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Editors’ Notes

With Ubiquity, Ayers explored the limits of his sound and the full range of his taste in material. His boldest maneuver was to feed his vibraphone through a distortion pedal. The sounds on “Pretty Brown Skin” and “The Fuzz” were enough to send traditional jazz critics running for the hills. In retrospect, it sounds amazing—something of a cross between a really dirty clavinet and Jimi Hendrix’s unruly Stratocaster. It was ugly and aggressive but also tapped into the vibraphone's African roots. Like many of his peers, Ayers was interested in the theme of freedom and tried to embody the concept in his creative choices. The warm, milky funk of “Raindrops Keep Falling on My Head,” “Love," and “Painted Desert” reflect the growing changes in African-American culture, which was becoming more urbane with each passing year. Meanwhile, the Randy Newman collaboration “He Gives Us All His Love” proved that Ayers’ tastes were far from orthodox. No matter what he attempted, he always made it sleek and stylish.

Customer Reviews

Finally! This is a Masterpiece... classic Roy!

So pleasing to have this digitally released. Completely wonderful album! ( and iTunes I am loving the new 256 kb unprotected aac format!)


Born: September 10, 1940 in Los Angeles, CA

Genre: Jazz

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972's "Move to Groove" by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song "Everybody Loves the Sunshine" has been frequently...
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Ubiquity, Roy Ayers
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