Electronic Jazz ?

[FunkyGhost]

There was some talking here about the future of Jazz.
A lot of new and innovative music today is for sure electronic music, like the whole DJ-Culture stuff, HipHop and so on.

I think that there are very interesting possiblities for Jazz musicians to work with electronics Computers and that the use of Computers as musical instruments is still almost unexplored. In most cases traditional instruments get simulated by the computer ... well one can do this quite well now, but there should be more things possible with machines that can be programmed to create and detect sounds, images, that can calculate and react to things that are happening around them.

What is very hip today are those smooth chillout sounds that St.Germaint or Bugge Wesseltoft are doing. I like that ... but I always have the impression that this is more like cocktail music (in a positive sense, though).
But to be honest: To have a computer-beat and someone playing some Trumpet on to of it is not really the thing jazz is all about.(Again: It can be cool!) To me it seems that there is a lack of more adventurous stuff.

Does anyone know "Tied and Tickled Trio" from Germany? If you have the possibility listen to their CD "Electric Avenue Tapes" (Hint: try amazon). It is a live recording. There is a Saxophone, two basses (acoustic and electric), Drums and also electronics (beats, effects, sounds). There is interaction between the musicians and the computers, and it has the intensity of a modern jazz band (it's not watered down in any sense).

I would really like to read your opinions about this music.
To me it is certainly not the greatest of all modern jazz CDs but it is one of the better attempts to combine Jazz with electronic Sounds, I know of.

I would also like to learn about other new electronic approaches to Jazz. I do not think that this is the future of Jazz but I think that there is a lot to explore for Jazz musicians.

I heard for example that Steve Coleman worked on some interactive Music software called Ramses but I could not find out much more about this. If someone knows if there exist some recordings, please let me know.

[jazzypaul]

The two latest Matthew Shipp sides have him working with electronics pretty heavily. MMW uses a turntable-ist on occasion, and DJ's like St. Germain and Greyboy are most definitely making jazz with what they do. I don't think it's the be all end all direction of jazz, but I think its a great side road to get to the same destination.

[FunkyGhost]

Originally posted by jazzypaul

I don't think it's the be all end all direction of jazz, but I think its a great side road to get to the same destination.

I agree. But I think that elecronic rhythms can be sources of inspiration for musicians even in acoustic jazz. For example I saw drummers that play drum 'n bass influenced beats quite often during the last months and sometimes it works really well together with modern acoustic jazz.
It is also nice to see how those beats change their "feel" when played by musicians and not by sequencers.

[lilolee]

Being in Germany FG, you are also aware of tje Compost Label, home of Jazzanova and other greats. Also check out the Reiner Truby Trio.

Here in the UK we have a host of musicians who work under the Co-op name and are formed around the work of 4Hero, Nathan Haines, Kaidi Tatham amongst many others. Their distributor is http://www.goyamusic.com

[omar zamora]

There's been some fun, chill-out music that has come out recently with a strong ambient dub or drum & bass vibe. Not much that has excited me too much, other than as an entertaining superficial listen.

Which is fine - there' s plenty of room for that, and not all music has to be innovative or inspiring. I've yet to hear Mehldau's new one - maybe he's taken it further than others like Molvaer (which I like)

I'm actually more interested in the intermingling of Jazz and modern electro-acoustic improvisation. The latter is a major interest of mine at this time (In fact, I just got back from a two-day festival in NYC, which blew my mind, as is probably the best live musical experience I've ever had).

I've yet to hear the Territory Band's new one with Kevin Drumm on electronics. I think that might be what I'm talking about.

[champjams]

As Jazz great Yusef Lateef once said, "I unplug you, you be dead."

[FunkyGhost]

Originally posted by champjams
As Jazz great Yusef Lateef once said, "I unplug you, you be dead."

I would answer:
" I stuff my shirt into your sax, you be dead too" :-)

Of course, if you disable the instrument, you cannot play it anymore, regardless what kind of instrument it is.
So what is the point?

[champjams]

Unless you are a total moron...well, maybe I shouldn't say much else.

[jazzypaul]

Considering your hatred of anyone forward thinking and interesting, how can you like Yusef? I love him, but given your remarks, it's kind of shocking to see you would.

[FunkyGhost]

"Unless you are a total moron...well, maybe I shouldn't say much else."

