The acid jazz outfit Corduroy assembled singer/keyboardist Scott Addison, his drummer brother Ben, guitarist Simon Nelson-Smith, and bassist Richard Searle (a former member of '80s one-hit wonders Doctor & the Medics). Formed from the ashes of the short-lived Brit-pop group Boys Wonder, Corduroy played their first gig -- a one-off New Year's Eve... [+] Read More

The acid jazz outfit Corduroy assembled singer/keyboardist Scott Addison, his drummer brother Ben, guitarist Simon Nelson-Smith, and bassist Richard Searle (a former member of '80s one-hit wonders Doctor & the Medics). Formed from the ashes of the short-lived Brit-pop group Boys Wonder, Corduroy played their first gig -- a one-off New Year's Eve date -- in 1991; the performance proved so successful that its members agreed to continue on full-time, soon signing to the Acid Jazz label and issuing their debut LP, the largely instrumental Dad Man Cat, in 1992. High Havoc -- the soundtrack to an imaginary film -- followed a year later, launching the U.K. Top Ten hits "Something in My Eye," "The Frighteners," and "London, England." In the wake of 1994's Out of Here, however, Acid Jazz dropped Corduroy from its roster; after a long hiatus, the group finally landed on the Big Cat label, where they resurfaced in 1997 with The New You! ~ Jason Ankeny, All Music Guide [-] Hide

An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito was originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after... [+] Read More

An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito was originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. The 1991 single "Always There" (with vocals by Jocelyn Brown) became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added a more established vocalist, the American Maysa Leak. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain. Leak unsuccessfully attempted a solo career with Blue Note, leading to the temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. Incognito later expanded its discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future. The group's next two albums were again made without Leak, 2001's Life Stranger Than Fiction and 2003's Who Needs Love which featured Brazilian vocalist Ed Motta. Leak returned for 2004's Adventures of Black Sunshine. ~ John Bush, All Music Guide [-] Hide

The acid jazz outfit Groove Collective was formed in downtown New York City in 1990 by flutist Richard Worth, DJ Smash, and rapper Nappy G, all three staples of a nomadic dance club called Giant Step. In time, the trio was joined by keyboardist Itaal Shur, drummer Gengi Siraisi, and bassist Jonathan Maron, earning a growing cult following and... [+] Read More

The acid jazz outfit Groove Collective was formed in downtown New York City in 1990 by flutist Richard Worth, DJ Smash, and rapper Nappy G, all three staples of a nomadic dance club called Giant Step. In time, the trio was joined by keyboardist Itaal Shur, drummer Gengi Siraisi, and bassist Jonathan Maron, earning a growing cult following and eventually attracting the attention of Steely Dan vibist Bill Ware, who soon signed on along with saxophonist Jay Rodriguez, trombonist Josh Roseman, trumpeter Fabio Morgera, and percussionist Chris Theberge. Groove Collective's self-titled debut LP appeared on Reprise in 1993, followed three years later by the GRP label release We the People. The group resurfaced in 1998 with Dance of the Drunken Master. It's All in Your Mind was issued in 2001 with People People Music Music following in 2006. ~ Jason Ankeny, All Music Guide [-] Hide

One of the acid jazz movement's most prominent guitarists, London-born Ronny Jordan is widely credited with returning the instrument to its rightful place as a major force in modern-day jazz; despite outcries from purists, few other artists of his era proved more pivotal in knocking down the long-immutable boundaries of contemporary black music.... [+] Read More

One of the acid jazz movement's most prominent guitarists, London-born Ronny Jordan is widely credited with returning the instrument to its rightful place as a major force in modern-day jazz; despite outcries from purists, few other artists of his era proved more pivotal in knocking down the long-immutable boundaries of contemporary black music. The son of a preacher, Jordan's early musical history was rooted in gospel; his first public performances were with gospel groups, but the outbreak of Brit-funk during the early '80s led him to begin exploring other avenues of music, culminating in a fascination with jazz. A self-taught guitarist, his early influences included Charlie Christian, Wes Montgomery, and Grant Green, and when hip-hop began to take off, Jordan started exploring ways to fuse jazz and rap together. The first fruit of his endeavors was the single "After Hours," a primitive foray into what would eventually become known as acid jazz. Record companies initially wanted no part of Jordan's music, but when his distinctive cover of the Miles Davis classic "So What" became a hit, it was clear something was afoot. He soon released his debut LP, 1992's Antidote, but it was rapper Guru's breakthrough 1993 album, Jazzmatazz, Vol. 1, on which Jordan's guitar work was prominently featured, that made acid jazz a viable proposition. He subsequently issued such albums as 1993's Quiet Revolution, 1996's Light to Dark, and 2000's Brighter Day. ~ Jason Ankeny, All Music Guide [-] Hide

Pioneers of the Japanese acid-jazz sound, the United Future Organization comprised Tokyo club DJs Tadashi Yabe, Toshio Matsuura and French expatriate Raphael Sebbag. Joining forces in 1990, the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year with the 12-inch "I Love My Baby... [+] Read More

