Jazz Is Dead HHV Records 53 Items

Hyldon, Brazi's highly revered vocalist, musician and producer, has partnered with Adrian Younge to create a new psychedelic soul album, Hyldon Jid023. The duo, highly inspired by Hyldon's seminal work in the '60s and '70s, revisits' the spirit of this epoch while creating a modem-day classic. Hyldon's unique voice and lyrical depth, combined with Younge's innovative analog production, ensures this album will not be forgotten. Jid023 is one of the last recordings featuring Hyldon's long-time collaborator and friend, the late drummer Ivan "Mamao" Conti of Azymuth.

Green Vinyl.The swirling horns and gritty guitars heard on Ebo Taylor JID022 are reminiscent of his seminal seventies recordings that made him one of Africa's most prolific and revolutionary artists of all time. Recorded inside of Younge's Linear Labs studio, this album captures polyrhythmic percussion and twangy, fuzzed out gui...

The swirling horns and gritty guitars heard on Ebo Taylor JID022 are reminiscent of his seminal seventies recordings that made him one of Africa's most prolific and revolutionary artists of all time. Recorded inside of Younge's Linear Labs studio, this album captures polyrhythmic percussion and twangy, fuzzed out guitars that prove...

Hyldon, Brazi's highly revered vocalist, musician and producer, has partnered with Adrian Younge to create a new psychedelic soul album, Hyldon Jid023. The duo, highly inspired by Hyldon's seminal work in the '60s and '70s, revisits' the spirit of this epoch while creating a modem-day classic. Hyldon's unique voice and lyrical depth, combined with Younge's innovative analog production, ensures this album will not be forgotten. Jid023 is one of the last recordings featuring Hyldon's long-time collaborator and friend, the late drummer Ivan "Mamao" Conti of Azymuth.

With Jazz Is Dead Series 2, Younge and Muhammad have once again, together with a roster of world-renowned legends, crate digger patron saints, and an exciting vanguard of young talent, delivered another unimpeachable collection of fresh and captivating recordings inspired by jazz's past, present, and future. There are names that some may already be familiar with, such as Lonnie Liston Smith, Jean Carne, and Tony Allen, and those less so, like Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, & Katalyst. What unites each new collaborator is their unbent dedication to remaining original, preserving their creativity, and sharing it with the world.

During the year 2019, Adrian Younge and Ali Shaheed Muhammad made music with the masters. Composing and producing brand new albums with their heroes. Jazz Is Dead 001 is where it all started, their first presentation of work that has come out of these initial sessions.

Red Vinyl. Jazz Is Dead announces another offering of top-shelf recordings taking listeners on a journey through the funky sounds of Ghana all the way to down to the psychedelic soul and samba of Brazil. Produced by label founders Adrian Younge and Ali Shaheed Muhammad, Jazz Is Dead Series 3 features new analog recordings from living legends Ebo Taylor, Hyldon, Dom Salvador, Antonio Carlos e Jocafi, Carlos Dafé, Joyce e Tutty Moreno as well as an unreleased LP from The Midnight Hour: Lost Tapes.

It could only have happened in Detroit. It was in the ashes of this Detroit, that Tribe Records was born - a community-led platform where artists took control of marketing, promoting, and releasing their own music. Two original founding members, saxophonist Wendell Harrison and trombonist Phil Ranelin, are still active in the Detroit jazz community, and act as global ambassadors for the Tribe legacy. In the years that have followed, the path Tribe blazed has become the blueprint for generations of independent artists. With the upcoming release of Ranelin and Harrison"s joint entry in the Jazz Is Dead series, they continue the mission of Tribe to provide "a new dimension in cultural awareness".

As the final chapter in the initial run of Jazz Is Dead releases, Remixes JID010 continues the creative catharsis of an exhilarating new chapter in jazz music. Adrian Younge & Ali Shaheed Muhammad tapped nine iconic creators to reimagine their personal favorites from Jazz Is Dead's catalogue to-date, who created striking new versions by Cut Chemist, DJ Spinna, Georgie Anne Muldrow, Akili, Shigeto, Pink Siiffu, Dibiase, Natureboy Flako, and Kaidi Tathum. It's a family affair.

The third release from Jazz Is Dead records is features Marcos Valle, one of the greatest and most important composers, arrangers, writers and performers in Brazilian history. A jack of all trades, Valle has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and more.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

Instrumentals Jid019 captures the musical alchemy produced at the Linear Labs Studio by producers Adrian Younge and Ali Shaheed Muhammad. These instrumental recordings encapsulate the spirit of the Jazz Is Dead concert and recording series, celebrating the African-American art form known as jazz through improvisation, musical collaboration and authentic cross-generational and cross-cultural communication.

