What is a Qobuzissime? It’s an award presented by Qobuz for a first or second album.
Pop or Reggae, Metal or Classical, Jazz or Blues, no genre is excluded. More often than not the award is presented to a newly discovered artist.
Sometimes it might be a particularly quirky or a crossover album from a discography.
The important aspects are uniqueness, sincerity and quality. We look for these things in the recording, the project and the sound identity.
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Contemporary Jazz - Released April 30, 2021 | WM Germany
Jazz - Released September 11, 2020 | Blue Note Records
Jazz - Released August 21, 2020 | Concord Jazz
Jazz - Released February 14, 2020 | Exodus Records
Jazz - Released September 6, 2019 | Sony Music CG
Contemporary Jazz - Released April 26, 2019 | Sekito
Jazz - Released April 26, 2019 | Enter The Jungle
In early 2018, the compilation We Out Here released on Gilles Peterson's label burst onto the young British jazz scene, revealing his dynamism, his energy and above all, his eclecticism. Many attribute saxophonist Shabaka Hutchings (Sons of Kemet, The Comet is Coming, Melt Yourself Down...) as the leader of this trend: a role he has always refused to embody. The boundaries of this jazz, as with musicians of this generation, are deliberately blurred, and the five members of Ezra Collective were all present on this Qobuzissime compilation. With You Can't Steal My Joy, the London group led by drummer Femi Koleoso finally signed their first album. In 2017, their EP Juan Pablo: The Philosopher (which closed with a beautiful cover of Sun Ra's Space is the Place) was a sensation, winning numerous awards and offering a very Afrobeat vision of jazz. These unique qualities can be found on this ultra-funky opus. With Joe Armon Jones on keyboards, TJ Koleoso on double bass, Dylan Jones on trumpet and James Mollison on saxophone, Koleoso orchestrates a refreshingly festive symphony focusing on brass and rhythms: a hybrid made of afrobeat, jazz, hip hop, reggae, Caribbean music and soul. And to better reflect this panoramic vision, Ezra Collective goes on this multi-colored journey with soul sister Jorja Smith (Reason in Disguise), rapper Loyle Carner (What Am I to Do?) and the afrobeat group Kokoroko (Shakara). All that's left is to enjoy this beautiful, eclectic parade of groovy landscapes. © Marc Zisman/Qobuz
Jazz - Released May 25, 2018 | Edition Records
Vocal Jazz - Released May 4, 2018 | Silvertone
Jazz - Released April 6, 2018 | Sony Music Classical Local
Jazz - Released May 13, 2016 | naïve
Jazz - Released May 11, 2015 | Brainfeeder
Like its creator, Kamasi Washington's triple album debut, The Epic, is imposing, multi-faceted and aspiring to change music forever. A close collaborator with fellow innovative Angelenos Stephen Bruner (Thundercat), Steven Ellison (Flying Lotus) and Kendrick Lamar, Washington's evolved vision mixes bebop, soul jazz, old school organ trio R&B, space jazz and fusion à la Miles Davis. At the center of this prismatic, conscious-expanding maelstrom is Washington's bodacious horn whose tone and approach can by turns be compared to the playing of Azar Lawrence, Pharoah Sanders and especially John Coltrane. The musical forces assembled to energize Washington's intuitive, spiritual meld are truly Herculean. Supported by Thundercat, keyboardists Cameron Graves and Brandon Coleman, trombones, trumpets and more, Washington, who also served as producer, worked a string section, a 20-voice choir and solo vocalist Patrice Quinn into his futuristic arrangements. Despite overdubbing by the project's six engineers, the sonic results are sleek and uncluttered. The diverse flavors here vary with each tune. Introduced by Coleman's organ, "Final Thought" mixes funk and post-bop with Washington's nimble honking. The swing rhythms and wordless vocal choir of "The Next Step" show the results of his time with innovative big band leader Gerald Wilson. Unadulterated fun is the object of the 70's funk groove, "Re Run Home." For those who doubt his connection to music history there's the one-two punch of the standard "Cherokee" and his soaring re-imagining of a movement of Claude Debussy's "Clair de Lune." While one can quibble that perhaps three discs is too much of a good thing, it's clear from the assured first notes of the aptly-titled opener "Change of the Guard" that Washington is a musical mystic who's fused his wisdoms and exposures into a debut that's not a product of the insular jazz bubble, nor an au courant hip hop-jazz mashup, but three hours that somehow sound old and new in the same moment—a virtuosic musical statement, one constantly verging on genius. © Robert Baird/Qobuz