December 3, 2025 • 105 mins
The needle drops and the room changes—horns breathe, drums loosen, and a sampler starts talking back. We dive into the living thread between jazz and beat culture, from Congo Square and brass bands to dusty chops, off-grid drums, and the global scenes building tomorrow’s standards today. The journey moves through the roots—rebellion, soul, spiritual release—into the eras of big band glory, commercial decline, and the underground that kept the flame alive until hip-hop cracked open the vault and let the swing back out.
We explore how producers like DJ Premier, Pete Rock, J Dilla, Madlib, and Nujabes reintroduced jazz aesthetics to a new generation, turning horn riffs, Rhodes chords, and brushed cymbals into modern language. Along the way, we spotlight the cities and crews shaping the current wave: London’s Yussef Dayes, Kamaal Williams, and Shabaka Hutchings; LA’s Kamasi Washington and Terrace Martin; global innovators from Italy, Austria, Japan, and beyond. Labels and collectives like Jazz Is Dead bridge elders and explorers, proving the tradition evolves best when it’s shared.
Between records, we trade stories and facts that link technique to technology—Miles facing the band for deeper communication, Coltrane’s relentless practice, Raymond Scott’s early electronic machines, and how big band sessions birthed mic placement and room capture approaches that shaped modern studios and DAWs. Herbie Hancock reminds us that jazz is conversation: musicians, audience, and energy in constant exchange. Beat culture carries that forward—looping, bending, and improvising with machines as instruments. Ride with us, discover new artists and essential beat tapes, and feel the continuity: jazz never died; it reincarnated in the pads.
If you felt the groove, subscribe, rate, and share with a friend. Drop a comment with your favorite jazz-sampled track and hit our Linktree to buy a tee shirt or buy us a coffee. Let’s keep the lineage loud.
Edited, Mixed and Mastered by Gldnmnd
Podcast Website Link: The Rec Show Podcast
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_06 (01:44):
Yo, what up?
Peace and love, everybody.
Y'all know who it is.
It's your favorite podcast.
Golden mine, what's good, yo?
Hope everybody's countingblessings and not problems, man.
Welcome back again.
And if this is your first time,welcome.
(02:07):
So listen, man.
You know, today we're gonna bestepping into a different
groove.
We're gonna take you to theheartbeat of America's original
art form.
What's that?
Jazz.
Jazz.
(02:28):
Jazz.
But we're doing a directionalway, you feel me?
So you already know we're gonnado it through B tapes, dusty
sample chops, liveinstrumentation, loop culture,
and the producers keeping thisenergy alive today.
So sit back, relax, smoke themif you got them.
(02:49):
You know what I mean?
Put this on while you'redriving, on the plane, the
train, in your automobile, onyour bike, skateboard, all of
that stuff, man.
It's gonna be segments, man.
So yeah.
Hope y'all enjoy, man.
We'll be right back.
(03:52):
So shout out to Toji Kai andPumlani Metiti.
The name of this joint is calledSarah's Gate.
Yeah, man.
I told y'all, you know, we weregonna get into jazz, man.
So let's get into segment onereal quick.
You know, jazz roots in the andthe Genesis, real quick.
(04:16):
Um, y'all know they originatedin New Orleans, late 1800s,
before any of us were born orthought of.
You know what I'm saying?
Early 1900s as well, you know,Congo Square, black brass bands,
church hymns, blues, ragtide.
(04:39):
But what is jazz?
Jazz back then equaled and andstill does.
It equals rebellion plus soul,plus spiritual release, and
improvisation was thesuperpower.
(05:01):
What's improvisation?
Just doing things unplanned, outthe box, off the cuff, you know
what I'm saying?
And that's what jazz is.
So why did it matter?
Well, first, truly American artform was created by our natives.
(05:27):
You know, I I I really don'twant to say black, but our
natives that were probably onthis land already or came to
this land, you know what I mean,and they expressed joy, pain,
pride, complexity in the humanexperience.
(05:49):
You know, it also just shapedeverything from funk, soul,
hip-hop, RB, rock, you know whatI'm saying?
But who were the easy the keyplayers, the early key players?
Some of these y'all gonna haveto Google and look up.
(06:11):
I had it, buddy Bolden, who's uhthe mythical trumpet king.
Uh y'all, I think y'all know whoLouis Armstrong is.
Big cheeks, big puffy cheeks.
You know, changed, he changed uhmelody, timing, phrasing
(06:31):
forever.
Then you got Jelly Roll Morton,you know, he came with that
energy, you know.
I invented jazz.
But he documented the earlyforms of it, you know what I'm
saying?
So, hey, give him his credit,give him his flowers.
Then we got the one and onlyBessie Smith, the blues queen,
(06:53):
influencing jazz, vocalphrasings.
You know what I'm saying?
Yeah, man.
So, you know, just some of thekey players, you know, why jazz
mattered, the originals, theorigins, you know, the genesis
of jazz.
We're gonna come back withsegment two, all right?
Enjoy this, man.
(07:15):
Yeah.
(08:22):
Ooh.
Yeah, shout out to this beat catjazz by M.I.P.
All I really need.
And before that it was CopyBarbara Cruz.
I hope I'm saying that right,but it was by Poly Poly and Cap
(08:43):
Kendricks.
Hmm.
Yeah, man.
That's what we on today.
We on this jazz field, yeah.
So y'all in for a treat, man.
Texas if you liking it so far.
You know, I mean, hit us withthe comments, hit us with the uh
uh uh the text, text the show,let me know how I'm doing, how
(09:07):
the show's doing, how you likingthis one.
We'll be right back.
Yeah.
(10:45):
So you know there's always arise.
You know, it's kicking off, it'spopping, it's popping.
You know, and almost came to athe fall near a near demise.
What happened?
Well, you know, jazz didn't staygolden forever in the eyes of
(11:05):
you know popular opinion orwhatever you want to call it,
but it was still rocking, stilldoing this thing on the
underground.
Yeah, I mean, but the rock androll era drowned it out
commercially, you know, fusionand experiments removed and
splintered the audiences.
Uh you know, record labelsstopped investing, pushing jazz
(11:27):
to the margins, clubs closed,big bands died off, smaller
scenes struggled, you know.
So, you know, it almost was nomore.
But once again, like I said, theunderground kept it alive,
family-owned theaters, divebars, college ensembles, you
(11:53):
know, and later, of course, ofcourse, the hip hop DJs and
producers, you know what I mean,the beat makers.
That's what you would call arebirth.
And I'm gonna leave y'all rightthere.
We're gonna go to the nextsegment later.
Alright.
(12:14):
I'm gonna read these uh thesetexts off that sent me too, man.
I asked y'all, you know, whatwhat does jazz mean to be making
culture?
We're gonna we're gonna lety'all hear that in a little bit.
Stay tuned.
Yeah.
(16:54):
You know, this last track wasMine Running from a life in
bloom by a creature out ofLondon, UK, man.
That was a funky, bro.
And then you got before that wasthe name of the joint was called
Downtown from a past sense byMr.
(17:19):
Kaper.
Out of Salzburg.
Let me see, where we where arewe at?
Salzburg, Austria, I wanna say.
Yeah, Austria, Austria, yeah,man.
So shout out to them, man.
Yeah, so you know, segment two,segment three, actually, we own
(17:41):
um as we get into this uh goeie,this uh nuances showing it's
called Timeless.
Um fan mail.
Let's read off this fan mail,man.
I asked y'all the question.
Ooh, yeah.
So I asked y'all this question,you know, um, what does jazz
(18:03):
mean to beat making culture?
You know, like what would jazz,what would beat making culture
be without jazz?
And uh, you know, my my LosAngeles, California sent me and
said the rugged air ofexperimental independence.
Improvisation is a major key.