Instrumentals Jid019 captures the musical alchemy produced at the Linear Labs Studio by producers Adrian Younge and Ali Shaheed Muhammad. These instrumental recordings encapsulate the spirit of the Jazz Is Dead concert and recording series, celebrating the African-American art form known as jazz through improvisation, musical collaboration and authentic cross-generational and cross-cultural communication.

The genius that is Tony Allen departed this mortal world in April of 2020, but not without leaving an unmatched legacy that crossed oceans and borders, bridging cultures and forging a sound that changed music. As the drummer for Fela Kuti"s revolutionary Africa 70, Allen"s polyrhythmic drumming defined Afrobeat. His contributions as an artist and cultural ambassador left an indelible impact on every genre of popular music, from Techno to Jazz to Rock and Hip-Hop. Tony Allen"s music stands as an ongoing testament to the interconnected musical relationships and dialogues across the African diaspora, and their lasting influence on how we listen. For Jazz Is Dead producer Adrian Younge, it is no small honor to share new music recorded with the drummer revolutionary Tony Allen.

The genius that is Tony Allen departed this mortal world in April of 2020, but not without leaving an unmatched legacy that crossed oceans and borders, bridging cultures and forging a sound that changed music. As the drummer for Fela Kuti"s revolutionary Africa 70, Allen"s polyrhythmic drumming defined Afrobeat. His contributions as an artist and cultural ambassador left an indelible impact on every genre of popular music, from Techno to Jazz to Rock and Hip-Hop. Tony Allen"s music stands as an ongoing testament to the interconnected musical relationships and dialogues across the African diaspora, and their lasting influence on how we listen. For Jazz Is Dead producer Adrian Younge, it is no small honor to share new music recorded with the drummer revolutionary Tony Allen.

It could only have happened in Detroit. It was in the ashes of this Detroit, that Tribe Records was born - a community-led platform where artists took control of marketing, promoting, and releasing their own music. Two original founding members, saxophonist Wendell Harrison and trombonist Phil Ranelin, are still active in the Detroit jazz community, and act as global ambassadors for the Tribe legacy. In the years that have followed, the path Tribe blazed has become the blueprint for generations of independent artists. With the upcoming release of Ranelin and Harrison"s joint entry in the Jazz Is Dead series, they continue the mission of Tribe to provide "a new dimension in cultural awareness".

While they are best known for working alongside some of the most recognizable names in jazz, Jazz Is Dead now invites you to meet an innovator that has largely gone unheard of, until now. In the early 1970s, Garrett Saracho was a recording artist signed to the legendary Impulse Records, who came up in Los Angeles’ fertile underground jazz community. Due to a tragic combination of label mismanagement and geopolitical intervention, his sole record, 1973’s En Medio, fell largely under the radar of even the most astute collectors and fanatics. After spending the following decades in obscurity working in the film industry and touring with his cousins in the rock band Redbone, Saracho stepped into the Linear Labs studio with Adrian Younge and Ali Shaheed Muhammad to craft an intoxicating and kinetic rush of Latin Soul, Funk, and Psychedelic Jazz. While you may not know his name, your ears will soon know the genius of Garrett Saracho.

While they are best known for working alongside some of the most recognizable names in jazz, Jazz Is Dead now invites you to meet an innovator that has largely gone unheard of, until now. In the early 1970s, Garrett Saracho was a recording artist signed to the legendary Impulse Records, who came up in Los Angeles’ fertile underground jazz community. Due to a tragic combination of label mismanagement and geopolitical intervention, his sole record, 1973’s En Medio, fell largely under the radar of even the most astute collectors and fanatics. After spending the following decades in obscurity working in the film industry and touring with his cousins in the rock band Redbone, Saracho stepped into the Linear Labs studio with Adrian Younge and Ali Shaheed Muhammad to craft an intoxicating and kinetic rush of Latin Soul, Funk, and Psychedelic Jazz. While you may not know his name, your ears will soon know the genius of Garrett Saracho.

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin"s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin"s solo output is best remembered for his two solo outings with the Black Jazz label- "The Skipper" & "The Skipper At Home". Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin"s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz"s most influential heartbeats.

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin"s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin"s solo output is best remembered for his two solo outings with the Black Jazz label- "The Skipper" & "The Skipper At Home". Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin"s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz"s most influential heartbeats.

