Jazz IA — piano, sax, contrebasse, swing et improvisation.
tempo moyen 99 BPM (de 68 à 160) · 46 titres · 27 instrumentaux · énergie moyenne 36 %
Les consignes réellement utilisées pour produire les 46 titres Jazz du catalogue, relevées sur les morceaux eux-mêmes.
lo-fi hip hop, vinyl crackle, jazzy piano chops, mellow swung drums, warm bass, nostalgic study mood, 85 BPM — 17 titres, dont « Hidden Passage »instrumental jazz piano trio, acoustic grand piano with rich rootless voicings and long flowing improvised lines, upright double bass walking with warm woody tone and audible finger noise, drums played with brushes and light sticks on a small kit with feathered ride cymbal, relaxed swing feel with natural push and pull, occasional rubato passages out of tempo, ballad and medium swing tempos alternating, intimate close-miked studio room with natural ambience, head then solos then head structure, tasteful interplay between all three instruments, entirely instrumental with no vocals, no synths, no programmed drums, medium swing, piano stating the head, walking bass solo in the middle — 9 titres, dont « Three Windows »vocal jazz, small club quartet, upright double bass walking with woody tone and audible finger noise, drums played with brushes on a warm snare and ride cymbal feathering, acoustic grand piano comping with rich rootless voicings and tasteful fills, muted trumpet or tenor saxophone taking one chorus in the middle, relaxed swing feel with a light triplet lilt, warm baritone male voice phrasing behind the beat with natural vibrato, intimate close-miked nightclub ambience with room tone, occasional rubato intro out of tempo, no synths, no programmed drums, no distortion, slow closing ballad, rubato ending, long sustained final chord on the piano — 9 titres, dont « One For The Bartender »Unaccompanied baritone singing alone for the first two lines, breath audible in the room, then fingerpicked nylon-string guitar slips underneath on the third line. Hushed modal jazz chanson, 68 BPM, nylon guitar the main instrument, very close and dry with cathedral reverb only on the tail of each phrase, slow build, no full kit, just soft mallets on a floor tom in the last section, energy very low. Vibraphone appears only in the bridge as sparse single notes; muted trumpet on the final line. Male voice, late thirties, warm smoky baritone, conversational, half-spoken then sustained, light natural Parisian French diction, no vibrato showmanship. Small club acoustics, short plate reverb, tape warmth, voice forward and dry. No vibraphone intro, no orchestral strings swell, no aggressive drums, no autotune. — 1 titre, dont « Je ne suis pas encore né »Vocals from the very first word, no instrumental intro, only a fingerstyle upright bass walking beside the voice, audible breath and string buzz. Intimate acoustic jazz ballad, 82 BPM, upright bass as main instrument, dry close-mic small room, verse-first, brushed drums enter late on the second verse, ends on bass alone, major key, energy low. Vibraphone enters only at the second chorus, single soft notes. Male voice, late thirties, warm smoky baritone, close and conversational, half-spoken in verses, sustained on chorus lines, light natural Parisian French diction, no vibrato showmanship. Small club acoustics, short plate reverb, warm analog tape saturation, voice forward and dry against a darker background. No muted trumpet, no vibraphone intro, no distortion, no aggressive drums, no autotune. — 1 titre, dont « L'onde pure »Acoustic jazz piano alone for four bars, pedal noise and chair creak left in, left-hand ostinato settling before the voice arrives. Modal acoustic funk-jazz, 102 BPM, piano as main instrument with brushed kit and double bass, modern jazz room with natural decay and minimal processing, verse-first, two bridges, no final chorus, mid energy and conversational. Congas enter at the second verse; horns only in unison on the final tag; clavinet absent. Light tenor man leads breathy and slightly flat at phrase ends, smoky alto woman answering low and half-detached, close-mic breath and lips, four-part soul choir in thirds. Wide glossy mix, deep sub, dry forward vocals over long plate tails, faint crowd bleed, tape hiss. No distortion, no rap verses, no shouting, no horn intro. — 1 titre, dont « The Uncut Wristband »Brushed drum groove alone for two bars, ride pattern loose and hissy, then upright bass and dark piano chords fall in. Tape-warped minor-key jazz noir groove, 104 BPM, brushed drum kit as main instrument, wider and darker than the rest of the record, groove-first with the voice entering late, long instrumental outro thinning to a single cymbal, mid energy. Muted trumpet enters at the last chorus and takes the outro alone. Male voice, late thirties, warm smoky baritone, close and conversational, half-spoken in verses, sustained on chorus lines, light natural Parisian French diction, no vibrato showmanship. Small club acoustics, short plate reverb, analog tape saturation, room bleed, voice forward and dry. No vibraphone, no distortion, no EDM drops, no autotune. — 1 titre, dont « Sans autre forme de procès »Whole band on beat one, no build-up: filtered Rhodes electric piano comping hard chords with upright bass and snappy kit already locked in. Uptempo minor-key club jazz with a funk edge, 126 BPM, Rhodes as main instrument, live room with mic bleed, punchy and slightly compressed, starts on the chorus then verse, stop-time break before the last chorus, high energy. Muted trumpet stabs enter on the pre-chorus. Male voice, late thirties, warm smoky baritone, close and conversational, half-spoken in verses, sustained on chorus lines, light natural Parisian French diction, no vibrato showmanship. Small club acoustics, short plate reverb, analog tape saturation, voice always forward and dry. No vibraphone, no distortion, no EDM drops, no rap, no autotune. — 1 titre, dont « Tu troubles mon breuvage »