(18:26):
You know, somebody, you know,one of my listeners, shout out
to you from Atlanta, Georgia,said jazz is a purely American
art form that could have onlyhappened on this soil, much like
hip-hop, jazz is foundational tothe experiments.
Although there are many goodyoung players, it's become a
(18:49):
niche endeavor, such that muchof that energy has moved to
other genres like hip-hop andRB.
Now I can I can kind of agreewith that.
Nowadays, many jazz convertconservatory students are also
making beats, and there's ahandful of beat makers, slash
producers, picking upinstruments and learning chords,
(19:11):
man.
So shout out to my guy Sal toSlaughter, man.
Slaughter, yeah.
I like that man.
We're gonna read some more afterthis though, but I want y'all to
enjoy this uh disjoint, disjointtimeless.
Yeah.
(20:43):
So yeah, man.
You know, we got the rebirth ofthrough hip hop, you know.
Um and this is where you reallylike start to connect the dots
for the you know, for us as beatmakers, you know.
I mean, for you beat makers thatare listening, music producers,
(21:04):
composers, you know what I'msaying?
So, you know, hip-hop justrevived the jazz by sampling
jazz, you know what I'm saying?
You know, producers like DJPremier with the horn rips and
the roll chops and Pete Rockwith the swing and the soul.
(21:25):
You got Jake Dilla, you know,with the broken time pocket, and
you got Mad Lib, you know, withDeep Crate Jazz, pilgrimages,
and you know, new jibiz, um,with the mellow, jazz hop,
fusion, you know.
So, you know, and it's and it'smany more uh many more
(21:47):
contributors, producers, um,that help revive jazz by the
sampling by through hip-hop, youknow.
So that's just some, that's justa a morsel of those that
contributed, man.
So if I left you out, hey, ifyou listen, let me know.
Let me text the show, let meknow.
All right, but um, yeah, man,they reintroduced jazz
(22:11):
aesthetics to an entiregeneration of kids like myself
who never stepped foot in a jazzclub, you know.
And um man, it just meantsomething to oh uh Q-tip as
well.
Um man, it's so man, it's somany more artists, man, that um
was doing their thing, man.
(22:33):
Um so yeah, um, and then youknow, we got B culture.
B culture, it's just modernjazz.
That's what you that's what Iwould say.
Man, B culture is modern jazz,man.
You know, loop culture, mirrors,uh, jazz improvisation, you
know, the off-grid drumming, youknow, the the post uh pop
(22:57):
freedom, you got the uh the NPCswith the SP404s, it's you know,
just equaling like new ageinstruments with the machines,
you know, the nativeinstruments, machines with the
you know, the koala samplers anduh you know all these other the
Akai NPC.
Yeah, it's yeah, I mean, justnew instruments, man.
(23:20):
And then you know, beat makers,you know, are today's with a
horn players, man.
You know, so jazz never died,yo.
I just want to make that superclear.
Jazz never died.
It's just reincarnated throughhip-hop.
And as you'll hear throughoutthis episode, the jazz players
(23:45):
from around the world are stillthriving, man.
We at home in the United States,whether it be in Europe, whether
it be in you know, Austria,whether you know, it's like a
whole bunch of different places,man.
Jazz is still thriving, man.
So yeah.
But yo, let me we'll be rightback, man.
Let me play this joint realquick.
(24:05):
You feel me?
SPEAKER_09 (24:08):
When I was like 12 years old, I lived over a place
called Arcady Theater.
I lived upstairs, and they haduh a show band.
There was a tenant player namedAl Farish and a trumpet player
named Buddy Bell.
And I would I would sit right infront of the band and and watch
(24:31):
and listen.
And that was my first uhinspiration towards wanting to
play the trumpet.
And my dad said, Noah, you youyou get an occupational bump on
you that he didn't like it.
I say, well, I'd I'll playsaxophone then.
(25:05):
So this is a wonderful part ofexistence, this life itself, you
(26:52):
know.
(29:12):
So this is a wonderful part ofexistence.
SPEAKER_06 (29:17):
Yeah, man.
Shout out to Youssef Latif.
The beat phonics crew out ofItaly.
Man, this was dope, yo.
Um name of that joint was calledCharlie.
Surreal feeling.
Man, man, that was dope, yeah.
I had to include that.
(29:38):
And then name this joint iscalled NPC Jazz from Jazz
Meditation by Aileen Luke.
Let me see.
He's out of uh Italy as well,man.
So enjoy it.
(30:52):
Let's get into this nextsegment.
That uh you know, we starttalking about modern day
evolution, you know, and we goon spotlight how jazz is
thriving now.
You know?
Like, damn it, what is it?
(31:32):
Better chill her out, bro.
That was yo critical, yeah.
Um but yo man, um so you know,just spotlighting some how Dress
is thriving right now.
We're gonna talk about you knowhow London scene, Youssef D's,
(31:52):
Kamal Williams, uh, uh ShabakaHutchins is killing it out in
London scene.
You got the LA and West Coast,uh Kamasi, Washington, you know,
Terrence Martins, the the MindDesigns, um from New Jersey, by
(32:12):
the way.
Um, and then we got uh you knowthe global jazz hop creators,
you know, flow fills, uh, alphamist, the 3070 collective, the
jazzy boys, you got man, there'sso many.
You got um you got uh jazz isdead that's still doing his
(32:35):
thing, man.
Still uplifting jazz, you know,um Adrian Young and uh uh Rashid
Muhammad.
I can't remember the verses, uhman.
But that's gonna that's gonnabug me.
But yeah, man, so jazz is stilldoing his thing, man.
(32:57):
And then you know, you got uhyou know more coming back when
we're gonna feature some jazzbeat tapes and albums, you know,
in the main portion of theepisode, you know what I mean?
But we'll be back, man.
Y'all listen to this joint by uhAma Lama by Mocha Only Alcinos,
(33:18):
and I want to say the name is uhum what's the name?
Uh Parental out of Paris,France, man.
And that last joint you heardwas Intro and Cheese from the
Harlem Barber swing by JazzEnough out of New York, New
(33:38):
York, man.
So y'all enjoy, man.
Yeah.
SPEAKER_07 (35:05):
You get everything you need.
SPEAKER_04 (35:07):
You'll get everything you want.
You get everything you need.
You'll get everything you want.
You got everything you need.
You'll get everything you want.
You get everything you need.
Look at everything you want.
Promise you don't get thatregardless.
You see it, you create it,that's the artist.
Moment that you reach it withyour father.
(35:30):
You dream it, you believe it,that's regardless.
You see, I got the words, I gotthe flow, they inspiration.
unknown (35:37):
What you need, you got the fish, you got the vibe, you
got the things, you think of me.
I got something left to me, butI am just a human being.
Twenty-four hours today, thisevery new display for me.
You got people in your corners,you got frightened on your team.
Realistic demon love your left,what you need.
We can break that every day.
SPEAKER_04 (36:04):
Go get everything you want.
You got everything you need.
Go get everything you want.
You got everything you need.
Go get everything you want.
You got everything you need.
Go get everything you want.
Yeah, yo.
SPEAKER_06 (36:19):
I had to I just had to include this one, man.
Just cause it felt jazzy and uhYeah, I mean, yo, the name of
that disjoint is calledEverything You Need, produced by
Paul Bloom.
Um, this is from uh You Never,let me see, let me make sure I
got this right, man.
You never really know by JaySwiss.
(36:40):
Jay Swiss out of New York, NewYork, yo.
Hey man.
Yeah, that's yeah, I had toinclude that joint, man.
Shout out to you.
Dickie Cass is on that albumtoo, man.
Hey man.
SPEAKER_01 (36:51):
Hey, man.
SPEAKER_06 (36:52):
Hey man.
Alright, so listen.