Founded in 2014, Katalyst Collective has never been one for labels. Rather than strictly a live act, they've acted as an incubator for a fresh crop of local talent, helping hone the voices and talents of individual members, while collectively advancing like a phalanx. Each 'Kat' writes their own solo material, and everyone contributes and works together on each project, feeding off the communal energy. Leading to the group's upping collaboration for Jazz Is Dead, Katalyst has poised themselves as the next breakout stars of Los Angeles' rapidly expanding Jazz universe - a small army of creative firebrands, each burning more brightly together.

For decades, the voice of Jean Carne has been a crucial part of the American musical landscape, tying together generations of Jazz, Gospel, and R&B artists. Many will recognize Carne from her output in the early 1970s, alongside her then-husband Doug Carn, for the lauded Black Jazz label. As a solo artist, backing vocalist, and vocal coach, she has contributed to and collaborated with the likes of Norman Connors, Doug Carn, Dexter Wansel, Phyllis Hyman, Lonnie Liston Smith, Michael Jackson, and many more. At 74, she shows no signs of slowing down. Her latest collaboration with Ali Shaheed Muhammad and Adrian Younge is a clear demonstration of the continuous referencing of the past to illuminate the future.

With Jazz Is Dead Series 2, Younge and Muhammad have once again, together with a roster of world-renowned legends, crate digger patron saints, and an exciting vanguard of young talent, delivered another unimpeachable collection of fresh and captivating recordings inspired by jazz's past, present, and future. There are names that some may already be familiar with, such as Lonnie Liston Smith, Jean Carne, and Tony Allen, and those less so, like Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, & Katalyst. What unites each new collaborator is their unbent dedication to remaining original, preserving their creativity, and sharing it with the world.

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers Jid002, Marcos Valle Jid003, Gary Bartz Jid006, and Joao Donato Jid007. More than the previous eight Jazz Is Dead releases Instrumentals Jid009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers Jid002, Marcos Valle Jid003, Gary Bartz Jid006, and Joao Donato Jid007. More than the previous eight Jazz Is Dead releases Instrumentals Jid009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

Where’s João Donato? It’s a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato’s comfort with musical hybrids: “Bluchanga,” “Sambolero,” and “Sambongo,” to name just a few. Lacking a name for his style of music, Donato’s is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when “funk” was a bad word (listen to either of his 1960s Brazilian LPs for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, resulting in songs that are seemingly childlike, yet reveal their intricate details upon repeat listening.

João Donato was born in 1934 and spent his early years completely landlocked in the Amazon wilderness of Acre, a state that borders Peru and Bolivia. By eight, he was playing accordion and even wrote his first song, “Indio Perdido,” which he would later re-record as “Lugar Comum” thirty-three years later with lyrics courtesy of tropialist pop star, Gilberto Gil. Donato’s family moved to Rio de Janeiro when he was sixteen and he started hanging out with other jazz-obsessed teenagers in the suburbs of Rio. By 1958, at the age of twenty-four, Donato was one of the most respected musicians in Rio, but what he wanted to play was not what local audiences wanted to hear, so he spent the next 15 years bouncing between Los Angeles, San Francisco and New York City. Upon his return in 1973, he’d been forgotten by the general public, but had become a legend to a younger generation of musicians, including: Marcos Valle, Caetano Veloso, Gal Costa & Gilberto Gil.

João Donato deserves a place among the legends of Brazilian music, alongside Antonio Carlos Jobim, João Gilberto, Dorival Caymmi, Ary Barroso, and select few others, yet his erratic career and experimentation with different music genres make him a challenge to classify. Asked how he would describe his own work, he says, “It’s my style of music, the way I think about [music]. I don’t even think about it, it’s just the way I do things. I don’t know if it even has a name.” Donato has finally received long overdue accolades for his contributions to date. A archetypal “musician’s musician,” Donato’s stepped out of the shadows more in the past couple dates, recording at an unprecedented rate and collaborating with a variety of musicians, from Brazil and beyond, old and young. Still going strong over eighty years old, the late praise and recognition is in good company for a musician whom Claus Ogerman offered to arrange an album, whom Antonio Carlos Jobim called a genius, and whom no less than João Gilberto claims invented the bossa nova beat.

The American Negro is an unapologetic critique, detailing the systemic and malevolent psychology that afflicts people of color. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people. It should be evident that any examination of black music is an examination of the relationship between black and white America. This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. Featuring various special guests performing over a deeply soulful, elaborate orchestration, The American Negro reinvents the black native tongue through this album and it’s attendant short film (TAN) and 4-part podcast (invisible Blackness). The American Negro - both as a collective experience and as individual expressions - is insightful, provocative and inspiring and should land at the center of our ongoing reckoning with race, racism and the writing of the next chapter of American history.

