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Acid jazz is a musical genre that combines elements of jazz, funk and hip-hop,^[1] particularly looped beats. It developed in the UK over the 1980s and 1990s and could be seen as tacking the sound of jazz-funk onto electronic dance: jazz-funk musicians such as Roy Ayers, Donald Byrd and Grant Green are often credited as forerunners of acid jazz.^[2] Acid jazz has also experienced minor influences from soul, house, and disco.

While acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. The compositions of groups such as Jamiroquai, Galliano, Urban Species, The Brand New Heavies and Incognito often feature chord structures usually associated with jazz music.

The acid jazz "movement" is also seen as a revival of jazz-funk or jazz fusion or soul jazz by leading DJs such as Norman Jay or Gilles Peterson or Patrick Forge, also known as "rare groove crate diggers" or "Cataroos".

Q magazine stated "Acid jazz was the most significant jazz form to emerge out of the British music scene".^[3]

Origins in UK[link]

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The sound and clubs that went with it arose out of Southern England's rare groove scene of the late seventies and early eighties and various other alternative groups, including the London mod scene. It is distinguished from the Northern Soul scene (then popular in the South of England with clubs such as the 100 Club in Oxford Street) but still portrayed various similarities.

The name came into common parlance with the Acid Jazz label, but in reality the scene had existed in disparate forms and without a distinguishing name for some time beforehand. Journalists at the time appeared very confused by the genre and made various attempts to connect it to the London mod scene (by links with various former members of that scene, prominently Eddie Piller and the James Taylor Quartet, Taylor having formerly been Hammond Player for sixties garage band The Prisoners).

The scene always had two halves, those who liked the original jazz and soul recordings and those who followed the new bands signed by labels like Acid Jazz. It is the former who still probably support their music, many of the early bands having fallen well by the wayside. Attempts to integrate the music with hip hop and jungle are now regarded by many as misguided attempts to keep the music fresh whilst leading it a long way from its starting point, attempts that were regarded with disdain by many.^{[weasel words]}

An important gauge of the UK scene and the creation of the genre are to be found in the UK's Straight No Chaser magazine. Similarly, clothing labels like Duffer of St George were closely associated with the scene, although the "right outfit" was never essential.

Disc jockeys Gilles Peterson and Chris Bangs are generally credited with coining the term acid jazz at a 1987 'Talkin' Loud Sayin Something' session. At the time, this was Peterson's regular Sunday afternoon club at Dingwalls in Camden, London.

In his Radio 1 biography, Peterson describes how the term acid jazz came about. "We put on this old 7-inch by Mickey and the Soul Generation which was a rare groove record with a mad rock guitar intro and no beat. I started vary speeding it so it sounded all warped. Chris Bangs got on the microphone and said, 'If that was acid house, this is acid jazz'. That's how acid jazz started, just a joke!"^{[4] [5]}

Notable British acid jazz bands of the 1990s included Brand New Heavies, Galliano, Incognito, James Taylor Quartet, Jamiroquai (also classified as funk and disco) and Urban Species, US3 (also classified as jazz rap), as well as dozens of less commercially successful artists. Later, Repercussions who had a top hit, Promise me nothing. According to the book The Techno Primer, the 1993 album Road to Freedom by Young Disciples was "very influential" in the genre, as the band "set the tone for this movement."^[6] Other more recent groups who have produced music in this genre include Mother Earth and Down to the Bone.

Few record labels have specialized in acid jazz; some include "Acid jazz records", "Ninja tune", and "Mo'wax".

International scene[link]

In the United States notable acid jazz groups have included Groove Collective, Brooklyn Funk Essentials and Grammy nominated Liquid Soul; although during the 1990s the major contributions from the US to jazz fusion were predominantly in jazz-house (from labels such as 8 Ball Records) and jazz-rap, particularly by artists such as A Tribe Called Quest, Black Sheep, De la Soul, the Jungle Brothers, and Digable Planets.

From Japan, notable artists included Mondo Grosso, DJ Krush, Gota and United Future Organization who released 'I Love my Baby: My Baby Loves Jazz' as well as a cover of Van Morrison's 'Moondance'; another prominent artist from Japan was the female vocalist, Monday Michiru.

Acid jazz scene developed in Eastern Europe as well, with bands like Skalpel from Poland and Moscow Grooves Institute from Russia.