Um let's talk about let's talkabout you know the feature
section, which is like, youknow, the beat tapes and the
albums and stuff like that.
That you know.
Um and I played a lot of them.
You know, I'm gonna include alink to every single one that I
(37:13):
uh that I played on the album,on the show.
But um, and I might include ayou know, I apple playlist or a
YouTube playlist or somethinglike that just to help y'all as
well, so y'all can vibe as well.
But yo man, you know, the thethe producers, the the jazz
influences, you know, for for meit's always been like the horns
(37:36):
and the roads and the swing andthe the brush drums, you know,
like you know, um but yeah man,like all of the all of these
artists fit a jazz lineage, man.
So they all got at least roads,pianos, horns, drums, um,
(37:57):
cymbals, the you know yeah, man.
Um but yeah, man, go ahead go touh you know like band campus
where I mainly got all my sourcematerial.
Um some on Apple Music, some onSoundCloud as well, man.
So yeah, man, you just gotta doyour research, man.
(38:18):
And uh you know keep supportingus, keep supporting it, man.
But yo, before that, before weget into this last segment, and
uh we're gonna read some morefan mail as well.
Let's listen to this joint fromuh Rick Maul from Octaves The
(38:40):
Jazz Jousters and Key withHerbie Hancock, a millennium
jazz music production, you knowwhat I mean, album.
The name of this joint is calledThere's Only One.
There's only one spirit aboutliving things you have the
(39:06):
opportunity to relate to them inthe special way.
(42:01):
Um I got somebody out ofOakland, California that said
it's the basis for B culture,jazz.
Jazz is the basis for beeculture, man.
So shout out to whoever this is,they leave it who they were, but
yeah, y'all can leave who y'allare when y'all text the show,
man.
You know what I mean?
(42:22):
Um we got one more that I'mgonna read out of Sacramento,
California, man.
But y'all enjoy this joint.
The name of this joint is calledOne More Time from Dusty Vibes
by 360 out of touring Italy.
(42:44):
Yo, we got our Italy, our Italybrothers and sisters out here in
there.
I told y'all we were why withit.
I told y'all we were why thebody is a lot of money.
(49:16):
Yo, I heard that and I was like,I had to include this in the in
this joint, man.
That was from the Moses Yofietrio out of Berlin, Germany,
from the album MYT.
The name of that joint wascalled Till Tomorrow.
(49:37):
Man, incredible, incredible,what just man yo man.
Listen, you listening to uhStacy's Loop from Interstellar
Fantasy by Greg Foat and AyoSalawoo out of London, UK, man.
(50:09):
Hmm.
Yo, here's some crazy facts fory'all real quick, man.
So I bet y'all did not know thatMiles Davis turned his back to
the audience on purpose.
But why did he do that?
(50:31):
To let the band communicatedeeper.
John Coltrane practiced sointensely he wore grooves into
his carpet.
Did y'all know that?
Man, yeah, man.
(50:54):
Jazz, yo.
Jazz.
Gotta love it, man.
I think that's why I'm soenamored with B culture as well,
man.
Why I love it so much, man.
It's um it's just speaks aboutbeing free, man.
It's about uh each artist beingfree, man, and and doing what
(51:18):
they want to do with the musicand making the the person that's
listening feel something, youknow.
So creativity, freedom, youknow, everything that has to do
with your ass, y'all.
So let's get into this umMakaiah McCraven out of Chicago,
(51:38):
Illinois.
The name of the show is calledHoly Lands from Universal Beings
I11 edition.
Y'all gonna feel something onthis one, my guy, guys and gals.
But uh, yo, we'll be back, man.
I'm gonna play a few more jointsbefore I mean yeah, just listen.
SPEAKER_00 (56:41):
The criminal complaint says the accused
shooter did not speak to theteen before allegedly shooting
him through a glass door.
The 16-year-old is now homeafter spending the weekend in a
hospital.
Roxana Saberri has the latestdetails.
SPEAKER_06 (01:03:08):
The name of that drum was called Trials and
Tribulations, man.
If you didn't feel somethingwith that track, man, I'll I
don't know, man.
I gotta question your humanity,yeah.
Wow.
But yeah, man.
Um we're gonna head to uhStugard, Germany, man, and uh
(01:03:28):
listen to this Jazz is a spiritfrom Groove Connection by Jacob
Mann.
Yeah.
And uh Yo man, here's some morefacts for y'all, yo.
(01:03:49):
Oh jazz.
You know, like the earliestforms of remix were from You
guessed it.
Jazz.
Improvisation is the foundationof jazz, man.
So, you know, like LouisArmstrong, Coleman Hawkins,
(01:04:09):
Charlie Parker.
Known for radically alteringstandard melodies during solos.
You know?
Um.
Let me see.
Early electronic instrumentsoriginated from jazz pioneers
like Raymond Stout, who was alike a jazz band leader and
(01:04:31):
composer, but he helped buildsome of the earliest electronic
music machines.
So he created the clavy box inthe 1950s and created the
electronium in the 1960s, one ofthe earliest self-composing
machines.
Then his work directlyinfluenced early Moog
(01:04:52):
synthesizers and laterelectronic music.
Moog himself credited Scott forinspiring him.
Wow.
The more you know, the more yougrow.
Man.
SPEAKER_08 (01:05:10):
Jazz.
Can you hear it?
Jazz.
Jazz is a spirit.
Perpetual moments of purecreativity.
Jazz is abandonment withinboundaries.
Logical undoing of what youthink it's supposed to be.
(01:05:31):
Jazz is collective storytelling.
Expressing the history andexperience of a people.
Jazz means no category, allowingfor continuous progression.
Jazz is a spirit.
Can you hear it?
SPEAKER_06 (01:06:36):
Sacramento, California, man, who said beat
culture is jazz music.
Facts.
That's all it is, man.
Come on, man.
Yo, y'all listen to this uhTakumi Morona Moria Black Nation
out of Japan.
Name of this joint is calledMerry Go Around.
(01:06:58):
Fire.
Incredible what they did withthis.
Yeah, we'll be back, man.
Shout out to everybody that uhcontributed and sent in the
text, man.
The fan mail, man.
I appreciate y'all.
(01:13:08):
What did I tell y'all?
Yo, Takumi Moria.
Black Nation, man.
Japan.
Wow.
Incredible, man.
Yo, we getting into this uh thiscatalyst with a K.
Adrian Young and Ali Ali ShaheedMohammed.
(01:13:29):
You know, Jazz is dead, volumenumber 13.
The name of this joint is calledDaybreak.
SPEAKER_07 (01:13:36):
Hmm.
SPEAKER_06 (01:13:37):
It's an incredible joint too, man.
Hey, did y'all know that jazzwas used as the official US
cultural diplomacy?
You know, in the 1950s to thisnight in in between to the
1970s, the US State Departmentcreated the Jazz Ambassadors
(01:14:02):
Program.
And if I'm not mistaken, thereis a hip-hop ambassadors program
right now going on that thehomie out of um uh California is
oh man, let me man PhilipDrummond.
There you go.
(01:14:22):
Today's future sounds, man.
He's involved in it, him and histeam are involved in that as
well, man.
So evolution.
Evolution, wow, wow.
Musicians like Lois Armstrong,Daisy Gillespie, Duke Ellington,
toured Africa, the Middle East,Europe, and Asia has official
(01:14:43):
American representatives.
Then you have the SmithsonianLibrary of Congress and State
Department Archives documentthis program thoroughly, too.
(01:19:00):
Man, man.
Incredible, man.
Jazz.
Welcome to episode 135.
If you stayed this long, youknow I appreciate you, man.
Shit.
Hey, look at you.
Hey, look at you.
I'm look, I'm talking to you.
Hey, I appreciate you, man.
Thank you.
(01:19:21):
I don't know where you are inthe world, but if you're still
listening.
