Biography by Thom Jurek
As one of contemporary music's most sampled drummers, New Orleans' Idris Muhammad's pioneering approach wed syncopated grooves, bluesy swing, and trademark funky breaks to NOLA's second line and parade rhythms. His resume includes nearly 500 recording credits that range across the genre spectrum. He began his professional career at 15 in 1954, playing on Art Neville and the Hawketts' "Mardi Gras Mambo," and at 17 backed Fats Domino on "Blueberry Hill." He spent the rest of his teens and early twenties working on the road with Sam Cooke and Curtis Mayfield & the Impressions. Muhammad toured and/or recorded with a who's-who of headline performers. He spent long tenures with Lou Donaldson, Pharoah Sanders, and Ahmad Jamal. He worked on important recordings and played tours with everyone from Roberta Flack, Grover Washington, Jr., and Bob James to Hank Crawford, Sonny Stitt, and Joe Lovano, just to name a few. His leader discography includes a number of influential, heavily sampled albums, including the mid-'70s triumvirate Power of Soul (universally regarded as a jazz-funk classic), House of the Rising Sun, and Turn This Mutha Out. During the '80s and '90s he worked as a touring sideman with John Hicks, Sanders, Nathan Davis, and Washington, Jr. His final leader date was for 2004's The Champs on Sunnyside, co-billed with organist Joey DeFrancesco and guitarist Ximo Tebar. He died in 2014.
Muhammad was born Leo Morris in New Orleans' 13th Ward. His four siblings were also drummers. Despite the influence of heredity, Muhammad claimed in his autobiography Inside the Music that the hissing, clanging, bumping rhythms from the machinery at Buddy's Cleaners and Pressing Shop next door to the family's home provided the inspiration -- and syncopation -- for his playing signature. Other than what he picked up from his siblings and Buddy's, Muhammad was completely self-taught. His family was friends with the Nevilles and that relationship helped in procuring his first real gig: At 15 he sat in with Art Neville and the Hawketts on "Mardi Gras Mambo." The youngster played with a slew of musicians in the neighborhood and hung around Cosimo Matassa's studio to watch artists such as Professor Longhair, Ernie K. Doe, and many more work their magic. At 17 he played on the Fats Domino recording session that netted "Blueberry Hill."
He toured with Sam Cooke at 18, before leaving to play behind Curtis Mayfield & the Impressions. In 1960, at age 21, he helmed the kit behind New Orleans R&B singer Joe Jones on the hit "You Talk Too Much." He worked with Coasters' guitarist Sonny Forriest & His Orchestra on Tuff Pickin' for Decca in 1966; that same year he converted to Islam and changed his name to Idris Muhammad (though labels he recorded for including Blue Note and Cadet continued to use his birth name in credits for some time). He won a traveling gig with saxophonist Lou Donaldson in 1966 and made his recording debut with him on Blowing in the Wind for Cadet in 1967. He remained with Donaldson's band until 1973. Among the many albums they cut together are Alligator Boogaloo, Mr. Shing-A-Ling, Midnight Creeper, and Everything I Play Is Funky.
In 1968, Muhammad met Galt MacDermot and won the drum slot in the house band for the original Broadway production of Hair, and subsequently played and recorded with MacDermot's studio bands. 1969 saw Muhammad's name(s) appear on a slew of significant recordings by Donald Byrd (Fancy Free), Paul Desmond (Summertime), George Benson (Tell It Like It Is, The Other Side of Abbey Road), Grant Green (Carryin' On), Charles Earland (Black Talk!), and Pharoah Sanders (Jewels of Thought).
In 1970 Muhammad signed on as a house drummer for Prestige Records. He played on seminal recordings that year by Rusty Bryant and Gene Ammons and continued to work with Blue Note artists including Horace Silver. In 1971 Muhammad released his leader debut, Black Rhythm Revolution!, with a septet that included pianist Harold Mabern and Melvin Sparks. He followed it a few months later with Peace and Rhythm with Ron Carter on bass. During those two years, Muhammad's life was almost literally spent in the studio. He played on no less than three-dozen recordings including his own, and appeared on now-classic outings by Walter Bishop, Jr. (Coral Keys), Grover Washington, Jr. (Inner City Blues and Soul Box), Rusty Bryant (Fire Eater), and Bobbi Humphrey (Flute In).
