Various ‎– The Future Sound Of Jazz (Ambientelectronicabstractdigitaljazz Vol. 1)

Compost Records ‎– COMPOST 008
2 × Vinyl, LP, Compilation, Limited Edition

Tracklist Hide Credits

A1 Jimi Tenor Theme Sax
Written-By – Jimi Tenor
A2 Patrick Pulsinger City Lights Pt.2 (City Of Starsign)
Producer – Patrick PulsingerWritten-By – Patrick Pulsinger, Richard Dorfmeister
A3 Hunch Is This The Place?
Producer – Chris Tate, Line Of FlightWritten-By – Chris Tate
A4 The Mighty Bop Feat. Ingrid* Vibrations Mystiques
Featuring – Ingrid*Written-By – Chris The French Kiss, Yellow*, F. Gordon*
A5 Workshop I Wish I Had You
Arranged By, Producer – Christoph Rath, WorkshopWritten-By – Kai Althoff, Stefan Abry*
B1 Vango Noir On The Sly
Written-By, Arranged By, Producer – Paul Cutler
B2 Karma High Priestess (Tarot Session)
Arranged By, Producer – KarmaWritten-By – Robert Nacken
B3 Shantel Super Mandarine
Written-By, Arranged By, Producer – S. Hantel*
B4 Planet Jazz Mucho Chocolate
Written-By – Thomas Kubli (Crazy Baby Tom)*
C1 Sapien Gato De Oro (High Moon Mix)
Remix, Producer [Additional] – Rockers Hi-FiWritten-By, Arranged By, Producer – Bush*, Whittingham*, Von Shock
C2 The Deep Child Sierra (Deep Underworld Mix)
Engineer – George "Bumpy" SmithExecutive Producer – Angelo Foukas*, Gus LarridasWritten-By, Arranged By, Producer – Yakime Akela Brown
C3 R.H.C.* Feat. Plavka Move Ya (Born Free-Coldcut-Mix)
Engineer, Programmed By – L Elliot Potter*Featuring – PlavkaRemix – ColdcutWritten-By, Producer – Caspar Pound, Plavka
D1 Wagon Christ Inside Out
Producer – Wagon ChristWritten-By – Luke Vibert
D2 Orchestra Guacamole Theme For The Lost Diamonds
Written-By – Jaakkö Salovaara*, Mika Vainio
D3 Shantel Nova Sola (Bahia Blunt)
Written-By, Arranged By, Producer – S. Hantel*

Companies, etc.



Gatefold cover.
BPM is not provided on the record.
A1: 110 | A2: 125 | A3: 76 | A4: 100 | A5: 120-124
B1: 116 | B2: 120 | B3: 113 | B4: 120
C1: 77-80 | C2: 124 | C3: 87
D1: 116 | D2: 100 | D3: 103

Barcode and Other Identifiers

  • Barcode: 4018289000082
  • Rights Society: GEMA



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June 10, 2016
Title: Future Sound Of Jazz Vol. 1
Cat No: CPT 008-1
Format: 2-LP

The future sound of jazz is abstract and concrète! It is the mixture of the “musique concrète” (Paris 1950) with the up to date electro-acustic sounds, based on the “School Of Electronic-Music” (Cologne 1948). E(c)lectro-jazz cannot have the meanings and issues of classical jazz, this is neither the purpose nor the intention of this music to imitate traditional sounds. Reverse! After all, it’s club-music (but remember: jazz was and is the classic club-music – it was rising and developed in clubs!). I call it Hybrid-System-Music, following the qualitative force and advancement of electronic music. In short terms: hybrid-systems are combine analogue synthies with digital steering-controls. It’s funny – the first big hybrid-studio in the Bell-Telephone-Laboratories in the University of Toronto, founded by Max Mathews (1965-69), called “Groove”! Another term for FSOJ-music could be Yellow Dance Music, to have a particular distinction to Black Music, “white” E-Music and of course Blue Note. The Yellow Magic Orchestra had this ulterior motive, too. Yellow magic dance music is the connection of analogue-music with digital control and abstract ideas. It’s a pity that the term “”Trip-Hop” has grooved in for that kind of music – but I believe, FSOJ is far away from it.

Anyway, in the history of music there were some exciting, unimportant and ridiculous attempts to connect computer-music with analogue or natural sounds, a freestyle-component and the “energy-sound-playing” of BeBop. A few names appearing in the specified respect & credit list below. They all have in common: they’ ve created new music with radical technique, were interested in computer-developements and always in search of thrilling sounds to bring their abstract ideas finally to another level. Actually the pioneers, who worked a little bit more free and easygoing with computers, were not really accepted in classical jazz-circles. Even an “electrifiing” Eddie Harris with his E-Sax was tabooed by jazz-critics. Jazz-journalism today is still conservative, today. Other musicians like the Belgien Marc Moulin, the Sixties Underground Band Fifty Foot Hose, Jean Jacques Perrey, German musicians like Deuter or Robert Schröder tried to consolidate jazz and analogue-synthie-blubbering or ambient-sounds, but they quickly stuck in the beginning and didn’t sell many LP’s. Also in the “German Krautrock-Scene” early 70ties we had crazy origins to unite ethno-, jazz, rock und synthesizer-music. Some are good, a few funny, kinky, or say “an attempt”!

Today you can hear their old songs as short samples, often distorted, laid on the keyboard, and then played on various underground-dance and ambient -12″-inches! On this compilation, too! Attempt to play jazz-standards on moogs sounded more strange or were so terrible maladroit like the synthesizer-classic of Ekseption. But in the dance-area it’s all a little bit different, easier, more freestyle, tongue in cheek, and a meadow of unexpected possibilities. We don’t move or dance neither in academic jazz-circles nor in muzak-areas, ha! The new and beautiful thing with the future sound of jazz is, that people from the most different tribes and styles, from the acid jazz-scene, techno-producers, synthie-freaks or ambient-puzzling-persons are coming together in this new interesting world of funny-cosmic dance music. It works in clubs, can be a nice accompany at home, and for me this music live is the only interesting force in progressive underground clubs or at ambient-festivals. Pulsinger, Wagon Christ, The Deep Child, Workshop, Jimi Tenor, Hunch – all this projects are able to perform live. The fact that new computer-material-systems, old filter-modules and original misused synthesizers create new KlingKlangs, which are impossible to “engender” or imitate by classical instruments, are unique and a real criterion behind FSOJ. It’ s just the beginning!

Just a few questions to provoke the jazz-purists: Is pure computer-steered jazz possible. Reverse: Why is digital-jazz only accepted as jazz when a human being stands behind the desk. Can you imagine, that a few sythesizers play their jazz automatically. If an analogue-computer has his own life, his own dynamic, phrases and skills – like every animated techno or acid freak adjure – then “he” could play unexpected, irrevocable, abnorm things. Whether this sounds brilliant or not is just an esthetical question. Okay, the arrangement should be made by human beings – but we talking about sounds. Why should a good saxophon-player be a jazz-musician and a creativ, spontaneous knobfiddling kid not. The musical-box was the first mechanical music-computer in the world. Bach, Beethoven, Mozart and many others were fascinated, that an automaton can play their little notes. They have written lots of “pop”-titels just only for that automat-organs – most popular “For Elise”. Today, we have computer which can write, stretch, transponate or pitch songs, we have millions of hybrid-systems, filters, building stones which can create fascinating new sounds – where Bach and Einstein only dreamt of! The night is young!