Cobblestone Jazz

23 Seconds

by Alan Ranta

25 March 2008

 

Don’t let the name fool you. This is not a finger-snapping foray into the land of wacky tobaccy and beatnik berets. However, the work of Canadian royalty Mathew Jonson, Tyger Ohula, and Danuel Tate (pooled together under the ambiguous name of Cobblestone Jazz) could arguably be described as a reimagining of classic jazz for the chemical generation. That is to say, Mathew creates the basslines, Danuel sits behind a Rhodes and vocoder, and Tyger fills in percussion and atmosphere, and they pull it off live without sequencing. For all intents and purposes, 23 Seconds is a work of minimal techno, in line with the Mutek likes of Ernesto Ferreyra and Crackhaus. But, since their tracks are almost exclusively built out of collaborative improvisation, the spirit of the album lands closer to authentic jazz than the über quantized, mouse clicking slap-and-dash that fills most late night clubs. Damn, if this isn’t way more listenable than the Four Tet and Steve Reid sessions, and the majority of fusion projects there about. Of course, those used to traditional arrangements will have no use for this. If you didn’t know the story behind their creative process, you would not guess it in all likelihood. Even the 40 minutes of on stage play live from Mondo leaves no obvious clues. That makes 23 Seconds about the most intelligent techno album in recent memory, perhaps too smart for its own good.

23 Seconds

Rating:

We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work. We are a wholly independent, women-owned, small company. Your donation will help PopMatters stay viable through these changing, challenging times where costs have risen and advertising has dropped precipitously. PopMatters needs your help to keep publishing. Thank you.


//comments
//Mixed media
//Blogs

20 Questions: Kasey Chambers

// Sound Affects

"Australia's country great Kasey Chambers embraced her ambition on a new double-album, but still wants to be remembered as "being real in a very fake world."

READ the article