In 1973, Muhammad signed to Kudu and issued Power of Soul, his signature recording and an undisputed, oft-sampled jazz-funk classic. Comprised of four long pieces, its lineup included Bob James (who arranged the set), Randy Brecker, Ralph MacDonald, Joe Beck, and Washington, Jr. (The Beastie Boys' Paul's Boutique opens with a lengthy sample of "Loran’s Dance," Power of Soul's final track.) Inarguably a jazz outing, Muhammad claimed in an interview that he was a funk drummer, not a jazz drummer. That same year, he participated in the bicoastal sessions for Brazilian guitarist Luiz Bonfa's historic Jacaranda. Arranged by Deodato, it is inarguably one of the greatest fusion sides of the '70s. Some of the other participants in these sessions included Airto, Stanley Clarke, Ray Barretto, John Tropea, and Brecker.
Given the critical reception of the album, the drummer's studio commitments increased. He played on Roberta Flack's signature hit single "Killing Me Softly" and its accompanying album, and played on dates led by Nat Adderley, Stanley Turrentine, Morgana King, Eric Gale, Merry Clayton, and James. In 1975 he recorded House of the Rising Sun. Arranged by David Matthews and Tom Harrell, and produced by Creed Taylor, it offered a unique hearing of the drummer's musically integrated vision. A funked-up reading of the traditional title track led forays into the jazzy soul of Ashford & Simpson ("Hard to Face the Music,") an adaptation of Chopin's Prelude No. 4 ("Theme for New York City"), the Neville Brothers' NOLA funk ("Hey Pocky A-Way"), and Brazilian fusion in Ary Barroso (“Baia”). It also included the modal funk of the oft-sampled "Sudan," co-composed by Muhammad and Harrell. The session's lineup included saxophonists David Sanborn, Bob Berg, and Ronnie Cuber, with Harrell on trumpet, Will Lee on bass, and guitars by Eric Gale and Beck. The album peaked at 51 on the R&B charts.
Muhammad continued working with Flack. He played on Feel Like Makin' Love, and branched out to work with other R&B artists including Gene McDaniels and Dexter Wansel. In 1977, Muhammad released Turn This Mutha Out, a then-controversial jazz-funk and disco outing that has since become a staple among DJs, rappers, and producers. It placed in the Top 200 and spent 19 weeks on the charts. There was little time to tour as a leader; Muhammad was intensely busy alternating between recording and live roles with bandleaders Houston Person, David "Fathead" Newman, and Hilton Ruiz.
In 1978 he doubled down on the disco-jazz fusion with Boogie to the Top, his final outing for Kudu, and used most of the cast from his previous outing. It peaked at 45 on the R&B Albums chart. Three other tracks made it into the Top 40 on the Dance Club charts. That same year, James enlisted Muhammad as his drummer for the historic 1978 multi-platinum-selling album Touchdown and its chart-topping "Angela" (the title theme for the television series Taxi). Muhammad ended the decade with Foxhuntin' for Fantasy, a further trip down the disco rabbit hole. He also worked with James on the chart-topping Lucky Seven and Mongo Santamaria on Red Hot.
In 1980 Muhammad issued Make It Count for Fantasy. A further disco and funk offering, it sank almost without a trace. That same year, however, marked his acclaimed return to jazz with the quartet offering Kabsha on Theresa, featuring Sanders, George Coleman, and Ray Drummond. The session came about because Muhammad, who had played on Sanders’ Journey to the One, impressed the label bosses and was subsequently offered a one-album deal. The drummer's and saxophonist's reunion went so well that they spent the remainder of the decade playing together on recordings such as Sanders's Live, Heart Is a Melody, Shukuru, and Africa. Muhammad was intensely active during the decade; he played on dozens of recordings and worked live with John Hicks and Johnny Griffin, as well as on dates by the Fania All-Stars, Johnny Lytle, Steve Turre, Doc Cheatham, Tony Coe, and Benny Bailey. In addition, the drummer remained a regular contributor to studio dates led by Bob James and Grover Washington, Jr.