Thank you.
Yo, we're listening to thisUnity from the Resonance DP.
By Black and Soft.
Oh my god there.
California, man.
I love Supreme California.
Put this joint together.
(01:19:43):
I had to include a couple jointsin this joint, man.
That's I couldn't I could notinclude this.
We all enjoy this, man.
SPEAKER_05 (01:22:21):
I'll give them that.
unknown (01:22:22):
The ribbon hit the back with a right hook.
Looking on all the time and allthe ones I look.
I mean, what does it mean foryou as an MC?
Now that you you know yourepresent and you won, and you
coming from the from the fromthe spot.
You know what I'm saying?
What does it mean to y'all?
SPEAKER_05 (01:22:41):
Listen to what we got to say, you know what I'm
saying?
Cause I got something to tellpeople.
When I say overall, I want toplay all the game over the room.
You know what I'm saying?
The beginning was when we firstmet in the high school.
(01:23:10):
Rapper like the game club.
We're hitting on the yellowstandard.
(01:23:35):
Stay in the limelight, stay inthe eye.
SPEAKER_01 (01:23:43):
That's right.
That's it.
That's it.
That's the truth.
Right here on Rap City, baby.
That's right, baby.
Keep it in the fish right hereon Rap City.
Y'all stay tuned, we'll be rightback.
Alright.
SPEAKER_06 (01:23:53):
Yeah, man.
Had to include this jointspirit, breathe, spree of
breath, featuring splashes fromthe resonance CP.
Yeah, man.
Shout out to Black and Soft.
Oh, we get a number two.
You know, shout out to BlackEyed Nine.
Shout out to you know the homieT Dot.
(01:24:14):
Yo, man.
I love Supreme California.
If y'all know who they are, man,smack yourself.
Tap into what they're doing onYouTube, their albums and
everything, man.
Come on, man.
Yo, I I could not do thisepisode about jazz and include
Bap Notes.
(01:24:36):
Alright.
That's a jazz group out ofSacramento, Calipona.
The name of this choice iscalled Carnival of Fools.
From the record store.
I think this one was uh this wasthe album uh dollar bin.
(01:25:00):
Yeah, yeah, yeah, yeah.
Dollar bin joints, man.
Yeah.
Shout out to Bap Notes, man.
The whole team over at Bap NotesMan.
And then we gonna right afterthat, we're gonna get into this
third eye by Mono Massive.
And then uh We're gonna round itout, man.
(01:25:22):
Alright.
Almost.
But I hope y'all got somethingout of this episode.
I know I did doing the researchfor it and um planning for it
and everything like that, man.
So thank you.
And uh go ahead and share this.
If you're listening to this onYouTube, go please like this,
(01:25:43):
subscribe to the YouTubechannel.
I'm trying to grow this thing.
And you know, if you'relistening to it on Apple Music
or you know, any other of the uhpodcast distribution platforms,
please like it, leave a comment.
Um it actually helps us get seena lot, a lot more, so you know
(01:26:08):
thank you.
This third eye eye mono massiveis incredible too.
(01:28:27):
So last fact real quick, but didy'all know that big bands helped
shape modern recordingtechniques?
Engineers like you know, RudyVan Gelder, Alan Lomax, and
early radio studio teamsdeveloped mic placement
techniques specifically forlarge jazz ensembles.
(01:28:50):
Ribbon microphones, RCA 44, RCA77s became standard because they
captured whole sections morenaturally.
Early multi-mic arrangements forbig bands became templates for
contemporary studio layouts, andthen that you all, as we all
(01:29:13):
know, turned into what yourdolls do, where it allows you to
you know record from differentthings, and you can have a
different track for each part ofthe instrument, stuff like that.
Come on, man.
Evolution, man.
Evolution, man.
They influence modern mixing,room room mics, dynamics,
(01:29:34):
sectional isolation, all ofthat, man.
But yo, you listening to this uhoverturn from the beats to skate
to by culture and moose dawa.
This joint is fire too.
Yeah, when I come back, we'regonna round it out, man.
(01:30:53):
Yeah, you're about to get intothis uh Y2K lounging from Samaia
by Lesky and Waywell.
And then after that, we're gonnaget into this incredible joint.
(01:31:14):
Yeah, round it out, yeah.
Come on now.
Sway, sway, sway.
(01:32:42):
Yeah, man.
So listen, we go into theAfrican space program, man, and
tap in with the homie RajStream, man, who I think is a uh
you know, one of the greatexamples of improvisation,
(01:33:03):
improvisation, um you know, justdoing his own thing, uh, the the
funk, the off-beat kilter, outof the box grid.
Um, you know, just doingwhatever you wanted to do with
the music, man.
So shout out to um Raji, who'sstill with us through music.
(01:33:27):
You know what I mean?
(01:35:39):
Yeah, I had to let that rock,yo.
So right now you're listening toKareem's Balloreal from the
Yahweh is love by Jahari MasambaUnit featuring Kareem Riggins
and Madler.
(01:36:00):
If y'all don't know who thisJahari Masaba unit is, man,
you've been missing out, broski.
I'm just telling you.
So y'all listen to this joint.
And then um nah we feel gonnaround it out.
We feel gonna round it out withthis last one.
(01:36:21):
Who is another example ofimprobization when it comes to
this beat culture, man?
This musicianship, this jazz,this you know, everything, man.
So y'all, y'all vibe to this,and I'll be right back, man.
Alright.
(01:36:41):
Don't forget to like go to umthe supporters, go to that
website, and you know, buy at-shirt, buy us a coffee,
something like that.
You know what I mean?
Help the help the channel out,like, subscribe, all of that,
share it, follow us on allsocial media platforms, YouTube.
(01:37:06):
Hey, those little simple thingshelp out tremendously if y'all
didn't know, man.
(01:38:55):
Yeah, man.
Told y'all.
So listen, we are going to getinto this slash joint, which I
think is incredible.
Happy belated birthday to thehomie E Rosilla.
(01:39:16):
E Row equals three, aka ERosilla.
Yeah, man.
All roles leave me here.
This album is incredible,available streaming everywhere,
band camp, all of that stuff.
You know what I mean?
Support the homie.
(01:39:37):
Professor E Rosilla.
Let me get that right, yo.
Yo, yo, go back to the to thelast um episode I did with
E-Rozilla, man.
We updated Joe on what he'sdoing, man.
So, man, he's Professor E Ronow, man.
Stop playing with his name, man.
Put some respect on his name.
(01:39:58):
Let's go, man.
But yo, man.
Yeah, the way he switcheseverything in and out, man.
Like, you know, offbeat, uh uhimprovisation, switch ups, this,
this, this skibbity bop, youknow what I mean?
All of that stuff.
He do all of that, man.
(01:40:18):
With his with his musicianship.
He don't even gotta use words,man.
So yeah, man.
I think we got a word from umMr.
Herbie Hancock, the illustriousHerbie Hancock as well, man.
Let me play that for y'all.
SPEAKER_02 (01:42:57):
As a matter of fact, jazz is a communication, it is a
conversation between themusicians.
But it's it's not just betweenthe musicians, it's a
conversation that we have withthe audience.
They're part of the creativeprocess because their feelings
come across onto the stage.
Their feelings affect themusicians that are playing.
So all of that life energythat's there is being dealt with
(01:43:21):
on the spot in the presentmoment.
The musicians are sharing theirfeelings with each other.
They're trusting each other,they're exploring together like
astronauts, they're challengingeach other too.
You get a chance to reallyexpress your feelings, you you
get a chance to explore yourguts, you know, ex explore your
(01:43:42):
difficult difficulties.
SPEAKER_06 (01:44:25):
Jazz is expression without apology.
Every beatmaker pulling samples,bending drums, or pushing a
groove off the grid is carryingthat same torch.
