Album: Mid Spiral by BADBADNOTGOOD (2024)
Genre: Jazz
Record Label: XL Recordings
Format: Album

Description: Collaboration is a strong point for the Toronto jazz trio, and Mid Spiral has a number of guests in addition to core members Al Sow (drums), Chester Hansen (bass) and Leland Whitty (winds). The double album combines three volumes, in fact—Chaos, Order, Growth—each of which was rolled out separately during 2024. It’s a feast of instrumental grooves, with lush vintage sounds and savvy playing from keyboardist Felix Fox-Pappas, along with varied contributions from trumpeter Kaelin Murphy, percussionist Juan Carlos Medrano and guitarist Tyler Lott.

BBNG create a vibe while generating musical interest, leaving open space for improvisation but also adhering to structure and arrangement as they stitch together psychedelic retro-soul, Latin and lounge, slow jams and locked-in funk with ambient textures, hooky melodies and sly shifting tempos. “Playgroup” is the most straightforward jazz track, contrasting with the experimental synth tones and crunchy guitar chords of “Mid Spiral”, the acoustic guitar and grungy bass of “Last Laugh”, the subtle organ tones of “Audacia” and the dreamy waltz feel of “Celestial Hands”.

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2020s, Album, XL Recordings

Collaboration is a strong point for the Toronto jazz trio, and Mid Spiral has a number of guests in addition to core members Al Sow (drums), Chester Hansen (bass) and Leland Whitty (winds). The double album combines three volumes, in fact—Chaos, Order, Growth—each of which was rolled out separately during 2024. It’s a feast of instrumental grooves, with lush vintage sounds and savvy playing from keyboardist Felix Fox-Pappas, along with varied contributions from trumpeter Kaelin Murphy, percussionist Juan Carlos Medrano and guitarist Tyler Lott.

BBNG create a vibe while generating musical interest, leaving open space for improvisation but also adhering to structure and arrangement as they stitch together psychedelic retro-soul, Latin and lounge, slow jams and locked-in funk with ambient textures, hooky melodies and sly shifting tempos. “Playgroup” is the most straightforward jazz track, contrasting with the experimental synth tones and crunchy guitar chords of “Mid Spiral”, the acoustic guitar and grungy bass of “Last Laugh”, the subtle organ tones of “Audacia” and the dreamy waltz feel of “Celestial Hands”.

Album: IV by BADBADNOTGOOD (2016)
Genre: Jazz
Record Label: Innovative Leisure
Format: Album

Description: The most unexpected story of jazz in the 2010s has been the way artists like Kamasi Washington, Makaya McCraven and BADBADNOTGOOD definitively obliterated the imaginary line separating the genre from pop music. Where the latter’s early releases covered songs by Tyler, The Creator, My Bloody Valentine and James Blake, 2016’s IV—the Toronto group’s first as a quartet—proposes an even more organic fusion of styles, following productions for Earl Sweatshirt and Danny Brown. 
Part of their genius is collaborative: Future Islands’ Samuel T. Herring turns the understated “Time Moves Slow” into a showstopping soul ballad; Chicago MC Mick Jenkins gives the group an outlet for its hip-hop sensibilities on the hazy “Hyssop of Love”; and Colin Stetson’s bellowing baritone sax gives a muscular shove to “Confessions, Pt II”, inspiring some of the group’s heaviest playing. But BADBADNOTGOOD are just as captivating on their own, whether it’s the wistful retro-futurism of “Speaking Gently”, with its echoes of Broadcast and Stereolab, or the searing post-bop of “IV”, which barrels from the hard-hitting head through a succession of mercurial moods, landing on an exquisite comedown of a sax solo.

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2010s, Album, Innovative Leisure

Additional Context: Based on 3 votes

The most unexpected story of jazz in the 2010s has been the way artists like Kamasi Washington, Makaya McCraven and BADBADNOTGOOD definitively obliterated the imaginary line separating the genre from pop music. Where the latter’s early releases covered songs by Tyler, The Creator, My Bloody Valentine and James Blake, 2016’s IV—the Toronto group’s first as a quartet—proposes an even more organic fusion of styles, following productions for Earl Sweatshirt and Danny Brown. 
Part of their genius is collaborative: Future Islands’ Samuel T. Herring turns the understated “Time Moves Slow” into a showstopping soul ballad; Chicago MC Mick Jenkins gives the group an outlet for its hip-hop sensibilities on the hazy “Hyssop of Love”; and Colin Stetson’s bellowing baritone sax gives a muscular shove to “Confessions, Pt II”, inspiring some of the group’s heaviest playing. But BADBADNOTGOOD are just as captivating on their own, whether it’s the wistful retro-futurism of “Speaking Gently”, with its echoes of Broadcast and Stereolab, or the searing post-bop of “IV”, which barrels from the hard-hitting head through a succession of mercurial moods, landing on an exquisite comedown of a sax solo.

