Acid J***
Posted by: Jim Ashton on 25 July 2002
There was a Jazz Funk thread back in January (ie before my time) but I can't seem to find anything about the likes of:
United Future Organization
Brooklyn Funk Essentials
Down To The Bone
New Jazz Hustlers
Marc Moulin
Barrio Jazz Gang (just discovered them - nice!)
(Greyboy - only got 1 CD, not sure...)
All of this (bar the last) is marvellous stuff (for grooving) that I'd recommend to anyone. I've also heard bits of Brand New Heavies, US3, Galliano, Ronny Jordan without really being grabbed.
Bugge Wesseltoft's 'Moving' is also excellent - and did I catch someone saying his earlier stuff was even better?
What ELSE goovers?
Posted on: 26 July 2002 by fred simon
I admit I've never really understood what acid-jazz is supposed to be ... I mean, what's "acid" about it? How does it reflect the experience of tripping on LSD? To my ears, it mostly sounds like fairly bland hip-hop inflected grooves with mediocre improvisation on top.
What I would consider true acid-jazz, if there is such a thing, would be Miles Davis' music circa In A Silent Way, Bitches Brew, Live Evil, At The Fillmore, etc. Great, liquid, shape-shifting grooves with world-class improvisers.
About the closest thing I've heard these days to that would be something like Nils Petter Molvær's Solid Ether.
Posted on: 26 July 2002 by Markus
Fred, ever heard of a rave? Kids get blasted out of their gourds on LSD and ecstasy and listen to loud dance/trance/hip hop/downtempo/electronica AND acid jazz at earsplitting volumes from night 'til dawn. That description bring back any memories?
I strongly recommend DJ Shadow's "Pre-Emptive Strike" release. The core of this fine album is composed of the tunes "Influx" and "What Does Your Soul Look Like", parts 1-4. Thought not specifically "Acid Jazz" these pieces were extremely influential in the early 1990's and should enhance any jazz or acid-jazz collection.
Here is a tangent, regarding the comments on US 3. I can only say that, when it first came out--it *was* ear-shattering and I mean that in a highly complimentary way. My first hearing was in a record store in Israel, at least two years before it was released in the US and became played-to-death. During those two years there was a real feeling that those who had it were on to something that was very cool. Its commercial success and mass appeal shouldn't be a cause for blame unless we apply the same criteria to dismiss "Kind of Blue" and many other widely recognized jazz masterpieces/releases. While I probably haven't listened to US3 in 8 years, I just wanted to put in my 2 cents worth. It is fashionable to bash anything that has ever had widespread mass appeal and commercial success and I suppose I'll now be held up to ridicule.
Oh well. Let the incoming missiles begin.
Markus