I do not offend Mr. Lateef and I do not want to since I really care about what great jazz musicians have to say. Still that's the question I would have asked him because statements like this are around for such a long time and never could someone explain them to me. If you quote something like this you should be able to explain what your point is, if some simple thinking person does not get it.

I guess that Yusef had given me a cleverer answer than the one quoted above.

[champjams]

Mr. Jazzie -
Have you ever heard Yusef play the blues? Then you'll understand why I dig him.

Funky, the quote by Yusef speaks for itself. It's direct and to the point. Hint: it has to do with electricity.

[Pharaohrock]

Yusef used synthesizers on projects as recent as The World at Peace. the YAL label. 1997 I believe...so what is that really worth?

[champjams]

Well I don't know. It probably sucked. What are you talking about?

You know, Bird's reed squeeked sometimes.....

[Pharaohrock]

I'm starting to think you're just an internet troll and that you're just fulfilling a certain role to cause a reaction. You probably don't believe half the shit you say but just get kicks out of thinking it makes us all red in the face.

[champjams]

$5 fine. Name calling. You lose the debate.

I'm real.

[FunkyGhost]

Originally posted by champjams

Funky, the quote by Yusef speaks for itself. It's direct and to the point. Hint: it has to do with electricity.

Maybe I can explain something to you:

What an instrument does is that it exites sound waves in a controlled way. For example the reed on the saxophone vibrates and makes the air in the horn oscillate, depending on the length of the tube, which you can change by opening and closing the holes in the horn. That is clear to you, right?

In an electronic musical instrument (synthesizer, computer, ...) you have electric currents oszillating in circuits, that signal is picked up by a speaker and converted into sound waves. From a technical point of view that is no different to a traditional instrument in a way that you have a device that creates sounds by amplifying small oscillations. OK, one needs reeds to work, the other one needs electricity. And if you take the reed from the saxophone it does not work, if you unplug the computer, it does not work. That's the technical aspect of it.

Now the artistic aspect:
I do not see, why one should destinguish between good instruments, and instruments that "suck" ,just depending on how they work technically. I also do not understand that electronic instruments are always considered to have no soul. That is not a problem of the instruments but of the way they are used. It would be so interesting to explore ways to give electronic music more "soul".

I do not think at all that electronic instruments will ever replace traditional ones. I also do not think that Jazz should become electronic but what I think is, that it is interesting for Jazz musicians to explore the possibilities of these new instruments and I am also sure, that there are many ways to go in electronic music that can be interesting for jazz.

[Joel]

Originally posted by champjams
$5 fine. Name calling. You lose the debate.

I'm real.

You'll probably earn more by busking the streets for if you are a real musician, then you should get busy in recording and performing.

Since you seem to have all the time to post here daily......looks like your nothing but a troll.

Tip:
Your Blues and Swing crusade will have more effect if you start teaching in a school.....are you competent enough to get into Berklee?...or Julliard?....or how about a small college?

Fighting fire with fire will not get you anywhere especially in this board.....people here have varied tastes and yes some of us might check out those B&S legends that you talk about (I will) but my money will always be splurged on the genre that I like....Contemporary/Straight Ahead/Fusion/Avant Garde/Acid/Free Jazz.....acoustic and electric.

again...youre preaching wont get you anywhere...put on your lab coat and crawl back into that hole where you came from...Trollville OK....right?

[jazzypaul]

Well I don't know. It probably sucked. What are you talking about?

Actually, according to you then, almost all of Yusef's work in the 70's sucked. Wow. Champjams, our blessed lady of the immaculate taste has made brilliance turn into suck. Is that a miracle, or just an illusion? I think it's an illusion, because I'm listening to Nubian Lady right now, and it's still a jam.

[Pharaohrock]

Thanks for that post Funkyghost. I play the Rhodes so a lot of what you were saying is meaningful....I believe it's more of a CHALLENGE to have an individual sound on an electronic instrument- and I think some, notably Chick Corea on Rhodes, Larry Young on organ, and now you have Roberta Piket doing wonders with the Wurlitzer, have done it...

[champjams]

Funky -
You're still not understanding the point that Yusef was making. You can unplug a synthesizer, but you cannot unplug a grand piano. When there is no electricity, when Osama brings down the power grid, the acoustic Jazz group will still be playing their gig. That is Yusef's point. Are we all adults here?
Yusef's quote has nothing to do with making a personal statement. The point simply is that you cannot unplug a tenor saxophone.