Pioneers of the Japanese acid-jazz sound, the United Future Organization comprised Tokyo club DJs Tadashi Yabe, Toshio Matsuura and French expatriate Raphael Sebbag. Joining forces in 1990, the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year with the 12-inch "I Love My Baby (My Baby Loves Jazz); " "Loud Minority/Moon Dance" followed in mid-1992, becoming a cult favorite on club circuits ranging from London to Hamburg to New York City. UFO's debut LP Jazzin' 91-93 appeared that September, the same month the trio made their triumphant British debut at London's Fridge club; an American record deal was not forthcoming until 1994, however, with a self-titled collection appearing on Verve Forecast. No Sound Is Too Taboo followed in 1995, with United Future Organization resurfacing in 1997 with 3rd Perspective. In 2000 the trio returned with the album, Bon Voyage on Instinct. ~ Jason Ankeny, All Music Guide [-] Hide

Though it's difficult to transfer the incredible atmosphere of Claussell's infamous Body & Soul clubnights in New York to a cold slab of plastic, Mix the Vibe does an excellent job. Distilling the highlights from two great house labels, NiteGrooves and King Street, Claussell keeps the mood groovy yet intelligent and drops producers such as... [+] Read More

Though it's difficult to transfer the incredible atmosphere of Claussell's infamous Body & Soul clubnights in New York to a cold slab of plastic, Mix the Vibe does an excellent job. Distilling the highlights from two great house labels, NiteGrooves and King Street, Claussell keeps the mood groovy yet intelligent and drops producers such as Masters at Work, Kerri Chandler, Wamdue Kids, and Dimitri From Paris. ~ John Bush, All Music Guide [-] Hide

Travelling Without Moving deepens the acid jazz and '70s soul fusions of Return of the Space Cowboy, yet it doesn't have the uniform consistency of its predecessor. Nevertheless, Jamiroquai's fusions sound more fully realized with each outing, which makes its patchy songwriting forgivable. ~ Stephen Thomas Erlewine, All Music Guide

Travelling Without Moving deepens the acid jazz and '70s soul fusions of Return of the Space Cowboy, yet it doesn't have the uniform consistency of its predecessor. Nevertheless, Jamiroquai's fusions sound more fully realized with each outing, which makes its patchy songwriting forgivable. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Groove Collective's completely uninhibited, party-based jazz-funk is inspired by Sly Stone, acid jazz, hip-hop, salsa, Stevie Wonder, drum'n'bass, Parliament-Funkadelic, Fania -- that is, anything or anyone from the late '60s on who knew how to get down. Their fourth album overall finds the congregation in a most jubilant mood, happy to simply... [+] Read More

Groove Collective's completely uninhibited, party-based jazz-funk is inspired by Sly Stone, acid jazz, hip-hop, salsa, Stevie Wonder, drum'n'bass, Parliament-Funkadelic, Fania -- that is, anything or anyone from the late '60s on who knew how to get down. Their fourth album overall finds the congregation in a most jubilant mood, happy to simply stretch out on a series of infectious singalong jams, starting with the openers "Up All Night" (which trades honking sax solos with some great stuttered drum programming) and "Everything Is Changing" (a shuffling disco stomp). With no less than 14 pieces in the group, it's obvious that Groove Collective shouldn't have any trouble filling spaces, and truth to tell, just about every song on Declassified bristles with so many ideas, solos, and licks that listeners may get dizzy without a few listens under their belt. "On a Feeling," the spotlight for rapper Nappy G, isn't exactly the tightest hip-hop joint ever heard, but the sheer instrumental and musical prowess abundant all over this album makes it a joy for all to hear. ~ John Bush, All Music Guide [-] Hide

This Britster mixes up intelligent funk and thumpin' jazz for a truly classic album that should be placed in history as a revitalizing step for the jazz idiom. Taylor knocks out notes on a Hammond Organ and more sounds come from drums, bass, trumpet, guitar, sax and flute. While "acid jazz" supposedly was coined to describe James' output, it... [+] Read More

This Britster mixes up intelligent funk and thumpin' jazz for a truly classic album that should be placed in history as a revitalizing step for the jazz idiom. Taylor knocks out notes on a Hammond Organ and more sounds come from drums, bass, trumpet, guitar, sax and flute. While "acid jazz" supposedly was coined to describe James' output, it certainly does not carry the image of the jump-soul/hot jazz stew bubble in this cauldron. Taylor himself spells out the secret recipe: "Rude, hard funk - like all the Blaxploitation movies and cop shows - that's what we're aiming for." ~ Thomas Schulte, All Music Guide [-] Hide

Constructed as a mock soundtrack, The Money Spyder does a good, convincing job at capturing the flavor of '60s spy flicks with its blend of jazzy rhythms, swelling Hammond organs, and dark, tasty guitar licks. The group gets a Booker T. & the MG's-meets-the Ventures sound on this set of instrumentals, with some Lalo Schifrin and film noir jazz... [+] Read More

Constructed as a mock soundtrack, The Money Spyder does a good, convincing job at capturing the flavor of '60s spy flicks with its blend of jazzy rhythms, swelling Hammond organs, and dark, tasty guitar licks. The group gets a Booker T. & the MG's-meets-the Ventures sound on this set of instrumentals, with some Lalo Schifrin and film noir jazz thrown in the blender. Marketed as part of Hollywood Records' Acid Jazz line, it could catch the coattails of the lounge/space-age pop revival as well (though the JTQ have been doing this sort of stuff for years). ~ Richie Unterberger, All Music Guide [-] Hide