to be released after Dilla’s unfortunate passing was The Shining. Now this was a great album; above all the others, there was a true consistency here. Not only did the album have a cohesiveness unlike most of Dilla’s other releases, but it’s sound was soulful, smooth, pretty much everything we love about Dilla beats, all in one, little red-and-gold package. Stand-out Jay Dee classics like “So Far to Go” with Common and D’Angelo, as well as “E=MC²” with Common again and, my personal favorite, the soulful jam, “Won’t Do,” all canvassed this diamond-studded showcase of fine, J Dilla production. There’s no denying The Shining as a top-notch Dilla Dawg project.” – Hip Hop Speak Easy

About J Dilla:  

James “Jay Dee aka J Dilla” Yancey was born and raised on the mean streets of Detroit’s east side. Little is known of his musical upbringing, but he has most definitely become one of the most talented, innovative producers of our time. Gaining inspiration from listening to Whodini’s “Big Mouth” back in the day, Jay tried his hand at making beats by using the “pause” and “record” buttons on his tape deck. After learning to work an MPC-60 back in 92’ from Amp Fiddler, J Dilla was on his way to becoming one of hip-hop’s illest beat makers.

After hooking up with two high school friends, T3 and Baatin, they formed the crew called, Slum Village (circa 1988), and Jay started to polish his rhyming skills to match his dope production. As Slum Village began to show themselves in Detroit and around the east coast Jay was also busy getting his production noticed by other artists in the music industry. One thing led to another and by the end of 1996, Jay Dee had produced joints for the likes of The Pharcyde, Keith Murray, Busta Rhymes and De La Soul. After hearing Jay’s ill productions Q-Tip (A Tribe Called Quest) brought him in to lend his expertise to their 1996 release “Beats, Rhymes and Life”. Jay Dee became one-third of the ghost production team now known as the Ummah, which included Q-Tip and Ali Shaheed. That year also saw the first release from Slum Village with “Fantastic Vol. I”, a classic hard to find item. A chance meeting with Janet Jackson led to his 1997 remix of the chart topping “Got Til’ Its Gone” single that paired Janet’s smooth vocals with Jay Dee’s intoxicating drum kicks.

Now dabbling in other music genres, Jay went on to lace beats for artists like Macy Gray, D’angelo, N’Dea Davenport and Erykah Badu. 2000 was a stellar year for Jay Dee, with his group Slum Village finally releasing their critically acclaimed “Fantastic Vol. II” through Goodvibe Recordings, he also received notoriety with many other acts. With the now defunct Ummah production team non-existent (breakup of Tribe Called Quest in 99’), J Dilla became a member of The Soulquarians, which includes Ahmir “?uestlove” Thompson (The Roots), James Poyser and D’angelo. Jay produced a substantial amount of Common’s 2000 release “Like Water For Chocolate” and contributed to D’angelo’s Voodoo album.

In 2001 Jay Dee released his first solo effort entitled “Welcome 2 Detroit” (BBE Records). The “W2D” album showcased a few emcee’s from the Detroit area, but also showed the versatility of Jay Dee and his craftiness. This 16 track ensemble of lyrical tracks, classic “instrumental” covers and bouncy grooves solidified Jay Dee as one of the illest producers of his era and beyond. Other albums that followed included Jaylib (Jay Dee & Madlib) as well as an instrumental series at Bling47.com and production of 2 songs (Love is… and It’s Your World (Part 1 & 2)) on Common’s recent ‘Be’ album.

J Dilla leaves behind a body of work which will be loved and rediscovered for years to come. His most recent album “Donuts” was released on February 7^th 2006, the day of his 32nd birthday. Two other projects, “The Shining” (BBE Records) and “Jay Love Japan” (Operation Unknown) are completed and will be released in 2006. Other production work has been completed for artists Madlib, Busta Rhymes, Ghostface Killah, A.G., Visionaries, Truth Hurts, Phat Kat, MF DOOM, Skillz, and Frank N Dank. –  BBE Records

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Reissued by BBE Music for the first time since original release 36 years ago, Topology showcases the extraordinary compositional and playing skill of Makoto Terashita, the young pianist responsible for five of the album’s six tracks, alongside the confident and seasoned tones of Harold Land, respected US veteran sax player and former colleague of some of the leading jazz artists of the 50s, 60s and 70s including Max Roach, Clifford Brown, Gerald Wilson and Bobby Hutcherson.