INDIE EXCLUSIVE, LTD PURPLE VINYL!

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar.He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues.Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics.There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar.He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues.Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics.There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

The third release from Jazz Is Dead records is features Marcos Valle, one of the greatest and most important composers, arrangers, writers and performers in Brazilian history. A jack of all trades, Valle has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and more.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

Music exists in movement and change, but before any part of it can be pinned down for analysis, it’s often moved and taken on a new face. The transformation is often driven by culture as forward-thinking people avoid the proverbial paths in search of revolution. Even though our pioneers prophesied that the revolution would not be televised, the message has permeated. It’s spreading like wildfire and leaders are defined by those that speak first: Jazz Is Dead.

Music is the universal language and we are the interpreter of sound, a message that has been lost in transcription. Under Jazz Is Dead, younger artists are elaborating upon conversations started decades ago; jazz icons are utilizing vintage equipment to create new masters with Adrian Younge and Ali Shaheed Muhammad; the same equipment that recorded their coveted catalogs. The vitality embedded in the new masters epitomizes our quest for new life in music: Jazz Is Dead.

This compilation features legendary artists Roy Ayers, Gary Bartz, Marcos Valle, Azymuth, Doug Carn, Joao Donato, & Brian Jackson, who will each have their own individual release, working alongside Adrian Younge and Ali Shaheed Muhammad.

The Cover is close to NM.

Hyldon, Brazi's highly revered vocalist, musician and producer, has partnered with Adrian Younge to create a new psychedelic soul album, Hyldon Jid023. The duo, highly inspired by Hyldon's seminal work in the '60s and '70s, revisits' the spirit of this epoch while creating a modem-day classic. Hyldon's unique voice and lyrical depth, combined with Younge's innovative analog production, ensures this album will not be forgotten. Jid023 is one of the last recordings featuring Hyldon's long-time collaborator and friend, the late drummer Ivan "Mamao" Conti of Azymuth.

One of the most recognisable keyboard players of all time, Lonnie Liston Smith has been a crucial figure in the ongoing pollination of jazz for over fifty years. Having worked and performed with some of the genre"s biggest innovators, he is responsible for some of the genres" major stylistic shifts and taking Jazz-Funk into exciting new directions. His notable turns as sideman for heavyweights like Max Roach, Art Blakey, Got Barbieri, Miles Davis & Rahsaan Roland Kirk, along with his output as a leader of his own group stands as some of the most creative keyboard work of all time. He is revered by generations of musicians and continues to be a presence in shaping contemporary sounds.

Founded in 2014, Katalyst Collective has never been one for labels. Rather than strictly a live act, they've acted as an incubator for a fresh crop of local talent, helping hone the voices and talents of individual members, while collectively advancing like a phalanx. Each 'Kat' writes their own solo material, and everyone contributes and works together on each project, feeding off the communal energy.Leading to the group's upping collaboration for Jazz Is Dead, Katalyst has poised themselves as the next breakout stars of Los Angeles' rapidly expanding Jazz universe - a small army of creative firebrands, each burning more brightly together.

With Jazz Is Dead Series 2, Younge and Muhammad have once again, together with a roster of world-renowned legends, crate digger patron saints, and an exciting vanguard of young talent, delivered another unimpeachable collection of fresh and captivating recordings inspired by jazz's past, present, and future. There are names that some may already be familiar with, such as Lonnie Liston Smith, Jean Carne, and Tony Allen, and those less so, like Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, & Katalyst. What unites each new collaborator is their unbent dedication to remaining original, preserving their creativity, and sharing it with the world.

Where's Joao Donato? It's a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato's comfort with musical hybrids: "Bluchanga," "Sambolero," and "Sambongo," to name just a few. Lacking a formal genre for his style of music, Donato's is a distinct sound, immediately recognizable from the first few bars of any of his compositions.He was funky back when "funk" was a bad word (listen to either of his 1960s Brazilian LPs, Sambou, Sambou and The New Sound if Brasil, for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, revealing their intricate details upon repeat listening.Today, Donato brings this flavor, now near synonymous with his name, to a new album in the Jazz Is Dead series with Adrian Younge and Ali Shaheed Muhammad: Joao Donato JID007. "Donato is one of the greatest Brazilian composers from that golden era. His signature style, simple melodies combined with colorful chordal progressions, establishes a new lane for Jazz Is Dead," explains Younge. "Joao is one of the most innovative Brazilian jazz composers of the last century. Creating with and learning from this maestro was one of the greatest experiences of my career."

Purple Vinyl Edition.
Still shrink wrapped but opened.
Record is slightly warped but still enjoyable.