Juju & Jordash Music Playlist: Under the Infuence

The instinctual force that binds Gal Aner and Jordan Czamanski began to blossom in jazz-standard jamming sessions throughout the 90s, with Aner on guitar duty and Czamanski on keys. Given their exposure to the free and funkier modes of jazz, these sessions proved to be a crucial gestation period for the Juju & Jordash we know today, in that it allowed them to develop a common ground of what a reactionary live performance should feel like.

Trading in the instruments for synths and drum machines by the turn of the millennium, the sound they developed by the mid-00s nods frequently towards Metroplex-era techno, but it is by no means contained by it – by no means whatsoever. Instead, the duo have an unrivalled ear for mazy soundscapes that seem able to morph into a delicate refrain, vivid arpeggio, or formidable bassline at any time. It’s this versatility that makes it virtually impossible to predict what’s going to happen in a track more than 16 bars ahead, particularly live, where their improvisatory nature is given centre stage.

Here, though, Aner and Czamanski pit the finer nuances of their respective tastes against each other to form a titillating collage of jazz, techno, dub and krautrock.

Jordash picks:

Miles Davis – Bitches Brew [Columbia, 1970]
When I first heard this album, I was already into a bunch of free (or semi-free) jazz stuff, especially Ornette Coleman and Don Cherry albums; Bitches Brew sounded different, though. Production-wise it’s closer to the rock music I was into at the time: dense, dark, and it hits you straight away. You soon fall into an abyss of funky-as-hell reverb grooves. It’s the Miles Davis record that opened my mind to a new world of genre-defying possibilities, creative production and editing possibilities, as well as a big ‘fuck you’ to silly jazz conventions of the late 60s. I think Teo Macero’s production and editing approach left a long lasting impression on me, and the idea that rigid structure and free-flowing musicality are not mutually exclusive concepts. One can be free and funky, notated and improvised.

Model 500 – Sonic Sunset [R&S, 1994]
Technically a double EP and not an album but whatever… this is the deepest of the deep. Definitely one of my favourite things; I’m listening to it again right now. Funky-as-hell beats (it sometimes sounds like Tony Williams is drumming), hypnotic chords, perfect jazzy synth leads, wonderful soulful music that tears you apart and pulls you in all directions. The vocals are amazingly simple but bring the whole tune together, and make me want to be a better person while punching somebody in the face. So amazing. Moritz von Oswald (who I believe mixed the EP) makes everything sound like you’re submerged in the best swimming pool in the world. Also, Juan Atkins complimented me on my Funkadelic T-shirt once, so I’m good.

Lee ‘Scratch’ Perry – Arkology [Island, 1997]
Probably one of the only good reasons to own a CD player. If you like the sound of 70s dub, this is what you need, and it’s probably the best introduction ever for somebody who asks ‘What’s dub?’ Just buy it. Stop being silly. It’s probably my favourite compilation, just a slight shame that the booklet insert is CD-sized.

Can – Tago Mago [United Artists, 1971]
I’m not one to remember song lyrics, so the reversed vocals straight off the bat on Oh Yeah got me into Tago Mago right away. How is this weird German drummer so funky and loopy? Why do the guitars sound so dope? What’s up with the reversed cymbals? What’s up with the sharp editing and obvious cuts? LSD, that’s probably it… but for my young clear-minded head it just sounded super subversive and real. Especially since, at the time, all the cool kids were into typical distorted guitar stuff and the radio was playing only Stock-Aitken-Waterman. For me, this was like a cooler, less formulaic version of Sonic Youth… and made like 15 years earlier.

Juju picks:

Miles Davis – Sorcerer [Columbia, 1967]
My favourite album by one of the best jazz groups of all time. Beautiful compositions by Wayne Shorter and Herbie Hancock are taken to the next level by stellar group improvisation. The five musicians really sound as one on this recording, and deliver pulsating, dynamic and deeply touching music. Tony Williams is a beast on the drums here (as per usual) whereas Miles is like the cherry on top.

Grace Jones – Warm Leatherette [Island, 1980]
Nightclubbing, Living My Life and Slave to the Rhythm were all masterpieces, but this album was the first of the 80s era Grace Jones records that I'm really addicted to. Great songs, powerful and, at times, mysterious. The vocal performance and above all an incredible production highlight the amazing rhythm section of Wally Badarou and Sly & Robbie for the ultimate groove.

Jeff Mills – Live at the Liquid Room [React, 1995]
Jeff Mills is one of my biggest heroes and I LOVE his music and production. It was hard to choose just one of his albums, so I decided to choose this live 1996 recording of him in Tokyo. It was one of the first techno DJ sets I had available to listen to at home, and it left a huge impact on me for sure. There are a ton of Mills records in this mix and, back then, in introduced me to a few other great producers. The tracks are pounding and change every minute or two in classic Mills fashion, with a couple of spaced-out strings breaks for good measure. It’s a space shuttle to techno heaven.

Thomas Dolby – The Flat Earth [EMI, 1984]
An incredible album, which goes way beyond the synth-pop tag… Dolby's vocals are very genuine, even heart-breaking, in some of the songs, and the writing and arrangements are very elaborate and surprising. The title song, as well as Screen Kiss and Mulu the Rain Forest, are some of my favourite songs ever. The production is simply breathtaking. All the synth are so varied and there is even an occasional 808 here and there! I always go back to this.