Joel -
I do record, and I do work 3 times a week. As you can tell from my posts, I would be quite competent to teach at any of those institutions. However, I am not interested in Jazz education because it is so perverse.

[jazzypaul]

As you can tell from my posts, I would be quite competent to teach at any of those institutions.

What I can tell from your posts is that you would be a dangerous teacher. Downright dangerous. Someone starts working with some more personal piano voicings, and you'd jump his shit for not being relevant. Someone would try playing something outside of a blues line, and you'd accuse them of bastardizing the artform. Someone would playing something over a straight 8th feel, and you'd tell them they can't swing. Anyone that took an interest in Lennie Tristano would be a cliche. And so on and so on and so on.

We agree, jazz padagogy only exists, largely, to keep second rate musicians off the streets. But don't ever say that you would make a fine teacher. With people like you teaching, the music would die within a decade. I've worked too hard to see this music go into the hands of the likes of you.

[lilolee]

I just love the concept of somebody posting in an Electronic Jazz thread that electricity is bad.

And they say that Americans don't do irony.

Any way back to subject..
Another good label for this style of music is http://www.sonarkollektiv.de/ I caught some of a new album by Reunion and it sounded mighty fine.

[valo]

I saw Dave Douglas do "Witness" live, and that projet was definitely pointing towards more electronica integration. Ikue Mori was playing a laptop (only in the age of computers) but it didn't seem like Dave was justtrying to be hip. The textures that came from using two keyboardists and Mori gave the music a density that youcanät get with purely acousitc instruments. In the end, the group really seemed to respond to these textures and it gave emotional lift to the whole performance. It had the feeling of an experience, not just listening to music, and the audience really became a "Witness". he definitely goes beyond the "soloing over an elctronic beat" formula.

I am anxiously awaitingDave's new "Freak In".

[jazzypaul]

Dave just gets better and more interesting with every project. He blows me away. God Bless him...

[FunkyGhost]

Originally posted by champjams

Yusef's quote has nothing to do with making a personal statement. The point simply is that you cannot unplug a tenor saxophone.


If that is the whole point you wanted to make by quoting Yusef then I apologize for interpreting more into it than you wanted to say, even though it is a quite trivial thing to mention (pull the plug and the light goes out :-).
Usually statements like Yusefs imply something more but it is nice if you did not want to do that.

Yes, it's great that there is music that can be played in case of a power failure. It is also great that there is music that makes use of electricity while it is available.

[Pharaohrock]

Yes, it's great that there is music that can be played in case of a power failure. It is also great that there is music that makes use of electricity while it is available.


LOL. To the point man, to the point....nice.

[clifton]

Jazztronica": stupid name, but a convenient one. My personal favorites in this area: Tim Hagans/Bob Belden "ReAnimation Live", Matthew Shipp "Equilibrium", David S. Ware "Corridors And Parallels". The Ware CD is a classic, a prototype for integrating acoustic and electronic sounds. It's easy for live musicians to become enslaved to rigid, unimaginative programmed beats. For a fusion with a DJ to work, I refer you to "ReAnimation Live", where DJ Kingsize interacts in real time with the jazz musicians. This allows the band to deconstruct the time, even introduce swing rhythms into the mix, as Billy Kilson does. In other jazztronica, I think the programmer needs to create a sound that acoustic instruments, or even guitars and organs, cannot create. The programmer needs to add those sounds organicaaly, as part of the music. I think Matthew Shipp on "Corridors" and Flam on "Equilibrium" succeed at this. Jazztronica is another idiom in the jazz continuum. Jazz has always drawn from the popular musics of the day. Why not electronica? I eagerly await "Freak In". Oh yes. Take away electricity, what happens to Charlie Christian, Wes Montgomery, or Jimmy Smith? Just asking.

[FunkyGhost]

Thank you all for your recommendations. Some of the artists you mentioned I did not know before and I will try to check out the ones that seem interesting to me.

[LeMo]

The question of using electronic in jazz music is a very old one.
As old as Sun Ra touch is first electric piano.
Aniway, the best work I ever heard mixing accoustic and electronics instruments is the fantastic record than George Lewis cut on Black Saint, "Hommage to Charles Parker". The guy dealing with the electronic is Richard Teitelbaum.
He is the best I ever heard play synthe (remember Musica Electronica Viva?). The records is from 1976. More than a quater of century, now.
It's seems to me than all great or good musicians of the last two decades has experimenting a one moment or another with electronics (Anthony Braxton, Roscoe Mitchell, Steve Coleman, Evan Parker, Paul Lytton and others).
But, aniway, they all return to acoustic setting. A question of generation or an definitive answer on the deep nature of what we call jazz music (to be acoustic with physical instruments to play?)