By the time he came to record with Terashita in 1983, Land was in his mid-50s and had numerous album credits under his belt, including some twelve albums as leader. In contrast, Terashita was in his early 30s with just one album to his name, his stunning 1978 debut Great Harvest. Notwithstanding the apparent disparity in experience, the creative relationship they fostered is audibly evident in the wonderful music that was captured during the recording session. – BBE 

UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.

Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.

Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz.

As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut’s Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”.

‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat. - BBE

Originally released in the UK only on Uno Melodic Records, ‘Silver Vibrations’ shares some of its musical DNA with ‘Lots Of Love’, Ayers’ US album from the same year. However, ‘Silver Vibrations’ contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song ‘Chicago’. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP.

‘Silver Vibrations’ was perhaps the last album to retain the sound of Ayers’ organic ‘classic’ period of the latter ’70s and manages to stand up well under its current re-evaluation. “Chicago”, the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since;

its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky “Good, Good Music” echoes Ayers at his pre-’80s, up- tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track “Silver Vibrations” was only ever released in the U.K., both on this album and as a single, backed with “Fast Money”. Both “Lots Of Love” and “Keep On Movin'” hark back to previous times and are a pleasant listen without being at all taxing. “Smiling With Our Eyes” is mid- tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful “D.C. City”, a close companion of Ubiquity’s original recording of “The Third Eye” is, in many ways, quintessentially Roy Ayers. - BBE

The late ‘70s were such a creatively fertile period for Roy Ayers and his associates that many of his finest recordings never made it onto the official releases. Ayers kept the master tapes in storage until Peter Adarkwah of BBE Records in London got wind of them, at which point they were collected on the aptly named Virgin Ubiquity. The songs feature all the different permutations of Roy Ayers’ band, which maintained a core philosophy through shifting rhythm sections and vocalists. The underappreciated Merry Clayton brings a husky edge to “Oh What A Lonely Feeling,” “I Really Love You” and “What’s the T?” her earthy voice contrasting with the liquid textures of Ayers’ arrangement. Carla Vaughn was another of Ayers’ singing vixens, her sensual presence blending seamlessly into “Boogie Down,” “Mystic Voyage” and “Together Forever.” Although performances here rich with detail, it is a pleasure to hear “I Just Wanna Give It Up,” an uncharacteristically spare arrangement that allows us to study the inner dynamics of the Ayers machine. – BBE Music 

“BBE Music is proud to present the next instalment in the J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers.

A genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘East Plants’ is also available as CD and digital formats. This reissue is fully endorsed by Takeo Moriyama himself. Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.

‘East Plants’ features no piano, just percussion, bass and reeds. From the luxurious raga-like build of the album’s hypnotic title track and the fierce post-bop workout of ‘Fields’, to the stately modal track ‘Kaze’ (as featured on the sell-out BBE compilation, ‘J Jazz: Deep Modern Jazz From Japan 1968-1984’), the album was, until now, a rarely acknowledged masterpiece. ‘East Plants’ shows Moriyama’s quintet at their most transcendent: delicate layers of percussion by Yoji Sadanari, a warm and pliant bass from Hideki Mochizuki, with colour and texture provided by the eloquent reed work of Shuichi Enomoto and Toshiko Inoue. And, overseeing it all, Moriyama’s discreet yet commanding drumming.” – BBE Music

http://www.bbemusic.com/downloads/east-plants/

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J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. - BBE Music

“These nine examples, taken from rare albums only ever released in Japan, exude the authentic excitement of those days. Most impressive of all is the rhythmic energy on show. Relaxed swing doesn’t come into it; the drummers are relentless. They’re supported by some immaculate bass playing too, and you can hear it properly, thanks to Japanese technology. The wilder soloists do tend to go on a bit in the longer numbers but the performances never sag, because of those amazing drummers. It’s music of its time, of course, but better late than never.” – The Guardian

“‘J Jazz’ includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.” – BBE Music

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