Album: Talk Memory by BADBADNOTGOOD (2021)
Genre: Jazz
Record Label: XL Recordings
Format: Album

Description: The identity of Toronto fusionists BADBADNOTGOOD has largely been shaped by the company they keep. This is, after all, a group with the stylistic fluidity and instrumental dexterity to bring Ghostface Killah’s ’70s-funk fantasias to life, turn up the heat on Charlotte Day Wilson’s slow-burning R&B ballads and allow Future Islands’ Samuel T. Herring to channel a past life as a cabaret soul singer. But in contrast to 2016’s star-studded IV, BADBADNOTGOOD’s Talk Memory is conspicuously lacking in vocal features. Rather, the group’s first album in five years is an all-instrumental affair that puts the focus squarely on their most crucial quality: the ever-present tension between compositional sophistication and freaked-out improvisation. That said, Talk Memory still boasts the sort of enviable guest list only BADBADNOTGOOD could assemble. They built a dream team of instrumentalists—including Brazilian composer Arthur Verocai, ambient icon Laraaji, electro-psych voyager Floating Points and Kendrick Lamar saxophonist Terrace Martin—to infuse their grooves with a cinematic grandeur (and also help fill the space vacated by keyboardist Matty Taveres, who left the band in 2019). But while the album’s lustrous string arrangements and psychedelic harp flourishes speak to the group’s ever-expanding musical vision, Talk Memory is also fuelled by a primal energy that’s more conducive to head-banging than chin-stroking—when bassist Chester Hansen activates his fuzz pedal and starts shredding on the colossal nine-minute opener “Signal From the Noise”, BBNG practically resemble a free-jazz Death From Above 1979. “We come from a background of listening to a lot of rock music when we were younger,” Hansen tells Apple Music. “When we started to play our instruments, [saxophonist] Leland [Whitty] was learning Iron Maiden solos, and [drummer] Alex [Sowinski] was playing a bunch of Rush and Led Zeppelin, so it's nice to be able to incorporate some of those elements on this record.” Here, Hansen talks us through his memories of Talk Memory, track by track. 
“Signal From the Noise”
“In the years of playing shows [after IV], we did a lot of improv stuff, and the intro to this song was a bass interlude we did on stage—I would essentially play stuff that sounded like this. And then when we were writing stuff for this album, we wanted to build it into a full song. So we added the arrangements and the bass solo, and our engineer Nic [Jodoin] made a tape loop that he faded in over the end. We also had some additional production from Floating Points at the very end to make it even more psychedelic.” 
“Unfolding (Momentum 73)”
“I think the idea behind this title was that the human body is 73% water. And the 'unfolding' part refers to the fact that the main sax part sounds like it's actually unfolding. Leland had the first arpeggio that you hear on sax, and we wanted to build a song around that. We finished the song right before the pandemic, and then, over the last year, we sent it to Laraaji, who's a legendary ambient artist. He has vocal songs but he also plays zither and other instruments, so we thought it'd be a cool twist to get him to play zither on this.” 
“City of Mirrors”
“A lot of our favourite records have incredible string arrangements on them, but logistically it's sometimes difficult to work them in. We've been really lucky in the past because Leland plays violin and viola, so previously, we'd just record him a hundred times stacked on top of each other to make an orchestral sound. But for this album, we were able to reach out to Arthur Verocai, who's a massive influence on us and a true legend. So we sent him every song and then he sent back all the string arrangements that you hear, which really took everything to the next level.” 
“Beside April”
“Mahavishnu Orchestra was a big influence on this song. In the past, we haven't really had a lot of songs with riffs like this, so it's cool to be able to include some stuff that has a lot of riffs. It made sense for us to release this as a single before the album came out, because it has a pretty epic energy. Karriem Riggins played on this with us. He came by when we were running through it in the studio, and liked how it sounded. He's obviously an amazing drummer, but for this one, he was like, 'Just give me a snare drum!' So Alex played the drum kit, and then Karriem had a snare drum with brushes and we just set up a mic for him. He was making sounds that I had never heard from just a single drum before. It was really amazing.” 
“Love Proceeding”
“I was out of town, and Leland and Alex got together and jammed an early version of this. One interesting thing about this album is that it's the first thing we've done with just the three of us, because Matty—our keyboard player and founding member of the band—went his own way a couple years ago, so this is us trying to figure out what we're going to do, and if we can cover all the parts. For this one, Leland played guitar for the first half and then ran over to the sax to play the solo, and we did it like all in one take, which was pretty fun.” 
“Timid, Intimidating”
“Another difference about this album in general is that we would bring in stuff that we had written individually and take it to the next level with the rest of the group, instead of being there for every part of the writing process all together. I was trying to write songs that had crazy riffs in them, basically. I had a really funny MIDI demo version of this that got deleted, so I had to remember it and teach it to the other guys. And then it turned into what you hear. It was just a really good framework for a couple of solos. It has a Steely Dan vibe now that I hear it—I wasn't really thinking of them at the time, but they're a big influence on us." 
“Beside April (Reprise)”
“Before we had recorded the original version of 'Beside April', I was visiting my mom and I was playing on her piano and came up with this alternate version of it. We had some extra studio time one day, so I just recorded the piano part and then Verocai did his thing on it.” 
“Talk Meaning”
“It was one of the last days in the studio and Terrace Martin came by for a couple of hours. We had run into him a lot on the road, but never got to do anything together in the studio. He was very generous with his time. Leland and Alex wrote the main melody and the chords for this, and then we wanted to play it in a jazz context, so we just showed Terrace the melody. This song had the most old-school mic set-up: There's maybe a couple mics on the drums, one mic on the bass, and then one mic for both saxophones. So Leland and Terrace were both standing behind a baffle, and they had to move [towards the mic] and back depending on who was taking the lead. Then we added some keyboards and Verocai put an amazing arrangement on it. And for the finishing touch, we sent it to Brandee Younger, who's an amazing harpist, and she really took it to the next level and played a beautiful outro. It's really the most in-depth collaboration on this record.”

