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Various (Broadcite Presents)
- Unplugged Volume 2: Internal Reflection
(Broadcite)
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| As a rule, I don't like "nu-jazz." As a rule, nu-jazz contains too much "nu" and not enough jazz. As a rule, nu-jazz subtracts from jazz, leaving a murky nu-mess. This CD does nothing to remove these prejudices. |
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The Broadcite label presents here an "eclectic" compilation of tracks ranging from nu-jazz (shudder) to hip hop to soul. Compilations are a messy, hit-and-miss business, simultaneously attempting to draw a broad range of styles and yet maintain some consistency throughout. And like most compilations, Unplugged is a bumpy ride. Let's not hold that against it, though.
Predictably, the worst showing on this compo comes from the nu-jazz elements, epitomised by the Studio Apartment (yes, that really is their name) track, 'Brave Mind'. This meandering tune weighs in at over eight minutes and fails to say very much, with pointless and later terminal noodlings over a chirpy but unchanging Latin beat. The abandonment of the more formal musically structured jazz chart in favour of extended and intensively riff-based jazz could work here on this track. Yes, it could work, if it weren't for the chronic energy deficiency and the rather lazy arrangements of synthetic-sounding instruments plodding over the same chord alternation (read, "riff") time and time again. Never mind. Other tracks such as 'Aqua Tech' and the Altered Voice contribution do little to ameliorate this sense, and yet others, such the impressively dull Quentin Harris track, end up simply being drawn-out and stone-cold sleepwalks through an empty and cynical jazz soundscape.
Fortunately, there are some upsides to the collection here, so it's not all doom-and-gloom. While the nu-jazz tracks here suffer from excessive length and that perennial jazz pitfall - i.e, not much to say - it is to the compilation's credit that some of the shorter offerings temper the album's shortcomings with occasional flashes of class, succinctness and energy. Project Move's jazz-tinged hip hop track is effortlessly professional, and Daniel Veres' 'Sane Red Evil' is quirky, bleepy and sufficiently catchy in all the right ways. Similarly, the simplicity of Stateless's dusky soulful track 'Falling Into' is refreshing when compared to the overly layered nu-jazz cruft that is found elsewhere here.
Besides this, there are some interesting electronic crossovers such as those from artists like Brown, Souled and Black Science Orchestra that combine four-on-the-floor, shuffled beats and some reduced, minimal jazzy wanderings. Ultimately, while they can feel like electronic filler, these are simply inoffensive in the best sense.
This compilation should come rated with a sticker stating: 70% coffee table. You'll eventually skip that 70% to get to the 30% CD rack material. |
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| Stuart Reeves - 5/10 |
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Name:
Donny Mour
| Date:
20/06/06 | Reply
This review is shoddy.. i bought this compilation and Volume 1 and found them both full of diversity and great new sounds. A change from the usual crap compilations comming out these days!! i suppose it is all a matter of opinion but you could have done this one more justice... Check it out people and make your own mind up..
Peace Donny
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Name:
Amy Vanua
| Date:
20/06/06 | Reply
Broadcite crew Rocks'''' X
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Name:
Stuart
| Date:
21/06/06 | Reply
Donny: your criticism of the review as ``shoddy'' would imply that the review itself is badly written, does not contain much information about the album/compo, is unsympathetic and unbalanced, etc. Unfortunately, I don't feel that this review is any of these things and that its status as ``shoddy'' is applied by you purely because you disagree with its contents (which in itself is fair enough).
For me, nu jazz, like lounge jazz, does little but dumb-down the jazz project. Having said this, the album did have plenty of positive points, as I highlighted in the review.
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Name:
Argo
| Date:
28/11/07 | Reply
Interesting how the age old coffee table argument comes from all sides. Constant whining from both avid house and techno heads... but also from the jazz side. I don't know why as a music reviewer you think its a good idea to slag an entire genre. Especially one that is so all encompassing and difficult to define. I have heard plenty of formulaic, noodley, cookie-cutter jazz tracks that go no where, but that doesn't inspire me to toss around a lot of sweeping generalizations in a public forum.
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