In 1990, Muhammad released My Turn, a jazz-funk outing for Germany's Lipstick Records label. Recorded at Minot Studio in White Plains, New York, its lineup included guitarist Hiram Bullock, Brecker, James, and Washington, Jr. It also featured Muhammad's then-wife, singer/songwriter Sakinah Muhammad, on lead vocals. He also continued to work with the Hicks' trio in the studio and on the road. He joined pianist Randy Weston's studio band for the acclaimed late-career "Portraits" trilogy (Portraits of Thelonious Monk, Portraits of Duke Ellington, and Self Portraits: The Last Day), as well as The Spirits of Our Ancestors and Africa.
In 1995 Muhammad joined the Ahmad Jamal Trio and appeared on all three volumes of the pianist's The Essence trilogy, commencing a working relationship that would continue through 2008. During the remainder of the '90s, Muhammad remained a first-call session player, working on albums by John Scofield, David Murray, Jamaican guitarist Ernest Ranglin, and Sonny Rollins. In 1998 the drummer released his own Right Now for the independent Cannonball Records, accompanied by Gary Bartz, Coleman, Curtis Lundy, and Joe Lovano.
In 2001 Muhammad continued his work with Jamal and contributed to important outings such as Lovano's Flights of Fancy, Stefon Harris’ and Jacky Terrasson's Kindred, Bobby Broom's Modern Man, and Rodney Jones' Soul Manifesto. In 2004, Muhammad, guitarist Ximo Tebar, and organist Joey DeFrancesco issued the co-billed trio set The Champs for Sunnyside, his final date as a leader.
Muhammad's continued work with Jamal won him critical accolades on later albums, including After Fajr. He also played in Junior Mance's trio for the acclaimed Soul Eyes. In 2007, he joined young gun organist Wil Blades for Sketchy alongside guitarist Will Bernard. In 2008 Muhammad and bassist Cameron Brown joined trombonist Raul De Souza's studio band for Soul & Creation; the year also saw the release of his final appearance with Jamal on It's Magic. That year the drummer also became an actor; he played a prominent role in Leigh Richert's comedy My Brother's Keeper, and in 2012 appeared as himself in guerilla filmmaker Mike Redman’s provocative documentary on sampling culture, Sample: Not for Sale. Muhammad, who had been undergoing kidney dialysis for some time, passed away at home in New Orleans in July of 2014.
https://www.allmusic.com/artist/idris-muhammad-mn0000090389#biography
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Biografía de Thom Jurek
Como uno de los bateristas más sampleados de la música contemporánea, el enfoque pionero de Idris Muhammad de Nueva Orleans combinó ritmos sincopados, swing blues y saltos funky característicos con la segunda línea y los ritmos de desfile de NOLA. Su currículum incluye casi 500 créditos discográficos que abarcan todo el espectro del género. Comenzó su carrera profesional a los 15 años en 1954, tocando en "Mardi Gras Mambo" de Art Neville y los Hawketts, y a los 17 respaldó a Fats Domino en "Blueberry Hill."Pasó el resto de su adolescencia y principios de los veinte trabajando en la carretera con Sam Cooke y Curtis Mayfield & the Impressions. Muhammad realizó giras y / o grabó con un quién es quién de los artistas principales. Pasó largos períodos con Lou Donaldson, Pharoah Sanders y Ahmad Jamal. Trabajó en grabaciones importantes y tocó en giras con todos, desde Roberta Flack, Grover Washington, Jr.y Bob James hasta Hank Crawford, Sonny Stitt y Joe Lovano, solo por nombrar algunos. Su discografía líder incluye una serie de álbumes influyentes y muy muestreados, incluido el triunvirato Power of Soul de mediados de los 70 (universalmente considerado como un clásico del jazz-funk), House of the Rising Sun y Turn This Mutha Out. Durante los años 80 y 90 trabajó como acompañante de gira con John Hicks, Sanders, Nathan Davis y Washington, Jr.Su última cita como líder fue para The Champs on Sunnyside de 2004, co-facturado con el organista Joey DeFrancesco y el guitarrista Xo Tebar. Murió en 2014.