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2020s, Album, XL Recordings

The identity of Toronto fusionists BADBADNOTGOOD has largely been shaped by the company they keep. This is, after all, a group with the stylistic fluidity and instrumental dexterity to bring Ghostface Killah’s ’70s-funk fantasias to life, turn up the heat on Charlotte Day Wilson’s slow-burning R&B ballads and allow Future Islands’ Samuel T. Herring to channel a past life as a cabaret soul singer. But in contrast to 2016’s star-studded IV, BADBADNOTGOOD’s Talk Memory is conspicuously lacking in vocal features. Rather, the group’s first album in five years is an all-instrumental affair that puts the focus squarely on their most crucial quality: the ever-present tension between compositional sophistication and freaked-out improvisation. That said, Talk Memory still boasts the sort of enviable guest list only BADBADNOTGOOD could assemble. They built a dream team of instrumentalists—including Brazilian composer Arthur Verocai, ambient icon Laraaji, electro-psych voyager Floating Points and Kendrick Lamar saxophonist Terrace Martin—to infuse their grooves with a cinematic grandeur (and also help fill the space vacated by keyboardist Matty Taveres, who left the band in 2019). But while the album’s lustrous string arrangements and psychedelic harp flourishes speak to the group’s ever-expanding musical vision, Talk Memory is also fuelled by a primal energy that’s more conducive to head-banging than chin-stroking—when bassist Chester Hansen activates his fuzz pedal and starts shredding on the colossal nine-minute opener “Signal From the Noise”, BBNG practically resemble a free-jazz Death From Above 1979. “We come from a background of listening to a lot of rock music when we were younger,” Hansen tells Apple Music. “When we started to play our instruments, [saxophonist] Leland [Whitty] was learning Iron Maiden solos, and [drummer] Alex [Sowinski] was playing a bunch of Rush and Led Zeppelin, so it's nice to be able to incorporate some of those elements on this record.” Here, Hansen talks us through his memories of Talk Memory, track by track. 
“Signal From the Noise”
“In the years of playing shows [after IV], we did a lot of improv stuff, and the intro to this song was a bass interlude we did on stage—I would essentially play stuff that sounded like this. And then when we were writing stuff for this album, we wanted to build it into a full song. So we added the arrangements and the bass solo, and our engineer Nic [Jodoin] made a tape loop that he faded in over the end. We also had some additional production from Floating Points at the very end to make it even more psychedelic.” 
“Unfolding (Momentum 73)”
“I think the idea behind this title was that the human body is 73% water. And the 'unfolding' part refers to the fact that the main sax part sounds like it's actually unfolding. Leland had the first arpeggio that you hear on sax, and we wanted to build a song around that. We finished the song right before the pandemic, and then, over the last year, we sent it to Laraaji, who's a legendary ambient artist. He has vocal songs but he also plays zither and other instruments, so we thought it'd be a cool twist to get him to play zither on this.” 
“City of Mirrors”
“A lot of our favourite records have incredible string arrangements on them, but logistically it's sometimes difficult to work them in. We've been really lucky in the past because Leland plays violin and viola, so previously, we'd just record him a hundred times stacked on top of each other to make an orchestral sound. But for this album, we were able to reach out to Arthur Verocai, who's a massive influence on us and a true legend. So we sent him every song and then he sent back all the string arrangements that you hear, which really took everything to the next level.” 
“Beside April”
