#Madlib Invades Blue Note

[melodramaforevr]

[benihana-circumcision]

my weekly/monthly sptfy chart is fucking cooked rn because i'm unemployed as shit so i dont have a job during which i can listen to chunes AND i have yet to find a viable aux solution for the 2000 lexus so i've become a #CDAndCassetteWarrior

current rotation:

The Stalin demo tape, 45grave demo tape, DISCO4 by HEALTH on tape, In Utero, Dead Horse by Bummer, a couple asstd local bands, the psych-dub remix disc off the Mezzanine deluxe edtn, The Score by the Fugees, specifically disc 4 of the painkiller collected works set, Piñata by Freddie Gibbs and Madlib, Shades Of Blue (Madlib Invades Blue Note Records), Money Store by Death Grips, Lee Morgan's Best Of compilation, a couple of burned cds with some midgrade trap by ppl ive never heard of besides Yo Gotti and a couple carti knockoffs that i looted from a picknpull junker, and iSouljaBoyTellEm.

I'm doin' fine.

[thegentillyknight]

Madlib Invades Blue Note, June 2003

I absolutely love this project, Madlib is a prolific crate digger, and this project captures the rich history of Blue Note Records along with Madlib’s awesome production. Definitely one of my favorite jazz projects.

[scuderlia]

What's ur go-to background music? Or albums you tend to put on while you work

3 BACKGROUND ALBUMS ☆ aka what i usually listen to when i need to focus

Shades of Blue: Madlib Invades Blue Note / Madlib 2012 - 2017 / Against All Logic IV / BADBADNOTGOOD

[sameansblog]

View this post on Instagram

A post shared by What's Culture? (@whatsculture)

Madlib photographed by B+ @bpleasel for the ‘Shades of Blue: Madlib Invades Blue Note’ album cover (2003). The producer known for flipping jazz, soul, funk and rock samples was exposed to jazz from an early age. With both parents being soul singers and his uncle, jazz trumpeter Jon Faddis, he was basically born into music. As a master of sampling, he got access to all of the recordings of legendary jazz label Blue Note Records. It’s been described as Madlib’s love letter to jazz as he samples and reinterprets the music of the Blue Note greats that left a mark on him 💿🔵

(one, this is my first time seeing the first image in color and 2: i NEED to listen to this album more, madlib's a genius's genius for producers)

[agoodsongeveryday]

Day Seven Hundred and Nineteen

Jazz yah Jazz put you on a swing In a project playground Backward all the way As someone giving you a push backwards Were to start you on your journey up

[bebopbeatniks]

via 21st Century Jazz Composers

bluenoterecords: Great beatmakers like Madlib & J Dilla have invaded the Blue Note vaults to remix classics of the catalog. Now @MakayaMcCraven adds his voice with “Deciphering the Message.” Pre-order the album & hear the 1st single “Frank’s Tune” (AKA “… https://t.co/b3KENkTzrH

— Blue Note Collector (@BlueNoteVinyl) Sep 7, 2021

from Twitter https://twitter.com/BlueNoteVinyl September 06, 2021 at 10:22PM via IFTTT

[orange-calx]

shades of blue - madlib invades blue note [cd]

[kickmag]

Throwback: Madlib-Please Set Me At Ease Feat. M.E.D.

Madlib's Shades Of Blue: Madlib Invades Blue Note album was a rare opportunity for the producer to remix and reinterpret music from the label's catalog. Bobbi Humphrey recorded "Please Put Me At Ease" for her 1975 album Fancy Dancer. The flutist made jazz and funk amicably meet each other with the help of The Mizell Brothers. In the hands of Madlib, the beats are denser and rapper M.E.D. adds his verses to the mix. Malib made M.E.D.'s rap and the groove the nucleus of a sampled and  revamped "Please Put Me At Ease." The musical conversation that started with Humphrey in the '70s and others like Roy Ayers was answered by hip-hop again in 2003. Blue Note's decision to give Madlib access to their catalog introduced the legendary jazz label to a new generation. Shades Of Blue was a slick history lesson and Madlib's answer to Humphrey was another bridge between hip-hop and jazz. Madlib's Sound Ancestors album was released in 2021.

[theparanoid]

Madlib - Stepping Into Tomorrow

Album: Shades Of Blue (Madlib Invades Blue Note) (2003)

[Instrumental Hip Hop, Downtempo, Jazzy Hip Hop]

[trevorbarre]

Vinyl Shenanigans

I'm currently reading anthropologist Daniel Miller's 2008 study of the 'stuff' people in a south London street sample surround themselves with, called The Comfort of Things. With 'Simon', for example, it's vinyl (15,000 records 'in storage') and compact discs (only a modest 2000 items in this format). For Miller, "(Simon) wants to keep it (i.e. this 'exteriority') at hand, to use it in composing and constructing himself on a regular basis. That's why its important for him to have the music physically out there, as vinyl and CDs...so that, like a cook's ingredients, they are all at hand when he needs them...a restless search for signs of himself". For others, 'Simon' might merely be a 'size queen'?

Aha! So that's the ontological causation behind the 'vinyl revival' then? Motivated by the aesthetic denudation of the streaming media, UK youth are determined to surround themselves with beautiful objets of the 12" x 12" kind? (7-inchers don't seem to have been similarly celebrated, curiously.) My son seems to have become one of these twenty/thirty-somethings who luxuriate in both old and new vinyl, the prices of which (glimpsed in a nostalgic trip to Sheffield's HMV the other day) had my eyebrows scraping the shop's ceiling. Most of the old rock classics cost around £25, and new releases reach up to £30. I've also noticed a recent aspect of record company malfeasance, the penny dropping whilst listening to two of Nathan's latest double-album purchases, Danny Brown's Atrocity Exhibition and Madlib's Shades of Blue - Madlib invades Blue Note. (The latter features similar artificially 'aged' cover designs to those that dominated Elvis Costello's Get Happy! as far back as 1980, thus demonstrating that postmodernism hasn't completely died yet. For Costello, it was Stax; for Lib, it's Blue Note uber-referentiality.)

There currently appears to be a pronounced tendency to release CD - length recordings (i.e. 50-60 minutes) as double vinyl product (i.e. 15 minutes or less per side, EPs by any other name), but retailing at at least £30. Now, readers of my own age, or slightly younger, will remember that vinyl doubles were a relative rarity in the late sixties and seventies. To recall, both Blonde on Blonde and Freak Out! were the first rock doubles, both released in mid-1966. By 1968, the triumvirate of rock's arguably most celebrated contemporary bands each released treasured era-defining doubles of approximately 20 minutes per side, Electric Ladyland, The Beatles and Wheels of Fire. Triple rock albums were even rarer, All Things Must Pass and The Grateful Dead's Europe '72 spring to mind as very early examples. So it seems to me that releasing single CDs in exotic double vinyl guises is an as cynical yet impressive reverse - sleight of hand as putting out compact discs in the mid-eighties, at similarly grossly inflated prices (around £18 for an ECM disc as I recall) as these new new vinyl doubles.

It seems that there will always be those who will shell out for shiny new baubles, streaming be damned, and that record companies will always treat recorded music, even stuff that is more than fifty years old, as the gift that keeps on giving. Of course, there is always the "the shorter the length of the side, the better the sound, especially with dance and bass-heavy music" argument, one that fans of the original Metal Box triple 12" discs used, but, to be frank, "money talks and bullshit walks" as Spinal Tap's immortal Bobbi Fleckman, "the hostess with the most-ess", would have it.

By the way, must get Atrocity Exhibition.

[kickerofelves]

Stormy -- Madlib feat. Morgan Adams Quartet Plus Two