And so his hip-hop was music about music about music, lyrics rattling off signifiers even faster than the beat does. And they were used to the point where the vocal interjections of all the characters Van Peebles played became call-and-responses or the backbone for Quasimoto’s own ruminations. What else could you do from there? And “Jazz Cats Pt. But it was the same world one way or another, even if you could hear the weathered vinyl crackle and the instruments hiss through another era’s fidelity. Quasimoto's The Unseen is one of the most imaginative albums of the new West Coast underground, a puzzling, psychedelic jazz-rap gem riddled with warped humor and fractured musical genius. Three alien-like bipedal aardvark-esque creatures drawn by visual artist/producer Keith “DJ Design” Griego appeared on the sleeve art, and despite its non-specific representation — it was originally just supposed to represent a general “bad character,” with Quas himself depicted as a featureless Cadillac-passenger silhouette on the cover of 2000 debut The Unseen — the creature’s adapted appearance as redrawn by Stones Throw in-house artist Jeff Jank soon became more immediately associated with the Quasimoto name. Love Madlib. Contains samples of 7 songs see all. Reviewed in the United Kingdom on March 1, 2015, Reviewed in the United Kingdom on August 20, 2015. No concessions were made to purism, the generation-stretching gulf between classic drums/bass/piano/horn jazz combos and synthesized funk/rock futurism bridged with a logic that actually sounded like flipping through a loosely organized record collection. But everyone he names in the lyrics is at least possible to connect to his sound, from the first-mentioned likes of Sun Ra to the borderline punchline/afterthought nod to pop-crossover star sax player David Sanborn. No idea at first that madlib was Quas. [12] In 2015, it ranked at number 29 on Fact's "100 Best Indie Hip-Hop Records of All Time" list. The Signs Part II by David Axelrod (1970) Multiple Elements Jazz / Blues. 6: Dil Withers Suite. Love this album, unfortunately the vinyl version only has the first 21 tracks. 1″ only samples four acknowledged artists — one selection by John Coltrane (“Central Park West,” which appears as a snippet after the Quas voice mentions him), two from Cannonball Adderley’s 1971 session Black Messiah (“Eye Of The Cosmos” and “Circumfrence”), another two from Herbie Hancock’s 1964 Empyrean Isles (“The Egg,” which makes up the bulk of the beat, and “Oliloqui Valley”), and one from the enigmatic sax player Tyrone Washington (1974’s “Universal Spiritual Revolt,” one of the last things he recorded before disappearing from music completely).

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