KING

thing is, that is all of the songs, all of the songs have incredible bass lines and chord progressions

"Native Land" is definitely my favorite right now

They're very light touch when it comes to bass, so when they do turn it up you really notice it. The bassline on In The Meantime really purrs.

The chord progression on The Story is incredible and really reminds of something. Like I think it's widescreen techno of some sort but I dunno.

In the Meantime also has that ridiculous chord change on the third line of the verse

Saw them last night in Minneapolis. They were really amazing. Hey got the biggest reaction, there were a lot of people singing along to it which was really moving. I was disappointed they didn't do Native Land but that was the only thing I'd change.

Interesting about the Cocteaus mention. It occurred to me on first listen that some vocal nuances are Ella filtered through late-period Liz, which seemed an unlikely influence.

Great to read through this thread after coming to the conclusion that this is one of my favourite albums ever. And I've been listening for a week! So many astonishing moments, one that thrills me to no end is that middle bit in "Red Eye," when the vocals start to modulate towards something almost unearthly. Their command of harmonic structure and arranging there is unbelievable. Great album to listen to in sequence but I've also enjoyed listening in shuffle with a long crossfade time, leading to ever more mysterious segues and transpositions. What a wonderful obsession this has become!

this album is completely addictive

oh, please!

i listen to this album ~3 times a day

wish i could quit my job so i could listen more

i think it is making me a kinder person, because i'm so blissed out when i listen to it

is KING a cult?

OTM. I had a really shitty, annoying start to the morning the other day and I listened to this album over the course of my commute and my irritation just ~dissolved~.

I listened to it last night when I had to with late and I was really stressed out.

I think I’ve listened to this album about 10 times more than any other so far this year.

fuck i missed them last night. how was the oakland show?

Mpls show was really nice. All about the vocals, with everything else pushed to the back, though Paris got pretty funky on the keys at times.

I have started listening to this yesterday.
it sounds great although for now, the album may lack some "hits" but I guess it takes some time before I can really make out and appreciate the songs.
"Native Land" seems fantastic, though. It has something in common with Blood Orange's sound and it seems they have worked together, so that would make sense.

They’ve announced they are playing London and Manchester end of March.

paris and amber strother apparently worked with corinne bailey rae on her new single, and it shows

https://www.youtube.com/watch?v=6iibMNsSRCE

I was just wondering where she's been. The Sea is still a fave.

Ah, that must be why I like the new Corinne Bailey Rae so much. That was a surprise.

Her last album was incredible tho!

trippy new video for 'carry on'

https://www.youtube.com/watch?v=0YwhEgflFRM

2001 needed an R&B epilog.

Meanwhile, I think "RedEye" is sufficient justification for a Donald Fagen collaboration.

i wanna see a video with them in it at some point

This never fails to chill me out

Hmmm interesting

hi

wow @ this album. this is my sound.

i hope they get massive

hi

Lol Im still stuck in '15, but I've been super stressed at work. Thinking maybe I should listen to this album at breaks.

It's a nice audio world to inhabit

On a Miles Davis tribute album.

http://pitchfork.com/news/64049-erykah-badu-stevie-wonder-bilal-king-featured-on-miles-davis-tribute-album/

What's the point of doing a tribute for the most popular jazz trumpeter of all time with people who are not jazz musicians? It's not like his tunes are crying for a pop/R&B treatment, and I doubt most of these people, as great as they are, can do them justice.

What's the point in anything

true

I think that's the most infuriating Tuomas post I've ever read. The point is that Miles Davis has/had influence beyond jazz, and that King are musicians, and that voices are instruments, and that their enthusiasm is more important than your doubt.

Sorry if that sounded too negative, I didn't mean to criticise KING specifically, but the whole project. I just don't get doing tributes that do not even honor what the tributee was about. Miles Davis always wanted to push things forward, I'm sure getting some contemporary, underappreciated jazz players to do hypermodern *jazz* versions of his tunes would much more in his spirit than this kind of non-jazz pop star get-together.

so miles can do jazz versions of pop songs and even classical pieces, but pop performers can't do version of jazz numbers?

It's a Robert Glasper album featuring all these guest vocalists. Robert Glasper is a jazz musician (who admittedly has been making boring r&b/pop albums featuring guest vocalists recently).

Also I don't think Miles Davis was especially enamored of 'jazz' after a point.

Actually it sounds like a weird blend of things (overdubbing on/sampling Miles recordings?), so who knows:

Everything’s Beautiful brings Miles Davis’ sound into the 21st century, blending a diverse group of master takes and outtakes from across Miles’ incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produced the collaboration.

But there have been enough jazz albums that pay tribute to (or recreate the style of) almost every phase of his career, so y'know, whatever they want to do.

Glasper's Black Radio albums are spectacular; dude is a genius so I'm totally happy to see his remix culture take on miles

reminds me of this project (which had its moments, actually): https://en.wikipedia.org/wiki/Panthalassa:_The_Music_of_Miles_Davis_1969%E2%80%931974

why is glasper a genius

Well, musically he's a demon both as a composer and a performer; probably seen him play a dozen shows live and he has never been anything less than enthralling.

As a cultural figure, in the direct face of the wyntonesque old guard, he has long argued in principle and action that the way forward for jazz as a popular art form is to embrace contemporary hip hop and r&b. He has been doing that from the aughties when peeps dismissed that as corny hip bop revivalism but hey lo and behold it begets thundercat and kendrick and many of the the boldest and most meaningful voices in both jazz and hip hop. He has been a force for musicianship in rap and vitality in jazz and theres a limited number of people doing that.

lo where behold what beget how

http://weigelbroadcasting.com/assets/contest/206/contestimage/980x420_TooHotToHandel.png

glasper plays some good piano on a bilal album i like