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Posts Tagged ‘acid jazz


Tosca had for a very long time a big problem: the band was always presented as the side-project of Richard Dorfmeister and everyone just wanted to get a new Kruder & Dorfmeister record. 1998 K&D dropped their epochal “K&D Sessions” album and since then we’ve heard nary a peep from the duo. Peter Kruder has his Peace Orchestra project, Dorfmeister has Tosca, and they’ve both done piles of remixes. Just not together, not anymore. But of course it takes some time to get the focus away from a group like Kruder & Dorfmeister, a duo that revolutionized downtempo music, reinvigorating both acid jazz and trip-hop in one fell swoop with a series of blisteringly hot remixes and a precious handful of original tracks.

Finally with “j.a.c.” the new duo from Richard Dorfmeister stepped out of the shades of K&D, forever. Tosca showed with this album from 2005 that the Viennese G-Stone sound was alive and well, and the label’s trademark luscious basslines, funky jazz breaks and infinitely deep percussion are in full effect on the record. The album plays well as a cohesive unit, beginning slowly before ramping up to a more energetic middle section, and finally sliding into a relaxed denouement.

The half of the twelve tracks are with vocals,which is a very high rate for Tosca, but it is working out very well. There’s not much else to report on the novelty front, but Tosca remains in excellent form. The record is just one of the stonemarks of downtempo music in its later phase, not starting a revolution anymore, but perfected the sound. But if Kruder & Dorfmeister would reunite, well, that would be just great – but maybe they never could fullfill the expectations. And it is not fair to Rupert Huber, who surely deserves to get recognized not only as a the other guy from Tosca, the sideproject from Richard Dorfmeister.

The big sleep.


This record is almost 15 years old, released 1994, but sounds until today very fresh. Former Yakuza apprentice and school dropout Hideaki Ishi started DJing in the 80s and is today better known to the world as DJ Krush. Soon DJ Krush, at this time member of the Krush Posse, broke through the invisible wall between Japan and the outside world. Today DJ Krush is the most famous from Japan and also one of the most famous in Europe and North America, selling twice as many records abroad than he does at home. Ironically he barely speaks a word of English or any other language but Japanese. His albums are abstract and got very left-field influences. The beat is from hip-hop and the intensity of it all takes from many different areas — from jazz to ambient. He collobarated with many artists, from Toshinori Kondo to Company Flow. On “bad brothers” the moody sparse landscapes you usually associate with Krush are pushed to one side as fresh bouncy hip hop is set against Ronny Jordan’s jazz, with wicked deep burbling bassline, gentle guitar, piano and synths. When remixing Ronny Jordan, a guitarist at the forefront of the acid jazz movement, DJ Krush creates a symbiosis between Acid Jazz, Trip Hop, Downbeat and Hip Hop.

Comes with no date of expiry.

“Joe who?” I had to ask the guy from the record shop twice, whose record was playing and finally he wrote it down for me. I never heard of this musician before, but the song “confusion” – which was played in the store, sadly only one song from a compilation – bumped around my mind until this day and soon I found some more stuff from this jazz guitarist, named “Boogaloo” in order to distinguish him from other jazz artists of the time. From the slow groove to blues influence, “Boogaloo” has it all, one of the grooviest jazz guitarists and highly recommend, sadly he never got the recognition he deserves in his lifetime until today. This rare gem came out after he recorded a number of sides for Prestige Records (i.e. with Willis Jackson and Richard “Groove” Holmes) , in 1975, on the tiny Joka label, and never really got into proper circulation at the time -making it one of the indie jazz funk classics of the 70s. His sound and style clearly derived from the blues. But it was a solid understanding of rock that Jones brought to his style of jazz and he really excelled in the jazz-funk groove and proved himself a first-rate blues player. None of his albums are groundbreaking or marked by individual achievements. But today his songs are discovered and celebrated from the club crowd as the cornerstone of “acid jazz.”  “Boogaloo Joe” settles his greasy, quick-picking style into a bass-drums-keyboards-sax format, groovy stuff for the dancefloor. As already said, nothing gorundbreaking, but if you like to move your hips to Grant Green, The Meters or The Greyboy Allstars, this is a must-have, inluding a cover of Stevie Wonder’s “You Got it Bad, Girl”.


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