Muhammad nació como Leo Morris en el distrito 13 de Nueva Orleans. Sus cuatro hermanos también eran bateristas. A pesar de la influencia de la herencia, Muhammad afirmó en su autobiografía Inside the Music que los silbidos, ruidos, golpes de ritmos de la maquinaria en Buddy's Cleaners y la tienda de prensado al lado de la casa de la familia proporcionaron la inspiración, y la síncopa, para su firma de interpretación. Aparte de lo que aprendió de sus hermanos y amigos, Muhammad fue completamente autodidacta. Su familia era amiga de los Neville y esa relación ayudó a conseguir su primer concierto real: A los 15 años se sentó con Art Neville y los Hawketts en " Mardi Gras Mambo."El joven tocó con una gran cantidad de músicos en el vecindario y se quedó en el estudio de Cosimo Matassa para ver a artistas como el Profesor Longhair, Ernie K. Doe y muchos más trabajar su magia. A los 17 tocó en la sesión de grabación de Fats Domino que obtuvo "Blueberry Hill."
Hizo una gira con Sam Cooke a los 18 años, antes de irse a tocar detrás de Curtis Mayfield & the Impressions. En 1960, a los 21 años, dirigió el equipo detrás del cantante de R&B de Nueva Orleans Joe Jones en el éxito "You Talk Too Much."Trabajó con el guitarrista de Coasters, Sonny Forriest, y Su Orquesta en Tuff Pickin' para Decca en 1966; ese mismo año se convirtió al Islam y cambió su nombre a Idris Muhammad (aunque los sellos para los que grabó, incluidos Blue Note y Cadet, continuaron usando su nombre de nacimiento en los créditos durante algún tiempo). Ganó un concierto itinerante con el saxofonista Lou Donaldson en 1966 e hizo su debut discográfico con él en Blowing in the Wind for Cadet en 1967. Permaneció con la banda de Donaldson hasta 1973. Entre los muchos álbumes que grabaron juntos están Alligator Boogaloo, Mr. Shing-A-Ling, Midnight Creeper y Everything I Play Is Funky.
En 1968, Muhammad conoció a Galt MacDermot y ganó el puesto de batería en la banda de la casa por la producción original de Broadway de Hair, y posteriormente tocó y grabó con las bandas de estudio de MacDermot. En 1969, los nombres de Muhammad aparecieron en una gran cantidad de grabaciones significativas de Donald Byrd (Fancy Free), Paul Desmond (Summertime), George Benson (Tell It Like It Is, The Other Side of Abbey Road), Grant Green (Carryin' On), Charles Earland (¡Charla Negra!), y Pharoah Sanders (Joyas del pensamiento).
En 1970, Muhammad firmó como baterista de house para Prestige Records. Tocó en grabaciones seminales ese año de Rusty Bryant y Gene Ammons y continuó trabajando con artistas de Blue Note, incluido Horace Silver. ¡En 1971 Muhammad lanzó su debut como líder, Black Rhythm Revolution!, con un septeto que incluía al pianista Harold Mabern y Melvin Sparks. Lo siguió unos meses después con Peace and Rhythm con Ron Carter al bajo. Durante esos dos años, la vida de Muhammad transcurrió casi literalmente en el estudio. Tocó en no menos de tres docenas de grabaciones, incluida la suya propia, y apareció en salidas ahora clásicas de Walter Bishop, Jr. (Coral Keys), Grover Washington, Jr. (Inner City Blues y Soul Box), Rusty Bryant (Fire Eater) y Bobbi Humphrey (Flute In).
En 1973, Muhammad firmó con Kudu y publicó Power of Soul, su grabación insignia y un clásico indiscutible del jazz-funk muestreado con frecuencia. Compuesta por cuatro piezas largas, su formación incluía a Bob James (quien arregló el set), Randy Brecker, Ralph MacDonald, Joe Beck y Washington, Jr. (Paul's Boutique de los Beastie Boys abre con una larga muestra de" Loran's Dance", la pista final de Power of Soul.) Indiscutiblemente una salida de jazz, Muhammad afirmó en una entrevista que era un baterista de funk, no un baterista de jazz. Ese mismo año, participó en las sesiones bicoastal para Historic Jacaranda del guitarrista brasileño Luiz Bonfa. Arreglado por Deodato, es indiscutiblemente uno de los mejores lados de fusión de los años 70. Algunos de los otros participantes en estas sesiones incluyeron a Airto, Stanley Clarke, Ray Barretto, John Tropea y Brecker.
