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Jazzanova | In Between

And the first nominee for ALBUM OF THE YEAR is ....
CD, Compost/Lowlands

Tekst: da volgaBabe

Publicatiedatum: 14 april 2002

As I write this, it has been about three weeks that the KM Beats posse has been exposed to the first Jazzanova album. And I think the consequences for our musical landscapes will be only measurable in a few years, when we will have forgotten about all the trend-jumping lounge compilations, when Latin Jazz and bossa breaks are no longer the treat of the month. At its first hearings, one of our reviewers remarked that there was "too much vocal stuff on it," that it was "over-produced," that it was "creepily perfect." Two days ago, three of us, considering ourselves reasonably grown-up men, were actually trying to sing in a round its first track (the absolutely amazing 'L.O.V.E. And You And I') with another track playing on the car stereo, just a wee example of the funny things the Jazzanova crew does to you.

Now three weeks later, Ursula Rucker's little sentence "Time waits for no one," a mere snippet of the superb 'Keep Falling,' is meandering endlessly through our mindscape. Now we relish in Clara Hill's enchanting vocals on the increasingly bewildering 'No Use,' and wrap ourselves up in the enticing 'Take You Back (Unexpected Dub),' where the equally smooth-voiced Desney Bailey fills in the vocal part. Then we stand and are counted witnessing how the miraculous 'Hanazono' is propelled into infinity by Hajime Yoshizawa's mesmerizing piano-play. Next we get overwhelmed by the electronically funked-up African jazz breaks of 'Mwela Mwela,' which features some incredible vocals by both Valerie Etienne and Rob Gallagher. Now, we just couldn't imagine this piece of work without the raps of Capital A and Hawkeye Fanatic, adding more punch to 'The One-Tet' and 'Keep Falling.' We just couldn't bear living without 'Another New Day,' which has string sections and jazz choirs lined up next to free-flowing percussion breaks, all led into the dance by a moody guitar scrabble. Now, we are increasingly charmed by the naïve, almost childish melodies of 'Dance The Dance,' built up out of what seems a thousand samples. We are also gradually, but each day more convincingly, drawn into the world of Vikter Duplaix, who effortlessly croons his way through the heavenly acid-drenched 'Soon.' It is Duplaix who' s allowed closing honours on this milestone album with the equally lifting 'Wasted Time.'

At the moment we write this, we just can't keep ourselves from thinking that 'In Between' is the single best work of music we have ever heard under this sun and moon. We can only try and imagine what these guys will be capable of in another five years.
Das Unbeschreibliche, Hier ist's getan.