“Mahavishnu Orchestra was a big influence on this song. In the past, we haven't really had a lot of songs with riffs like this, so it's cool to be able to include some stuff that has a lot of riffs. It made sense for us to release this as a single before the album came out, because it has a pretty epic energy. Karriem Riggins played on this with us. He came by when we were running through it in the studio, and liked how it sounded. He's obviously an amazing drummer, but for this one, he was like, 'Just give me a snare drum!' So Alex played the drum kit, and then Karriem had a snare drum with brushes and we just set up a mic for him. He was making sounds that I had never heard from just a single drum before. It was really amazing.” 
“Love Proceeding”
“I was out of town, and Leland and Alex got together and jammed an early version of this. One interesting thing about this album is that it's the first thing we've done with just the three of us, because Matty—our keyboard player and founding member of the band—went his own way a couple years ago, so this is us trying to figure out what we're going to do, and if we can cover all the parts. For this one, Leland played guitar for the first half and then ran over to the sax to play the solo, and we did it like all in one take, which was pretty fun.” 
“Timid, Intimidating”
“Another difference about this album in general is that we would bring in stuff that we had written individually and take it to the next level with the rest of the group, instead of being there for every part of the writing process all together. I was trying to write songs that had crazy riffs in them, basically. I had a really funny MIDI demo version of this that got deleted, so I had to remember it and teach it to the other guys. And then it turned into what you hear. It was just a really good framework for a couple of solos. It has a Steely Dan vibe now that I hear it—I wasn't really thinking of them at the time, but they're a big influence on us." 
“Beside April (Reprise)”
“Before we had recorded the original version of 'Beside April', I was visiting my mom and I was playing on her piano and came up with this alternate version of it. We had some extra studio time one day, so I just recorded the piano part and then Verocai did his thing on it.” 
“Talk Meaning”
“It was one of the last days in the studio and Terrace Martin came by for a couple of hours. We had run into him a lot on the road, but never got to do anything together in the studio. He was very generous with his time. Leland and Alex wrote the main melody and the chords for this, and then we wanted to play it in a jazz context, so we just showed Terrace the melody. This song had the most old-school mic set-up: There's maybe a couple mics on the drums, one mic on the bass, and then one mic for both saxophones. So Leland and Terrace were both standing behind a baffle, and they had to move [towards the mic] and back depending on who was taking the lead. Then we added some keyboards and Verocai put an amazing arrangement on it. And for the finishing touch, we sent it to Brandee Younger, who's an amazing harpist, and she really took it to the next level and played a beautiful outro. It's really the most in-depth collaboration on this record.”

III" by BADBADNOTGOOD presents a rich tapestry of sound that blends jazz with experimental and instrumental hip-hop elements. The album features intricate instrumentation, with fluid saxophone lines, tight-knit rhythms, and layered textures that create a dynamic listening experience. Tracks like "Triangle" and "Kaleidoscope" showcase a vibrant energy, while pieces such as "Confessions" and "Eyes Closed" delve into more introspective, atmospheric territories. The production is polished yet organic, allowing the interplay between instruments to shine through. The album's distinctive character lies in its ability to seamlessly merge genres, offering a fresh take on jazz that is both innovative and accessible, inviting listeners to explore its multifaceted sonic landscape.