[omar zamora]

Originally posted by LeMo
Aniway, the best work I ever heard mixing accoustic and electronics instruments is the fantastic record than George Lewis cut on Black Saint, "Hommage to Charles Parker". The guy dealing with the electronic is Richard Teitelbaum.

Man, I need to get that. Have you heard Lewis' work with the music-making software of his own design? I haven't heard it, but I've been told it's still not ready. Hopefully with the McArthur grant, he'll come closer to completing that project.

Have you heard Teitelbaum's work with Braxton? I believe there are three recordings available? As far as MEV, the quality of their work varies (depending on which version of MEV, I think), but it's always interesting.

[omar zamora]

Originally posted by valo
I saw Dave Douglas do "Witness" live, and that projet was definitely pointing towards more electronica integration. Ikue Mori was playing a laptop (only in the age of computers)

In another thread, I expressed hope that jazz musicians would start collaborating with laptop musicians, so this is a good deveopment, imo...even if I have reservations about Mori's laptop work (great percussionist, though)

[bombastic]

listen to evan parkers "Drawn Inward". okay, so it isn't swing. who cares? it's fascinating to listen to. my criteria for good music has always been, is it interesting or is it boring? don't limit yourselves with rules. there are no rules in art.

[omar zamora]

"Drawn Inward" is ok, imo. It just suffers too much from the ECM sound, which is totally not appropriate for this kind of music. I've been told this group is awesome live, though.

[LeMo]

For my taste, the best Braxton/Teitelbaum is "Time Zones", on Freedom (a 1976 record also). Don't hear to much of the great Teitelbaum lately, alas.
I'm not convincing by the present tentative of Lewis with electronic. He is a master tromboniste first and maybe the greatest of the improvisator on his instrument. And this skill is very much in the shadow for the past decade, what is too bad.

[bombastic]

really, omar, you think it was just okay? i think it's quite an astonishing, original recording. oh,well, different strokes. what's wrong with the ecm sound? it sounds fine to me.

[omar zamora]

Bombastic, it's a matter of perspective, I think. I listen to a lot of music of this kind (electro-acoustic improv, dangerous improv, balanced improv, whatever), and the two Evan Parker e-a Ensemble cds on ECM just sound kinda muffled to me. The ECM sound works great for some kinds of music (listen to the crisp, clear lines on Louis Sclavis recordings, for example), but these recordings just sound too restrained. However, as I said, it's a matter of perspective - I think I dug these a lot more when I first heard them because I was still not too familiar with the whole e-a scene.

For a better Parker/Guy/Lytton (the acoustic core of the ensemble), get "At the Vortex" (Emanem) or even the latest one "Live at Les Instant Chavires" (psi). For better Evan Parker in an electro-acoustic setting, get Evan Parker/Keith Rowe "Dark Rags" (Potlatch)

I do hope this ensemble records again, but preferably on Emanem, FMP, PSI, Potlatch, etc.

This is all imo, of course, and regardless of that, I'm glad you're digging this album.

[bombastic]

thanks for explaining omar. i just became interested in electro-acoustic, so maybe you're right, i haven't heard alot of it. drawn inward is something i've been listening to on headphones, and i'm not an audiophile, so i don't notice these differences in recordings. i'll keep checking out new electro-acoustic stuff. any other recommendations.

[omar zamora]

Originally posted by bombastic
i'll keep checking out new electro-acoustic stuff. any other recommendations.

Bombastic,

I'll offer a couple of recs for starters:

These two are more "jazzy":
Rowe/Sugimoto/Muller - The World Turned Upside Down (Erstwhile)
John Butcher/Phil Durrant - Requests and Antisongs (Erstwhile)

These are not:
AMM - Newfoundland (Matchless)
MIMEO/Tilbury - The Hands of Caravaggio (Erstwhile)


Out of respect for the culture on this board, I'd rather refrain from discussing non-jazz improvisation too much here. If you'd like to read more about e-ai, you can go to the jazzcorner.com discussion board, and look up the threads titled "Check your Ego at the Door", "Ego This", and "Electro Acoustic Improv 3". Or in the recommendations section, look up "MIMEO/Tilbury - The Hands of Caravaggio" or "AMM - Laminal".