Dada la recepción crítica del álbum, los compromisos de estudio del baterista aumentaron. Tocó en el sencillo característico de Roberta Flack "Killing Me Softly" y su álbum acompañante, y tocó en fechas dirigidas por Nat Adderley, Stanley Turrentine, Morgana King, Eric Gale, Merry Clayton y James. En 1975 grabó House of the Rising Sun. Arreglado por David Matthews y Tom Harrell, y producido por Creed Taylor, ofreció una audición única de la visión musicalmente integrada del baterista. Una lectura divertida de la canción principal tradicional condujo a incursiones en el alma jazzística de Ashford & Simpson ("Hard to Face the Music"), una adaptación del Preludio No. 4 de Chopin ("Tema para la ciudad de Nueva York"), NOLA funk de los Hermanos Neville ("Hey Pocky A-Way") y la fusión brasileña en Ary Barroso ("Baia"). También incluyó el funk modal de la frecuentemente muestreada "Sudan", co-compuesta por Muhammad y Harrell. La alineación de la sesión incluyó a los saxofonistas David Sanborn, Bob Berg y Ronnie Cuber, con Harrell a la trompeta, Will Lee al bajo y las guitarras de Eric Gale y Beck. El álbum alcanzó el puesto 51 en las listas de R&B.
Muhammad continuó trabajando con Flack. Tocó en Feel Like Makin ' Love y se diversificó para trabajar con otros artistas de R & B, incluidos Gene McDaniels y Dexter Wansel. En 1977, Muhammad lanzó Turn This Mutha Out, una entonces controvertida salida de jazz-funk y disco que desde entonces se ha convertido en un elemento básico entre DJs, raperos y productores. Se colocó en el Top 200 y pasó 19 semanas en las listas. Había poco tiempo para hacer giras como líder; Muhammad estaba intensamente ocupado alternando entre grabaciones y roles en vivo con los líderes de la banda Houston Person, David "Fathead" Newman y Hilton Ruiz.
En 1978 se duplicó en la fusión disco-jazz con Boogie to the Top, su última salida para Kudu, y usó la mayor parte del elenco de su salida anterior. Alcanzó el puesto 45 en la lista de álbumes de R & B. Otras tres pistas llegaron al Top 40 en las listas de Clubes de Baile. Ese mismo año, James reclutó a Muhammad como su baterista para el histórico álbum de ventas multiplatino de 1978 Touchdown y su éxito en las listas "Angela" (el tema principal de la serie de televisión Taxi). Muhammad terminó la década con Foxhunting for Fantasy, un nuevo viaje por la madriguera del conejo disco. También trabajó con James en Lucky Seven, que encabezó las listas, y con Mongo Santamaría en Red Hot.
En 1980, Muhammad emitió Make It Count for Fantasy. Una oferta más de disco y funk, se hundió casi sin dejar rastro. Ese mismo año, sin embargo, marcó su aclamado regreso al jazz con the quartet offering Kabsha on Theresa, con Sanders, George Coleman y Ray Drummond. La sesión se produjo porque Muhammad, que había tocado en Journey to the One de Sanders, impresionó a los jefes del sello y posteriormente se le ofreció un contrato de un álbum. La reunión del baterista y el saxofonista fue tan bien que pasaron el resto de la década tocando juntos en grabaciones como Sanders Live, Heart Is a Melody, Shukuru y Africa. Muhammad estuvo intensamente activo durante la década; tocó en docenas de grabaciones y trabajó en vivo con John Hicks y Johnny Griffin, así como en fechas de The Fania All-Stars, Johnny Lytle, Steve Turre, Doc Cheatham, Tony Coe y Benny Bailey. Además, el baterista siguió siendo un colaborador habitual de las fechas de estudio dirigidas por Bob James y Grover Washington, Jr.
En 1990, Muhammad lanzó My Turn, una salida de jazz-funk para el sello Lipstick Records de Alemania. Grabado en Minot Studio en White Plains, Nueva York, su formación incluía al guitarrista Hiram Bullock, Brecker, James y Washington, Jr.También contó con la entonces esposa de Muhammad, la cantautora Sakinah Muhammad, en la voz principal. También continuó trabajando con el trío de Hicks en el estudio y en la carretera. Se unió a la banda de estudio del pianista Randy Weston para la aclamada trilogía "Retratos" de finales de su carrera (Retratos de Thelonious Monk, Retratos de Duke Ellington y Autorretratos: El último día), así como Los Espíritus de Nuestros Antepasados y África.