Album: III by BADBADNOTGOOD (2014)
Genre: Jazz
Record Label: Innovative Leisure
Format: Album

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2010s, Album, Innovative Leisure

Additional Context: Rating score: 8. Based on 3 votes. Available on Discogs marketplace


BBNG x Odd Future" showcases a seamless blend of jazz and experimental hip-hop, characterized by intricate instrumentation and a dynamic production style. The album features a rich tapestry of sounds, with lush piano melodies, tight rhythmic grooves, and atmospheric textures that fluctuate between mellow and frenetic. Tracks like "Seven" and "Fish" highlight the ensemble's ability to create a fluid sonic landscape, while the "Odd Future Sessions" parts intersperse playful, avant-garde elements with a strong hip-hop influence. The energy throughout is both engaging and unpredictable, making it a distinctive exploration of instrumental hip-hop that invites listeners into a world of improvisation and creativity.

Album: BBNG x Odd Future by BADBADNOTGOOD (2011)
Style: Jazz
Record Label: XL Recordings
Format: Album

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2010s, Album, XL Recordings


BBNG2" showcases a rich tapestry of sound that blends jazz with experimental and instrumental hip-hop elements. The album features intricate instrumentation, with lush piano lines, dynamic bass grooves, and crisp drumming that create a fluid yet complex rhythmic foundation. Tracks like "Earl" and "Vices" exhibit a vibrant energy, while pieces such as "Limit To Your Love" and "Rotten Decay" delve into more contemplative textures, highlighting the group's versatility. The production is polished, allowing for a clear separation of instruments, which enhances the listening experience. The seamless transitions between tracks and the incorporation of avant-garde influences make this album distinctive, inviting listeners into a world of sonic exploration.

Album: BBNG2 by BADBADNOTGOOD (2012)
Style: Jazz
Record Label: XL Recordings
Format: Album

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2010s, Album, XL Recordings


Sour Soul" presents a seamless fusion of hip-hop and jazz, characterized by its experimental approach and rich sonic textures. The album features intricate instrumentation, with lush saxophone lines and deep, resonant bass that create a warm, enveloping atmosphere. The production balances laid-back tempos with moments of dynamic energy, allowing for both introspective and engaging listening experiences. Tracks like "Mono" and "Gunshowers" showcase a blend of crisp percussion and smooth melodies, while "Mind Playing Tricks" introduces a more avant-garde edge. The overall sound is distinctive for its ability to merge organic jazz elements with the rhythmic pulse of hip-hop, resulting in a captivating auditory journey.

Album: Sour Soul by BADBADNOTGOOD (2015)
Genre: Hip-Hop/Rap | Style: Jazz
Record Label: Lex Records
Format: Album

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Hip-Hop/Rap, Jazz, 2010s, Album, Lex Records

Additional Context: Available on Discogs marketplace


BBNG" showcases a seamless blend of jazz and experimental sounds, characterized by intricate instrumentation and a dynamic range of tempos. The album features a rich tapestry of textures, from the smooth, laid-back grooves of "Fall in Love" to the frenetic energy of "Mass Appeal / Transmission." Each track, including the improvisational flair of "Improvised Jam," highlights the band's ability to fuse jazz with elements of instrumental hip-hop, creating a vibrant sonic landscape. The production is polished yet raw, allowing the organic interplay between instruments to shine through. Distinctive moments, like the playful reinterpretation in "Title Theme / Saria's Song / Song of Storms," further emphasize the avant-garde approach that defines this work.

Album: BBNG by BADBADNOTGOOD (2011)
Style: Jazz
Record Label: XL Recordings
Format: Album

Artist Background: BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) are a Canadian music group from Toronto, Ontario. The group includes Matthew Tavares on keys, Chester Hansen on bass, Leland Whitty on saxophone, and Alexander Sowinski on drums. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator; Earl Sweatshirt; Danny Brown; and Ghostface Killah. Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Music Scene: Part of the Toronto, Ontario music scene. Emerged in the contemporary era. Known for Jazz style.

Tags: Jazz, 2010s, Album, XL Recordings


BADBADNOTGOOD

Biography

Quick Facts

Discography