[Nils]

having heard a number of these electronic jazz records, i can enthusiastically recommend two very recent discs:

matthew shipp's EQUILIBRIUM. shipp went out on this angle with flam last year and that resulted in NU BOP, which record fell short in a couple respects. mainly it lacked depth on the jazz side and tended to be a bit repetitive (especially in shipp's piano playing). but regardless, people loved it. basically a good record, but EQUILIBRIUM takes that concept all the way home. it's hard not to like if you can appreciate both kinds of music. and khan jamal (vibes) is an excellent addition. grooves everywhere, nice textures.

dave douglas FREAK IN. brand new record, very different from what he's done before. the jazz aspect is strong, but marc ribot brings a strong rock feel and there are a bunch of people doing (electronic) percussion and studio manipulation. it's not nearly the same groove thing the shipp record has going on (for sure) but the way douglas builds in mutant variations is excellent. not for the squeamish, but not particularly harsh either.

[Joel]

Hey, I was just browsing a JazzTimes mag last night and on the cover was Matthew Shipp.

The mag's main feature was about "Jazztronica" and mentioned three current notables, Shipp, Mehldau's Largo and Dave Douglas.

You all probably have read it in the States.

[Pharaohrock]

Here's one view:

"We've got instruments that are computer-generated. They play perfect. But did you ever hear anyone cry in tune? Make love in tune? We've got the whole spectrum to deal with, but we go and de-spectrum ourselves. I'm downsizing to maximize the creative part. Working on being more spiritual, so that the music has power. Not military power. Damn that. But power where the note is still going on after I stop playing. The note is still going inside of the people when they walk out of the room."

- Hamiet Bluiett, from interview in Santa Cruz Sentinel, Aug. 8, 2002

[omar zamora]

Originally posted by Joel
You all probably have read it in the States.

Nah, the major glossies suck. And their fondness for labelling sub-movements is a good example of why they suck.

[valo]

The goal of electronic jazz should be to create something with emotional weigth, something that goes beyond cool beats and innovative sounds. Pharoah's quote of Hamiet Bluiett is perfect-make notes that resonate after the soundwave dies...

Check out a group from Finland called Gnomus, on a label called Fiasko Records (www.fiaskorecords.com). They approach electronica from a live, improvised direction and they focus on developing a mood and a theme in their compostions.

There are no programmed beats. The drummer, Mika Kallio, plays with touch, sensitivity and even a bit of swing on the entire record (which was recorded live, no overdubs). He's accompanied by guitar player Esa Onttonen and Kari Ikonen on a rack of different keyboards and synthesizers. Ikonen records his own voice samples and then manipulates them live, getting these creepy chorus effects that bring a lot of character to the music. They also employ radiophony, which makes for an atmospheric record with a real identity.

[champjams]

But did you ever hear anyone cry in tune? Make love in tune?

Me.

[FunkyGhost]

anyone listenened to "tied and tickled trio" form germany? I would be really interested in your opinion about that. I think they are quite innovative.

[valo]

FunkyGhost,

What label is Tied and Tickled on? I'd like to check them out.

In reply to Champjams last post:

Huh?!

Do you have something meaningful to say or are you just being cute?

[jazzypaul]

Champjams, your attitude and rigidness suggest someone who has never made love, much less made love in tune. Insofar as crying goes, you obviously do lots of that, so you've probably gotten in some practice crying in tune.

[FunkyGhost]

Originally posted by valo

What label is Tied and Tickled on? I'd like to check them out.



The label is "Clearspot".
Here are links to a description of the band and some sound clips.

http://www.clearspot.de/interpret.php3?Artist_ID=25255
http://www.clearspot.de/interpret.php3?Artist_ID=25255&LFD=5428&section=diskographie

[sickley]

Funky -
You're still not understanding the point that Yusef was making. You can unplug a synthesizer, but you cannot unplug a grand piano. When there is no electricity, when Osama brings down the power grid, the acoustic Jazz group will still be playing their gig. That is Yusef's point.
i hope you mean that in a temporary sense... because after such there will still be electronic music. ever heard of batteries?

