If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Marley Marl re-enters the hip-hop atmosphere with skills intact. Bringing to fruition the potential of BBE’s Beat Generation series, Re-Entry is a reminder of why Marley Marl is considered a classic producer. While the other producers in the series carefully adhered to their already tried and true blueprints, Re-Entry demonstrates Marley Marl’s trademark versatility. He even displays evidence of matching particular beats with the appropriate MC; a factor few producers seem to give any thought to these days. On "Three’s Company," Big Daddy Kane proves that he’s still as nasty as he wants to be as he ruminates on the difficulties of trying to get some threesome action. Kyron of Screwball delivers some typically mindless 2001 ‘drunk up in the club’ lyrics (try “mami, you got buns for my salami” for a pick up line) on "Spazz Out." But other MCs like Grap Luva (Pete Rock’s lil’ brother) fare much better.
Marl’s tracks unfold like peanut butter being spread on bread; buttery smooth melodic stylings are enhanced by the crunch of crisp snares and hi-hats. He can also flip it from the darker-edged beats of "What U Hold Down," to jazz and funk inspired tracks like "Hummin" and "So Good" which feature Roy Ayers and Edwin Birdsong. For the younger hip-hop head who doesn’t remember Marley Marl from the first time around, Re-Entry will introduce him as a master beat maker, and for those in the know, it will serve as firm confirmation of Marley Marl’s continuing dominance.
I love jazz because I love the freedom.
I met guitarists Oscar Aleman and Larry Carlton.
The best show I ever attended was Les Paul at Iridium Jazz Club.
The first jazz record I bought was by vibraphonist Lionel Hampton.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!