So tonight, we honor theancestors and the future.
All through these incrediblejazz beat tapes and singles that
(01:44:53):
you hear.
So listen, if you like what youheard today, before we leave,
hit go to the link tree, man.
Go to the retro podcast linktree, grab you a t-shirt.
You know, it's about to beChristmas season, grab you a
t-shirt, buy the show a coffee,share the episode, text into the
(01:45:16):
show, you know what I mean?
And yeah, man.
I hope everybody's countingblessings and not problems.
And I'm gonna see y'all onanother episode of the Rec Show
Podcast.
Alright?
Happy holidays to everybody.
Yeah, man.
(01:45:36):
Little one, you wanna saysomething?
Sure.
Go ahead, talk to the people,yeah.
Hey people, talk to theinternets, tell them, tell them,
yo, count blessings, notproblems, yo.
Count blessings, not problems.
And happy holidays.
Yeah.
You heard her, yo.
Peace and love, yo.
Yo, what up?
Peace and love, everybody.
Y'all know who it is.
It's your favorite podcast.
Golden mine, what's good, yo?
Hope everybody's countingblessings and not problems, man.
Welcome back again.
And if this is your first time,welcome.
(02:07):
So listen, man.
You know, today we're gonna bestepping into a different
groove.
We're gonna take you to theheartbeat of America's original
art form.
What's that?
Jazz.
Jazz.
(02:28):
Jazz.
But we're doing a directionalway, you feel me?
So you already know we're gonnado it through B tapes, dusty
sample chops, liveinstrumentation, loop culture,
and the producers keeping thisenergy alive today.
So sit back, relax, smoke themif you got them.
(02:49):
You know what I mean?
Put this on while you'redriving, on the plane, the
train, in your automobile, onyour bike, skateboard, all of
that stuff, man.
It's gonna be segments, man.
So yeah.
Hope y'all enjoy, man.
We'll be right back.
(03:52):
So shout out to Toji Kai andPumlani Metiti.
The name of this joint is calledSarah's Gate.
Yeah, man.
I told y'all, you know, we weregonna get into jazz, man.
So let's get into segment onereal quick.
You know, jazz roots in the andthe Genesis, real quick.
(04:16):
Um, y'all know they originatedin New Orleans, late 1800s,
before any of us were born orthought of.
You know what I'm saying?
Early 1900s as well, you know,Congo Square, black brass bands,
church hymns, blues, ragtide.
(04:39):
But what is jazz?
Jazz back then equaled and andstill does.
It equals rebellion plus soul,plus spiritual release, and
improvisation was thesuperpower.
(05:01):
What's improvisation?
Just doing things unplanned, outthe box, off the cuff, you know
what I'm saying?
And that's what jazz is.
So why did it matter?
Well, first, truly American artform was created by our natives.
(05:27):
You know, I I I really don'twant to say black, but our
natives that were probably onthis land already or came to
this land, you know what I mean,and they expressed joy, pain,
pride, complexity in the humanexperience.
(05:49):
You know, it also just shapedeverything from funk, soul,
hip-hop, RB, rock, you know whatI'm saying?
But who were the easy the keyplayers, the early key players?
Some of these y'all gonna haveto Google and look up.
(06:11):
I had it, buddy Bolden, who's uhthe mythical trumpet king.
Uh y'all, I think y'all know whoLouis Armstrong is.
Big cheeks, big puffy cheeks.
You know, changed, he changed uhmelody, timing, phrasing
(06:31):
forever.
Then you got Jelly Roll Morton,you know, he came with that
energy, you know.
I invented jazz.
But he documented the earlyforms of it, you know what I'm
saying?
So, hey, give him his credit,give him his flowers.
Then we got the one and onlyBessie Smith, the blues queen,
(06:53):
influencing jazz, vocalphrasings.
You know what I'm saying?
Yeah, man.
So, you know, just some of thekey players, you know, why jazz
mattered, the originals, theorigins, you know, the genesis
of jazz.
We're gonna come back withsegment two, all right?
Enjoy this, man.
(07:15):
Yeah.
(08:22):
Ooh.
Yeah, shout out to this beat catjazz by M.I.P.
All I really need.
And before that it was CopyBarbara Cruz.
I hope I'm saying that right,but it was by Poly Poly and Cap
(08:43):
Kendricks.
Hmm.
Yeah, man.
That's what we on today.
We on this jazz field, yeah.
So y'all in for a treat, man.
Texas if you liking it so far.
You know, I mean, hit us withthe comments, hit us with the uh
uh uh the text, text the show,let me know how I'm doing, how
(09:07):
the show's doing, how you likingthis one.
We'll be right back.
Yeah.
(10:45):
So you know there's always arise.
You know, it's kicking off, it'spopping, it's popping.
You know, and almost came to athe fall near a near demise.
What happened?
Well, you know, jazz didn't staygolden forever in the eyes of
(11:05):
you know popular opinion orwhatever you want to call it,
but it was still rocking, stilldoing this thing on the
underground.
Yeah, I mean, but the rock androll era drowned it out
commercially, you know, fusionand experiments removed and
splintered the audiences.
Uh you know, record labelsstopped investing, pushing jazz
(11:27):
to the margins, clubs closed,big bands died off, smaller
scenes struggled, you know.
So, you know, it almost was nomore.
But once again, like I said, theunderground kept it alive,
family-owned theaters, divebars, college ensembles, you
(11:53):
know, and later, of course, ofcourse, the hip hop DJs and
producers, you know what I mean,the beat makers.
That's what you would call arebirth.
And I'm gonna leave y'all rightthere.
We're gonna go to the nextsegment later.
Alright.
(12:14):
I'm gonna read these uh thesetexts off that sent me too, man.
I asked y'all, you know, whatwhat does jazz mean to be making
culture?
We're gonna we're gonna lety'all hear that in a little bit.
Stay tuned.
Yeah.
(16:54):
You know, this last track wasMine Running from a life in
bloom by a creature out ofLondon, UK, man.
That was a funky, bro.
And then you got before that wasthe name of the joint was called
Downtown from a past sense byMr.
(17:19):
Kaper.
Out of Salzburg.
Let me see, where we where arewe at?
Salzburg, Austria, I wanna say.
Yeah, Austria, Austria, yeah,man.
So shout out to them, man.
Yeah, so you know, segment two,segment three, actually, we own
(17:41):
um as we get into this uh goeie,this uh nuances showing it's
called Timeless.
Um fan mail.
Let's read off this fan mail,man.
I asked y'all the question.
Ooh, yeah.
So I asked y'all this question,you know, um, what does jazz
(18:03):
mean to beat making culture?
You know, like what would jazz,what would beat making culture
be without jazz?
And uh, you know, my my LosAngeles, California sent me and
said the rugged air ofexperimental independence.
Improvisation is a major key.
(18:26):
You know, somebody, you know,one of my listeners, shout out
to you from Atlanta, Georgia,said jazz is a purely American
art form that could have onlyhappened on this soil, much like
hip-hop, jazz is foundational tothe experiments.
Although there are many goodyoung players, it's become a
(18:49):
niche endeavor, such that muchof that energy has moved to
other genres like hip-hop andRB.
Now I can I can kind of agreewith that.
Nowadays, many jazz convertconservatory students are also
making beats, and there's ahandful of beat makers, slash
producers, picking upinstruments and learning chords,
(19:11):
man.
So shout out to my guy Sal toSlaughter, man.
Slaughter, yeah.
I like that man.
We're gonna read some more afterthis though, but I want y'all to
enjoy this uh disjoint, disjointtimeless.
Yeah.
(20:43):
So yeah, man.
You know, we got the rebirth ofthrough hip hop, you know.
Um and this is where you reallylike start to connect the dots
for the you know, for us as beatmakers, you know.