[jazzofonik]

jazzchamps, if your last post is to be taken seriously, then all Lateef is saying hinges on the availability - or lack - of electrical power. hardly worth even quoting from that standpoint, much less asa defense of acoustic jazz over electronic.
Just as great photographers used seemingly primitive boxes (by today's standards) to rpoduce rich pictures, then its the musician and not the instrument - that oughtto be the first measure. taken the other way, a rhodes or any other electric instrumennt can be made to deliver sounds every bit as challenging and entertaining as a grand piano.

let's not ruin a great topic by trading insults

[tpt1]

Funny. I was listening to Tim Hagans re-animation LIVE! as I came upon this (resurrected) thread. Great stuff.

Personally, I think there are great possibilities in the electronica genre and I applaud jazz artists that explore those possibilites. As someone said early on in this thread, there are textures and sounds that aren't possible with acoustic instruments. Sometimes it works for me and sometimes it doesn't.

I also think that the argument about "well, what if the power goes out? then what?" is a weak argument against electronic music. This is not 1821; electricity is part of our world. I do, however, love Roland Kirk's comment somewhere on 3 sided dream about a woman making love to a computer...

[jazzofonik]

You might also want to try Jan Galega Bronimann's Brink Man Ship (brinkmanship.com). They did live gig in Kingston this past June and i found the approach similarto that described fo Gnomus (whom I will check out)

[sal]

In retrospect, I think the best album I've heard that successfully incorporates electronics into jazz is Dave Douglas's "Freak In". Very well done, with the electronics wisely enhancing the music rather than dominating it.

[solarjazzband]

If you want great electronic (jazz) music, check out Norwegian label www.runegrammofon.com
most innovative!

[lowend]

I do, however, love Roland Kirk's comment somewhere on 3 sided dream about a woman making love to a computer...[/QUOTE]

Actually, I think that the original poster erroneously tagged Yusef Lateef, when the quote is from Rahsaan on this very album.

For the record...I plug in. Music is music, people.

[boptilUdrop]

Charlie Hunter/Bobby Previte are doing some pretty cool electronic jazz stuff together as Groundtruther ... and on Rope-a-Dope records. Rope-a-Dope seems to have a fair amount of stuff like this ... anyone heard The Philadelphia Experiment?

[The Monk]

I was introduced to electronic jazz through Rope-a-dope. An order I had placed for their clothing merchandise included a free compilation CD of grooves from the artists in their stable. It included the Philadelphia Experiment who are quite good but my personal favourite is Jazzanova, especially when paired with Ursula Rucker. Their CD "In Between" is worth owning.

[jaz_zak]

John Klemmer's amplified tenor sax during the mid- late 70's. No, I'm not related.

[fissionchips303]

Hello all,

I found this thread Googling "electronic jazz." I'm a musician who produces this kinda thing under the moniker Revolution Void (http://revolutionvoid.com), and I would like to submit my music for your perusal.

I've released my last 2 albums online in their entirety through Creative Commons (http://creativecommons.org) licenses.

Revolution Void - Increase the Dosage
Full length album featuring guest performances by Matthew Garrison (bassist for Herbie Hancock) and Seamus Blake (saxophonist for Mingus Big Band).


Stream MP3 (http://www.archive.org/stream/revoid_2004_04_04.flac16/revoid_2004_04_04.flac16_vbr.m3u)
Download MP3 (http://www.archive.org/download/revoid_2004_04_04.flac16/revoid_2004_04_04.flac16_vbr_mp3.zip) (83 MB zip file)
Download Flac (http://www.archive.org/download/revoid_2004_04_04.flac16/revoid_2004_04_04.flac16_flac.zip) (380 MB zip file)
View album art & liner notes (http://www.revolutionvoid.com/RV003/)


Thanks for listening!

-Jonah

[Andrei]

I'm Not particulary into broken beat (compost / Sonar etc).

Although anything on Schema / Ricky Tick records is deffintly more up my street.

It's "real" jazz music, just made for the dancefloor.

Also (Legendary drummer) Steve Reid's new project is pretty good (working with the electronica maestro "Fortet".

Saw them @ Cargo, London (playing straight free jazz).

Mr. Reid was laying down some funky rhythms, while Mr. Fortet was concocting some sweet squeeks & bleeps.

Check out "The Exchange Session Vol 2"

If you like electric miles davis, then you'll probably be quite taken by it.