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Yesterdays Universe: Prepare For A New Yesterday (Volume One)

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Yesterdays Universe: Prepare For A New Yesterday (Volume One) album cover
Bitches Brew
Artist: Otis Jackson Jr. Trio
Umoja (Unity)
Artist: The Jahari Massamba Unit feat. Karriem Riggins Trio
Slave Riot
Artist: Young Jazz Rebels
One For The Monica Lingas Band
Artist: The Last Electro-Acoustic Space Jazz & Percussion Ensemble
Street Talkin'
Artist: Kamala Walker & The Soul Tribe
Marcus, Martin & Malcolm
Artist: The Jazzistics
Two For Strata East
Artist: Suntouch
She's Gonna Stay
Artist: Sound Directions
Cold Nights & Rainy Days
Artist: The Last Electro-Acoustic Space Jazz & Percussion Ensemble
Free Son
Artist: Otis Jackson Jr. Trio
Artist: Jackson Conti
Sunny C
Artist: Ahmad Miller
Mtume's Song
Artist: The Eddie Prince Fusion Band
Vibes From The Tribes Suite (For Phil)
Artist: Yesterdays Universe All Stars
Upa Neguinho
Artist: Jackson Conti
Album Information

Total Tracks: 15   Total Length: 66:33

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Amelia Raitt


Amelia Raitt is a former writer for the television program Mr. Belvedere and has been writing about pop music of all colors and stripes for eMusic since 2005. S...more »

Yesterdays New Quintet, Yesterdays Universe: Prepare For A New Yesterday (Volume One)
Label: Stones Throw

Why is Yesterdays Universe: Prepare For A New Yesterday not listed as a compilation despite having 15 tracks from ten different artists? Because uber-producer Madlib is behind each and every one of them. Karriem Riggins and Ivan Conti provide percussion color to a few tracks, but the flute funk ("Bitches Brew"), free jazz ("Slave Riot") and cosmic grooves ("Cold Nights & Rainy Days," among many others) are all Madlib. It's far from what you… read more »

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chronique de bokson.net


En appuyant sur la touche "reset" de Yesterdays New Quintet, Madlib se décuple encore et toujours, mais semble remettre de l'ordre dans ses idées en attribuant à chacune de ses entités une patte bien personnelle aussi intéressante qu'imprévisible. Amateur du Californien, vous pouvez donc vous ruez sans trop de crainte sur ce disque, mais on vous conseillera vivement une certaine méfiance à l'arrivée de chacun des albums de ces dix nouveaux projets. C'est dit... www.bokson.net

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Stones Throw is the best label on eMusic


...and nobody seems to care. I guess everyone's too busy checking out what Pitchfork has written about that day. Anyway, this collection of YNQ offshoots is a great place to start for Jazzheads looking to expand their horizons a bit. It has enough diversity of style to please any jazz or hip hop lover. Madlib's best YNQ release since Angles, this is the real deal. From free jazz to inverted covers, this organic mix of styles is truly magnificent. Thank you Madlib! Don't sleep, eMusic users!

They Say All Music Guide

Madlib lets you know what he’s after at the onset, with cover art emulating Ornette Coleman’s free-jazz pioneering Ornette! and a hip-hop-rooted revision of Miles Davis’ “Bitches Brew” as the album’s first song. The familiar “Brew” vamp is updated with Madlib’s genius sensibilities and a welcome addition to Yesterdays New Quintet: the jazz-drumming, hip hop-producing Karriem Riggins. For the next 14 tracks, Madlib, Riggins, and Azymuth’s Ivan Conti create the most stunning fusion of jazz and hip-hop to date. Madlib began this in March 2001, indulging all of his eccentricities, tastes and ideas with Angles Without Edges, where Madlib one-man-banded his way to a forward-moving testimony that appropriated everything from jam band vibes of Soulive and Beastie Boys-style organic hip-hop, combining it with freewheeling, experimental jazz ingredients to produce an album hailed as an evolution. Yesterdays Universe, however, is meaner, nastier and even more ambitious. Madlib has clearly grown as an artist, mastering the area where the improvisational nature of jazz meets the sampled urbanity of hip-hop. The additions of Riggins and Conti give the music even more textures and emotion. While “One for the Monica Lingas Band” is pretty and expressive, the hallmarks of this album are tunes such as “Street Talkin’” and “Marcus, Martin and Malcolm” — the former sounding like a jazz breakbeat and the latter sounding like a new-millennium, reared-on-hip-hop version of Joe Henderson’s early ’70s work. You don’t hear music this daring and edgy in the jazz idiom, nor do you often encounter music this evolved and creative from its hip-hop peers. The 12-minute “Vibe from the Tribe Suite” is an instance that happens rarely in music, when it seems that new terrain has been discovered and you aren’t just listening to a quirky hip-hop producer dibble and dabble at his whim, but that a full-fledged, unique musical idea has developed. The bassline is sinister, the drum rhythm is as head-nodding as it gets, the distorted flute staccatos with an MC’s cadence, the piano chords are from the school of Mwandishi-era Herbie Hancock, and the soprano sax is off-kilter. The result is a musical and creative statement that caps an album full of new statements. This album is an early 21st century landmark flushed with the optimism and possibilities of a new frontier. Madlib and Yesterdays New Quintet are the bold first settlers waiting for other musicians (if they can) to follow the leaders. – Vincent Thomas

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