En 1995 Muhammad se unió al Trío Ahmad Jamal y apareció en los tres volúmenes de la trilogía The Essence del pianista, comenzando una relación de trabajo que continuaría hasta 2008. Durante el resto de los años 90, Muhammad siguió siendo un músico de sesión de primera llamada, trabajando en álbumes de John Scofield, David Murray, el guitarrista jamaicano Ernest Ranglin y Sonny Rollins. En 1998 el baterista lanzó su propio Right Now para el sello independiente Cannonball Records, acompañado por Gary Bartz, Coleman, Curtis Lundy y Joe Lovano.
En 2001 Muhammad continuó su trabajo con Jamal y contribuyó a importantes salidas como Flights of Fancy de Lovano, Kindred de Stefon Harris y Jacky Terrasson, Modern Man de Bobby Broom y Soul Manifesto de Rodney Jones. En 2004, Muhammad, el guitarristaimoo Tebar y el organista Joey DeFrancesco emitieron el trío co-facturado set The Champs para Sunnyside, su última cita como líder.
El trabajo continuo de Muhammad con Jamal le valió elogios de la crítica en álbumes posteriores, incluido After Fajr. También tocó en el trío de Junior Mance para el aclamado Soul Eyes. En el 2007, se unió al organista de young gun, Wil Blades, para Sketchy junto al guitarrista Will Bernard. En 2008, Muhammad y el bajista Cameron Brown se unieron a la banda de estudio del trombonista Raúl De Souza for Soul & Creation; ese año también vio el lanzamiento de su última aparición con Jamal en It's Magic. Ese año el baterista también se convirtió en actor; desempeñó un papel destacado en la comedia de Leigh Richert My Brother's Keeper, y en el 2012 apareció como él mismo en el provocativo documental del cineasta guerrillero Mike Redman sobre la cultura del muestreo, Sample: Not for Sale. Muhammad, que se había sometido a diálisis renal durante algún tiempo, falleció en su casa de Nueva Orleans en julio de 2014.
https://www.allmusic.com/artist/idris-muhammad-mn0000090389#biography
Black Rhythm Revolution!
1 - Express Yourself 5:23
2 - Soulful Drums 4:38
3 - Super Bad 5:25
4 - Wander 11:08
5 - By The Red Sea 8:51
- Peace And Rhythm
- Peace And Rhythm Suite
6 - Peace 11:54
7 - Rhythm 5:55
8 - Brother You Know You're Doing Wrong 5:35
9 - Don't Knock My Love 4:50
10 - I'm A Believer 5:16
Credits:
Arranged By – Clarence Thomas (tracks: 6 to 10)
Art Direction – Phil Carroll
Bass – Ron Carter (tracks: 6 to 10)
Bass [Fender] – Jimmy Lewis (2) (tracks: 1 to 5, 8 to 10)
Bells – Clarence Thomas (tracks: 6, 7)
Congas – Buddy Caldwell
Drums – Idris Muhammad
Electric Piano – Harold Mabern (tracks: 1 to 5), Kenny Barron (tracks: 6, 7)
Engineer – Rudy Van Gelder
Flute – Clarence Thomas (tracks: 6 to 10)
Guitar – Alan Fontaine (tracks: 8 to 10), Melvin Sparks (tracks: 1 to 5, 8 to 10)
Liner Notes – Bob Porter
Percussion, Timbales – Angel Allende (tracks: 6, 7)
Photography By – Phil Bray
Remastered By – Phil De Lancie
Supervised By – Bob Porter
Tenor Saxophone, Soprano Saxophone – Clarence Thomas
Trumpet – Virgil Jones
Vibraphone – Willie Bivins* (tracks: 6, 7)
Vocals – Sakinah Muhammad (tracks: 8, 10)
Notes:
Recorded in Englewood Cliffs, NJ; November 2, 1970 (#1-5) and September 13 (#8-10) and 20 (#6, 7) 1971.
Remastering, 1996 (Fantasy Studios, Berkeley)
# 1-5 originally released as Black Rhythm Revolution! (Prestige 10005) ;
# 6-10 as Peace and Rhythm (Prestige 10036).
Label: Prestige – PRCD-24170-2
Series: Legends Of Acid Jazz
Country: US
Released: 1996
Genre: Electronic, Jazz
Style: Jazz-Funk, Acid Jazz
https://www.discogs.com/release/4153618-Idris-Muhammad-Legends-Of-Acid-Jazz
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