![]() ![]() That being said, much of Ayers’ early work is especially jazz-focused, and the winding, fluid nature of that music is fertile ground for Oh No to mine from. Part of what makes Ayers so unique is how seamlessly he fuses multiple strands of Black grooves at once his sensibility in the 60s and 70s foreshadowed the rise of “neo-soul” at the turn of the 21st century, and the way that more and more Black artists are actively blurring the lines between hip-hop, jazz fusion, and alternative R&B. No sample snitching, of course, but experienced Ayers listeners might immediately feel comfortable in some of the instrumental choices here-and his trademark vibraphone shows up plentifully. Side A of this project, Good Vibes, came out in February Bad Vibes was added in May with a physical release. ![]() No’s Ethiopium relies on “60s and 70s Ethiopian funk, jazz, folk, soul and psychedelic rock.” You can really feel that focus come through on Good Vibes / Bad Vibes, which shines (or clouds up, depending on the song) with the cohesion and pacing of an experienced craftsman. 2006’s Exodus Into Unheard Rhythms exclusively samples the late Canadian composer Galt McDermot, and his 2009 instrumental album Dr. Like his best peers, Oh No has a keen ear for mood-building and an encyclopedic knowledge of global music-along with a track record of focused projects that draw from one pool of source material. He’s supplied beats and verses for artists across the West Coast and underground like Ab-Soul, Yasiin Bey, Blu, Danny Brown, and Quelle Chris he’s dropped full-length collabs with The Alchemist (as Gangrene) and his brother Madlib (as The Professionals) and his fingerprints show up all over the score and original soundtrack of Grand Theft Auto V. Paak might be Oxnard’s biggest hip-hop stars at the moment, Oh No has an impressive catalog in his own right. Oh No’s short new double album, Good Vibes / Bad Vibes, tries to “deconstruct” Ayers, intricately reassembling the wreckage into frantic boom bap and jazz rap that show off both artists’ skills as composers and arrangers.Īlthough Madlib and musical polymath Anderson. Hip-hop’s deep admiration for Ayers is nothing new, but just in time for summer, we’re treated to a deep-dive into his drifting and colorful early catalog, courtesy of producer and rapper Oh No: a child of Oxnard, California, longtime veteran of iconic indie label Stones Throw, and brother of producer and rapper Madlib. 1 (1993), Erykah Badu’s Mama’s Gun (2000), and Tyler, the Creator’s Cherry Bomb (2015). ![]() Not only has Ayers been sampled countless times with his approval, but he’s also lent his playing to rap and R&B projects across the past thirty years, like Guru’s Jazzmatazz Vol. In the case of Roy Ayers-the jazz, funk, and soul maestro whose extensive career has left echoes across the hip-hop diaspora-his first reaction was a pleasant surprise. There’s a certain anxiety that often gets levied toward hip-hop in these situations: you can imagine how unsettling it might be to discover that a song you made for a particular moment and audience has gotten tangled up in a different culture, a new moment, an unfamiliar audience, that might feel achingly out of reach. By Justin Davis ( jazz artists from previous generations get sampled, there are usually a wide range of responses-pride, confusion, and brazen prejudice are some common ones.
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