Madlib
Shades Of Blue
2003, This album honestly should have been credited to Yesterdays New Quintet, because really that's what it feels like - a YNQ album of Blue Note covers. But fine. I'm sure the label felt like 'Libs name was more recognizable than his fake-band's was at the time. Anyway this is one of those absolute desert island discs for me. It is one of my constant go-to albums. It is brilliant. It opens with "Distant Land," where Ahmad Miller showcases some new vibes. We get a "Mystic Bounce," which is a recreation of "Mystic Brew," which means that this is the closest we may ever get to YNQ performing A Tribe Called Quest. The take on Donald Byrd's "Stepping Into Tomorrow" is incredible - I hate to say I probably prefer this version - thanks to the amazing vocals on the chorus that were somehow left on the cutting room floor of the original sessions. We get a take on Hutcherson's "Montara" which has long been a favorite of mine - all the way back since The Roots covered it on the New Groove compilation in the mid-90's. And there's more: "Song For My Father," "Footprints," "Dolphin Dance"... honestly every track is worth talking about. This record is totally essential.
Kendrick Scott Oracle
We Are The Drum
2015, I really feel like We Are The Drum was overlooked in 2015. I'm not exactly sure how considering the backing of Blue Note. It's a fantastic record though. It opens with the stunning title track and flows naturally from there. I always say that there needs to be more drummers as leaders - and Scott does a wonderful job of leading. That is, he never gets in the way nor allows showing off his own skills to come at the sacrifice of the song. He clearly respects his music and his band. Lizz Wright stops by to deliver a lovely vocal performance on "This Song In Me." And really there's plenty to recommend here. But the real highlight for me is Scott's take on "Never Catch Me" originally performed by Flying Lotus and Kendrick Lamar. I mean the original song would have been easy to just play the main piano part and riff on from there. It would pretty much be an instantly great jazz track, right? But Scott begins by experimenting on his kit for a while before giving way to those heartbreaking keys and then the band quickly shifts into almost unrecognizable territory while only sporadically bringing the main melody back into the fold. It is utterly gorgeous. And so much of this record is full of prettiness that manages to obscure its more daring tendencies. More ears need to hear this one.