I mean, for you beat makers thatare listening, music producers,
(21:04):
composers, you know what I'msaying?
So, you know, hip-hop justrevived the jazz by sampling
jazz, you know what I'm saying?
You know, producers like DJPremier with the horn rips and
the roll chops and Pete Rockwith the swing and the soul.
(21:25):
You got Jake Dilla, you know,with the broken time pocket, and
you got Mad Lib, you know, withDeep Crate Jazz, pilgrimages,
and you know, new jibiz, um,with the mellow, jazz hop,
fusion, you know.
So, you know, and it's and it'smany more uh many more
(21:47):
contributors, producers, um,that help revive jazz by the
sampling by through hip-hop, youknow.
So that's just some, that's justa a morsel of those that
contributed, man.
So if I left you out, hey, ifyou listen, let me know.
Let me text the show, let meknow.
All right, but um, yeah, man,they reintroduced jazz
(22:11):
aesthetics to an entiregeneration of kids like myself
who never stepped foot in a jazzclub, you know.
And um man, it just meantsomething to oh uh Q-tip as
well.
Um man, it's so man, it's somany more artists, man, that um
was doing their thing, man.
(22:33):
Um so yeah, um, and then youknow, we got B culture.
B culture, it's just modernjazz.
That's what you that's what Iwould say.
Man, B culture is modern jazz,man.
You know, loop culture, mirrors,uh, jazz improvisation, you
know, the off-grid drumming, youknow, the the post uh pop
(22:57):
freedom, you got the uh the NPCswith the SP404s, it's you know,
just equaling like new ageinstruments with the machines,
you know, the nativeinstruments, machines with the
you know, the koala samplers anduh you know all these other the
Akai NPC.
Yeah, it's yeah, I mean, justnew instruments, man.
(23:20):
And then you know, beat makers,you know, are today's with a
horn players, man.
You know, so jazz never died,yo.
I just want to make that superclear.
Jazz never died.
It's just reincarnated throughhip-hop.
And as you'll hear throughoutthis episode, the jazz players
(23:45):
from around the world are stillthriving, man.
We at home in the United States,whether it be in Europe, whether
it be in you know, Austria,whether you know, it's like a
whole bunch of different places,man.
Jazz is still thriving, man.
So yeah.
But yo, let me we'll be rightback, man.
Let me play this joint realquick.
(24:05):
You feel me?
SPEAKER_09 (24:08):
When I was like 12 years old, I lived over a place
called Arcady Theater.
I lived upstairs, and they haduh a show band.
There was a tenant player namedAl Farish and a trumpet player
named Buddy Bell.
And I would I would sit right infront of the band and and watch
(24:31):
and listen.
And that was my first uhinspiration towards wanting to
play the trumpet.
And my dad said, Noah, you youyou get an occupational bump on
you that he didn't like it.
I say, well, I'd I'll playsaxophone then.
(25:05):
So this is a wonderful part ofexistence, this life itself, you
(26:52):
know.
(29:12):
So this is a wonderful part ofexistence.
SPEAKER_06 (29:17):
Yeah, man.
Shout out to Youssef Latif.
The beat phonics crew out ofItaly.
Man, this was dope, yo.
Um name of that joint was calledCharlie.
Surreal feeling.
Man, man, that was dope, yeah.
I had to include that.
(29:38):
And then name this joint iscalled NPC Jazz from Jazz
Meditation by Aileen Luke.
Let me see.
He's out of uh Italy as well,man.
So enjoy it.
(30:52):
Let's get into this nextsegment.
That uh you know, we starttalking about modern day
evolution, you know, and we goon spotlight how jazz is
thriving now.
You know?
Like, damn it, what is it?
(31:32):
Better chill her out, bro.
That was yo critical, yeah.
Um but yo man, um so you know,just spotlighting some how Dress
is thriving right now.
We're gonna talk about you knowhow London scene, Youssef D's,
(31:52):
Kamal Williams, uh, uh ShabakaHutchins is killing it out in
London scene.
You got the LA and West Coast,uh Kamasi, Washington, you know,
Terrence Martins, the the MindDesigns, um from New Jersey, by
(32:12):
the way.
Um, and then we got uh you knowthe global jazz hop creators,
you know, flow fills, uh, alphamist, the 3070 collective, the
jazzy boys, you got man, there'sso many.
You got um you got uh jazz isdead that's still doing his
(32:35):
thing, man.
Still uplifting jazz, you know,um Adrian Young and uh uh Rashid
Muhammad.
I can't remember the verses, uhman.
But that's gonna that's gonnabug me.
But yeah, man, so jazz is stilldoing his thing, man.
(32:57):
And then you know, you got uhyou know more coming back when
we're gonna feature some jazzbeat tapes and albums, you know,
in the main portion of theepisode, you know what I mean?
But we'll be back, man.
Y'all listen to this joint by uhAma Lama by Mocha Only Alcinos,
(33:18):
and I want to say the name is uhum what's the name?
Uh Parental out of Paris,France, man.
And that last joint you heardwas Intro and Cheese from the
Harlem Barber swing by JazzEnough out of New York, New
(33:38):
York, man.
So y'all enjoy, man.
Yeah.
SPEAKER_07 (35:05):
You get everything you need.
SPEAKER_04 (35:07):
You'll get everything you want.
You get everything you need.
You'll get everything you want.
You got everything you need.
You'll get everything you want.
You get everything you need.
Look at everything you want.
Promise you don't get thatregardless.
You see it, you create it,that's the artist.
Moment that you reach it withyour father.
(35:30):
You dream it, you believe it,that's regardless.
You see, I got the words, I gotthe flow, they inspiration.
unknown (35:37):
What you need, you got the fish, you got the vibe, you
got the things, you think of me.
I got something left to me, butI am just a human being.
Twenty-four hours today, thisevery new display for me.
You got people in your corners,you got frightened on your team.
Realistic demon love your left,what you need.
We can break that every day.
SPEAKER_04 (36:04):
Go get everything you want.
You got everything you need.
Go get everything you want.
You got everything you need.
Go get everything you want.
You got everything you need.
Go get everything you want.
Yeah, yo.
SPEAKER_06 (36:19):
I had to I just had to include this one, man.
Just cause it felt jazzy and uhYeah, I mean, yo, the name of
that disjoint is calledEverything You Need, produced by
Paul Bloom.
Um, this is from uh You Never,let me see, let me make sure I
got this right, man.
You never really know by JaySwiss.
(36:40):
Jay Swiss out of New York, NewYork, yo.
Hey man.
Yeah, that's yeah, I had toinclude that joint, man.
Shout out to you.
Dickie Cass is on that albumtoo, man.
Hey man.
SPEAKER_01 (36:51):
Hey, man.
SPEAKER_06 (36:52):
Hey man.
Alright, so listen.
Um let's talk about let's talkabout you know the feature
section, which is like, youknow, the beat tapes and the
albums and stuff like that.
That you know.
Um and I played a lot of them.
You know, I'm gonna include alink to every single one that I
(37:13):
uh that I played on the album,on the show.
But um, and I might include ayou know, I apple playlist or a
YouTube playlist or somethinglike that just to help y'all as
well, so y'all can vibe as well.
But yo man, you know, the thethe producers, the the jazz
influences, you know, for for meit's always been like the horns
(37:36):
and the roads and the swing andthe the brush drums, you know,
like you know, um but yeah man,like all of the all of these
artists fit a jazz lineage, man.
So they all got at least roads,pianos, horns, drums, um,
(37:57):
cymbals, the you know yeah, man.
Um but yeah, man, go ahead go touh you know like band campus
where I mainly got all my sourcematerial.
Um some on Apple Music, some onSoundCloud as well, man.
So yeah, man, you just gotta doyour research, man.