Key artists[link]

Other notable artists[link]

See also[link]

	Book: Acid jazz
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Music portal

References[link]

External links[link]

• Acid Jazz Portal
• 'What Is Acid Jazz?' feature, 1988 by Chris Hunt
• List Archive
• The Acid Jazz Channel (over 2000 jazz and acid jazz vids that play continuously.)
• Acid Jazz Blog

Herbie Mann
Herbie Mann and Will Lee (1975)
Background information
Born	(1930-04-16)April 16, 1930 Brooklyn, New York United States
Origin	United States
Died	July 1, 2003(2003-07-01) (aged 73)
Genres	Jazz, bossa nova, disco, world music
Occupations	musician, record label executive
Instruments	Flute, saxophone, bass clarinet
Years active	1953–2003
Labels	Atlantic Records, Cotillion Records, Embryo Records, Kokopelli Records
Associated acts	Antonio Carlos Jobim, João Gilberto
Website	http://www.herbiemannmusic.com/ Official Site

Herbert Jay Solomon (April 16, 1930 – July 1, 2003),^[1] known by his stage name Herbie Mann, was an American jazz flutist and important early practitioner of world music. Early in his career, he also played tenor saxophone and clarinets (including bass clarinet), but Mann was among the first jazz musicians to specialize on the flute and was perhaps jazz music's preeminent flutist during the 1960s. His most popular single was "Hijack," which was a Billboard number-one dance hit for three weeks in 1975.

Mann emphasized the groove approach in his music. Mann felt that from his repertoire, the "epitome of a groove record" was Memphis Underground or Push Push, because the "rhythm section locked all in one perception." ^[2]

Biography[link]

Herbie Mann was born in Brooklyn, New York to Jewish parents of Romanian and Russian descent.^[3][4] He attended Lincoln High School in Brighton Beach. His first professional performance was playing the Catskills resorts at age 15. In the 1950s Mann was primarily a bop flutist, playing in combos with artists such as Phil Woods, occasionally playing bass clarinet, tenor saxophone and solo flute.

Mann was an early pioneer of the fusion of jazz and world music^{[citation needed]}. In 1959, following a State Department sponsored tour of Africa, he recorded Flutista, an album of Afro-Cuban jazz. In 1961 Mann toured Brazil, returning to the United States to record with Brazilian musicians, including Antonio Carlos Jobim and guitarist Baden Powell. These albums helped popularize bossa nova in the US and Europe. He often worked with Brazilian themes. In the mid-1960s Mann hired a young Chick Corea to play in some of his bands. In the late 1970s and early 1980s Mann played duets at New York City's Bottom Line and Village Gate clubs, with the late Sarod virtuso Vasant Rai.

Following the 1969 hit album Memphis Underground a number of disco-style smooth jazz records brought criticism from jazz purists but allowed Mann remain active during a period of declining interest in jazz. The musicians on these recordings are some of the best-known session players in soul and jazz, including singer Cissy Houston (mother of Whitney Houston), guitarists Duane Allman and Larry Coryell, bassists Donald "Duck" Dunn and Chuck Rainey and drummers Al Jackson and Bernard Purdie. In this period Mann had a number of pop hits — rare for a jazz musician. According to a 1998 interview Mann had made at least 25 albums that were on the Billboard 200 pop charts, success denied most of his jazz peers." ^[5]

Mann provided the music for the 1978 National Film Board of Canada animated short Afterlife, by Ishu Patel.

In the early 1970s he founded his own label, Embryo Records, distributed by Cotillion Records, a division of Atlantic Records.^[6] Embryo produced jazz albums, such as Ron Carter's Uptown Conversation (1970); Miroslav Vitous' first solo album, Infinite Search (1969); Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (1971); and Dick Morrissey and Jim Mullen's Up (1976), which featured the Average White Band as a rhythm section; and the 730 Series, with a more rock-oriented style, including Zero Time (1971) by TONTO's Expanding Head Band. He later set up Kokopelli Records after difficulty with established labels. In 1996, Mann collaborated with Stereolab on the song "One Note Samba/Surfboard" for the AIDS-Benefit album Red Hot + Rio produced by the Red Hot Organization. His last appearance was on May 3, 2003 at the New Orleans Jazz and Heritage Festival at age 73. He died at age 73 on July 1, 2003 after a long battle with prostate cancer.

Discography[link]

References[link]

External links[link]

• Official Site
• Further Discography and Biography
• National Public Radio's Jazz Profiles: Herbie Mann