(38:18):
And uh you know keep supportingus, keep supporting it, man.
But yo, before that, before weget into this last segment, and
uh we're gonna read some morefan mail as well.
Let's listen to this joint fromuh Rick Maul from Octaves The
(38:40):
Jazz Jousters and Key withHerbie Hancock, a millennium
jazz music production, you knowwhat I mean, album.
The name of this joint is calledThere's Only One.
There's only one spirit aboutliving things you have the
(39:06):
opportunity to relate to them inthe special way.
(42:01):
Um I got somebody out ofOakland, California that said
it's the basis for B culture,jazz.
Jazz is the basis for beeculture, man.
So shout out to whoever this is,they leave it who they were, but
yeah, y'all can leave who y'allare when y'all text the show,
man.
You know what I mean?
(42:22):
Um we got one more that I'mgonna read out of Sacramento,
California, man.
But y'all enjoy this joint.
The name of this joint is calledOne More Time from Dusty Vibes
by 360 out of touring Italy.
(42:44):
Yo, we got our Italy, our Italybrothers and sisters out here in
there.
I told y'all we were why withit.
I told y'all we were why thebody is a lot of money.
(49:16):
Yo, I heard that and I was like,I had to include this in the in
this joint, man.
That was from the Moses Yofietrio out of Berlin, Germany,
from the album MYT.
The name of that joint wascalled Till Tomorrow.
(49:37):
Man, incredible, incredible,what just man yo man.
Listen, you listening to uhStacy's Loop from Interstellar
Fantasy by Greg Foat and AyoSalawoo out of London, UK, man.
(50:09):
Hmm.
Yo, here's some crazy facts fory'all real quick, man.
So I bet y'all did not know thatMiles Davis turned his back to
the audience on purpose.
But why did he do that?
(50:31):
To let the band communicatedeeper.
John Coltrane practiced sointensely he wore grooves into
his carpet.
Did y'all know that?
Man, yeah, man.
(50:54):
Jazz, yo.
Jazz.
Gotta love it, man.
I think that's why I'm soenamored with B culture as well,
man.
Why I love it so much, man.
It's um it's just speaks aboutbeing free, man.
It's about uh each artist beingfree, man, and and doing what
(51:18):
they want to do with the musicand making the the person that's
listening feel something, youknow.
So creativity, freedom, youknow, everything that has to do
with your ass, y'all.
So let's get into this umMakaiah McCraven out of Chicago,
(51:38):
Illinois.
The name of the show is calledHoly Lands from Universal Beings
I11 edition.
Y'all gonna feel something onthis one, my guy, guys and gals.
But uh, yo, we'll be back, man.
I'm gonna play a few more jointsbefore I mean yeah, just listen.
SPEAKER_00 (56:41):
The criminal complaint says the accused
shooter did not speak to theteen before allegedly shooting
him through a glass door.
The 16-year-old is now homeafter spending the weekend in a
hospital.
Roxana Saberri has the latestdetails.
SPEAKER_06 (01:03:08):
The name of that drum was called Trials and
Tribulations, man.
If you didn't feel somethingwith that track, man, I'll I
don't know, man.
I gotta question your humanity,yeah.
Wow.
But yeah, man.
Um we're gonna head to uhStugard, Germany, man, and uh
(01:03:28):
listen to this Jazz is a spiritfrom Groove Connection by Jacob
Mann.
Yeah.
And uh Yo man, here's some morefacts for y'all, yo.
(01:03:49):
Oh jazz.
You know, like the earliestforms of remix were from You
guessed it.
Jazz.
Improvisation is the foundationof jazz, man.
So, you know, like LouisArmstrong, Coleman Hawkins,
(01:04:09):
Charlie Parker.
Known for radically alteringstandard melodies during solos.
You know?
Um.
Let me see.
Early electronic instrumentsoriginated from jazz pioneers
like Raymond Stout, who was alike a jazz band leader and
(01:04:31):
composer, but he helped buildsome of the earliest electronic
music machines.
So he created the clavy box inthe 1950s and created the
electronium in the 1960s, one ofthe earliest self-composing
machines.
Then his work directlyinfluenced early Moog
(01:04:52):
synthesizers and laterelectronic music.
Moog himself credited Scott forinspiring him.
Wow.
The more you know, the more yougrow.
Man.
SPEAKER_08 (01:05:10):
Jazz.
Can you hear it?
Jazz.
Jazz is a spirit.
Perpetual moments of purecreativity.
Jazz is abandonment withinboundaries.
Logical undoing of what youthink it's supposed to be.
(01:05:31):
Jazz is collective storytelling.
Expressing the history andexperience of a people.
Jazz means no category, allowingfor continuous progression.
Jazz is a spirit.
Can you hear it?
SPEAKER_06 (01:06:36):
Sacramento, California, man, who said beat
culture is jazz music.
Facts.
That's all it is, man.
Come on, man.
Yo, y'all listen to this uhTakumi Morona Moria Black Nation
out of Japan.
Name of this joint is calledMerry Go Around.
(01:06:58):
Fire.
Incredible what they did withthis.
Yeah, we'll be back, man.
Shout out to everybody that uhcontributed and sent in the
text, man.
The fan mail, man.
I appreciate y'all.
(01:13:08):
What did I tell y'all?
Yo, Takumi Moria.
Black Nation, man.
Japan.
Wow.
Incredible, man.
Yo, we getting into this uh thiscatalyst with a K.
Adrian Young and Ali Ali ShaheedMohammed.
(01:13:29):
You know, Jazz is dead, volumenumber 13.
The name of this joint is calledDaybreak.
SPEAKER_07 (01:13:36):
Hmm.
SPEAKER_06 (01:13:37):
It's an incredible joint too, man.
Hey, did y'all know that jazzwas used as the official US
cultural diplomacy?
You know, in the 1950s to thisnight in in between to the
1970s, the US State Departmentcreated the Jazz Ambassadors
(01:14:02):
Program.
And if I'm not mistaken, thereis a hip-hop ambassadors program
right now going on that thehomie out of um uh California is
oh man, let me man PhilipDrummond.
There you go.
(01:14:22):
Today's future sounds, man.
He's involved in it, him and histeam are involved in that as
well, man.
So evolution.
Evolution, wow, wow.
Musicians like Lois Armstrong,Daisy Gillespie, Duke Ellington,
toured Africa, the Middle East,Europe, and Asia has official
(01:14:43):
American representatives.
Then you have the SmithsonianLibrary of Congress and State
Department Archives documentthis program thoroughly, too.
(01:19:00):
Man, man.
Incredible, man.
Jazz.
Welcome to episode 135.
If you stayed this long, youknow I appreciate you, man.
Shit.
Hey, look at you.
Hey, look at you.
I'm look, I'm talking to you.
Hey, I appreciate you, man.
Thank you.
(01:19:21):
I don't know where you are inthe world, but if you're still
listening.
Thank you.
Yo, we're listening to thisUnity from the Resonance DP.
By Black and Soft.
Oh my god there.
California, man.
I love Supreme California.
Put this joint together.
(01:19:43):
I had to include a couple jointsin this joint, man.
That's I couldn't I could notinclude this.
We all enjoy this, man.
SPEAKER_05 (01:22:21):
I'll give them that.
unknown (01:22:22):
The ribbon hit the back with a right hook.
Looking on all the time and allthe ones I look.
I mean, what does it mean foryou as an MC?
Now that you you know yourepresent and you won, and you
coming from the from the fromthe spot.
You know what I'm saying?
What does it mean to y'all?
SPEAKER_05 (01:22:41):
Listen to what we got to say, you know what I'm
saying?
Cause I got something to tellpeople.
When I say overall, I want toplay all the game over the room.
You know what I'm saying?
The beginning was when we firstmet in the high school.
(01:23:10):
Rapper like the game club.
We're hitting on the yellowstandard.
(01:23:35):
Stay in the limelight, stay inthe eye.
SPEAKER_01 (01:23:43):
That's right.
That's it.
That's it.
That's the truth.
Right here on Rap City, baby.
That's right, baby.
Keep it in the fish right hereon Rap City.
Y'all stay tuned, we'll be rightback.
Alright.
SPEAKER_06 (01:23:53):
Yeah, man.
Had to include this jointspirit, breathe, spree of
breath, featuring splashes fromthe resonance CP.
Yeah, man.
Shout out to Black and Soft.
Oh, we get a number two.
You know, shout out to BlackEyed Nine.
Shout out to you know the homieT Dot.
(01:24:14):
Yo, man.
I love Supreme California.
If y'all know who they are, man,smack yourself.
Tap into what they're doing onYouTube, their albums and
everything, man.
Come on, man.
Yo, I I could not do thisepisode about jazz and include
Bap Notes.
(01:24:36):
Alright.
That's a jazz group out ofSacramento, Calipona.
The name of this choice iscalled Carnival of Fools.
From the record store.
I think this one was uh this wasthe album uh dollar bin.
(01:25:00):
Yeah, yeah, yeah, yeah.
Dollar bin joints, man.
Yeah.
Shout out to Bap Notes, man.
The whole team over at Bap NotesMan.
And then we gonna right afterthat, we're gonna get into this
third eye by Mono Massive.
And then uh We're gonna round itout, man.
(01:25:22):
Alright.
Almost.
But I hope y'all got somethingout of this episode.
I know I did doing the researchfor it and um planning for it
and everything like that, man.
So thank you.
And uh go ahead and share this.
If you're listening to this onYouTube, go please like this,
(01:25:43):
subscribe to the YouTubechannel.
I'm trying to grow this thing.
And you know, if you'relistening to it on Apple Music
or you know, any other of the uhpodcast distribution platforms,
please like it, leave a comment.
Um it actually helps us get seena lot, a lot more, so you know
(01:26:08):
thank you.
This third eye eye mono massiveis incredible too.
(01:28:27):
So last fact real quick, but didy'all know that big bands helped
shape modern recordingtechniques?
Engineers like you know, RudyVan Gelder, Alan Lomax, and
early radio studio teamsdeveloped mic placement
techniques specifically forlarge jazz ensembles.
(01:28:50):
Ribbon microphones, RCA 44, RCA77s became standard because they
captured whole sections morenaturally.
Early multi-mic arrangements forbig bands became templates for
contemporary studio layouts, andthen that you all, as we all
(01:29:13):
know, turned into what yourdolls do, where it allows you to
you know record from differentthings, and you can have a
different track for each part ofthe instrument, stuff like that.
Come on, man.
Evolution, man.
Evolution, man.
They influence modern mixing,room room mics, dynamics,
(01:29:34):
sectional isolation, all ofthat, man.
But yo, you listening to this uhoverturn from the beats to skate
to by culture and moose dawa.
This joint is fire too.
Yeah, when I come back, we'regonna round it out, man.
(01:30:53):
Yeah, you're about to get intothis uh Y2K lounging from Samaia
by Lesky and Waywell.
And then after that, we're gonnaget into this incredible joint.
(01:31:14):
Yeah, round it out, yeah.
Come on now.
Sway, sway, sway.
(01:32:42):
Yeah, man.
So listen, we go into theAfrican space program, man, and
tap in with the homie RajStream, man, who I think is a uh
you know, one of the greatexamples of improvisation,
(01:33:03):
improvisation, um you know, justdoing his own thing, uh, the the
funk, the off-beat kilter, outof the box grid.
Um, you know, just doingwhatever you wanted to do with
the music, man.
So shout out to um Raji, who'sstill with us through music.
(01:33:27):
You know what I mean?
(01:35:39):
Yeah, I had to let that rock,yo.
So right now you're listening toKareem's Balloreal from the
Yahweh is love by Jahari MasambaUnit featuring Kareem Riggins
and Madler.
(01:36:00):
If y'all don't know who thisJahari Masaba unit is, man,
you've been missing out, broski.
I'm just telling you.
So y'all listen to this joint.
And then um nah we feel gonnaround it out.
We feel gonna round it out withthis last one.
(01:36:21):
Who is another example ofimprobization when it comes to
this beat culture, man?
This musicianship, this jazz,this you know, everything, man.
So y'all, y'all vibe to this,and I'll be right back, man.
Alright.
(01:36:41):
Don't forget to like go to umthe supporters, go to that
website, and you know, buy at-shirt, buy us a coffee,
something like that.
You know what I mean?
Help the help the channel out,like, subscribe, all of that,
share it, follow us on allsocial media platforms, YouTube.
(01:37:06):
Hey, those little simple thingshelp out tremendously if y'all
didn't know, man.
(01:38:55):
Yeah, man.
Told y'all.
So listen, we are going to getinto this slash joint, which I
think is incredible.
Happy belated birthday to thehomie E Rosilla.
(01:39:16):
E Row equals three, aka ERosilla.
Yeah, man.
All roles leave me here.
This album is incredible,available streaming everywhere,
band camp, all of that stuff.
You know what I mean?
Support the homie.
(01:39:37):
Professor E Rosilla.
Let me get that right, yo.
Yo, yo, go back to the to thelast um episode I did with
E-Rozilla, man.
We updated Joe on what he'sdoing, man.
So, man, he's Professor E Ronow, man.
Stop playing with his name, man.
Put some respect on his name.
(01:39:58):
Let's go, man.
But yo, man.
Yeah, the way he switcheseverything in and out, man.
Like, you know, offbeat, uh uhimprovisation, switch ups, this,
this, this skibbity bop, youknow what I mean?
All of that stuff.
He do all of that, man.
(01:40:18):
With his with his musicianship.
He don't even gotta use words,man.
So yeah, man.
I think we got a word from umMr.
Herbie Hancock, the illustriousHerbie Hancock as well, man.
Let me play that for y'all.
SPEAKER_02 (01:42:57):
As a matter of fact, jazz is a communication, it is a
conversation between themusicians.
But it's it's not just betweenthe musicians, it's a
conversation that we have withthe audience.
They're part of the creativeprocess because their feelings
come across onto the stage.
Their feelings affect themusicians that are playing.
So all of that life energythat's there is being dealt with
(01:43:21):
on the spot in the presentmoment.
The musicians are sharing theirfeelings with each other.
They're trusting each other,they're exploring together like
astronauts, they're challengingeach other too.
You get a chance to reallyexpress your feelings, you you
get a chance to explore yourguts, you know, ex explore your
(01:43:42):
difficult difficulties.
SPEAKER_06 (01:44:25):
Jazz is expression without apology.
Every beatmaker pulling samples,bending drums, or pushing a
groove off the grid is carryingthat same torch.
So tonight, we honor theancestors and the future.
All through these incrediblejazz beat tapes and singles that
(01:44:53):
you hear.
So listen, if you like what youheard today, before we leave,
hit go to the link tree, man.
Go to the retro podcast linktree, grab you a t-shirt.
You know, it's about to beChristmas season, grab you a
t-shirt, buy the show a coffee,share the episode, text into the
(01:45:16):
show, you know what I mean?
And yeah, man.
I hope everybody's countingblessings and not problems.
And I'm gonna see y'all onanother episode of the Rec Show
Podcast.
Alright?
Happy holidays to everybody.
Yeah, man.
(01:45:36):
Little one, you wanna saysomething?
Sure.
Go ahead, talk to the people,yeah.
Hey people, talk to theinternets, tell them, tell them,
yo, count blessings, notproblems, yo.
Count blessings, not problems.
And happy holidays.
Yeah.
You heard her, yo.
Peace and love, yo.
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