マッドリブ×カリーム・リギンス!超話題のユニットが遂に登場!!

マッドリブ×カリーム・リギンス!YNQから派生した超話題のユニットが遂に登場!!ヒップホップを通過したビートの巨人二人による超絶タッグ、スピリチュアル・ジャズを現代的に解釈して解き放たれた怒涛のビートと弧高のブラックネス!!

今年のRSD作品中でも極めつけの一枚として話題沸騰した本タイトルが待望のCDでのリリース!多くの名義を持つYNQでもスピリチュアルなサウンドが際立つJahari Massamba Unitが遂にフルアルバムで登場!そして鬼才ドラマー、カリーム・リギンスとのタッグというのだからこれはもうファンなら絶叫!長年の盟友というだけに二人の相性は間違いなし。次々と繰り出される怒涛のビート、そしてまるで宇宙から奏でられたようなユニバースなサウンド!ジャズ、ソウル、ヒップホップ、ワールドなど様々な影響を受けながらどのジャンルにも属さないYNQならではの壮大なサウンドスケープ!ジャズの巨匠、フィル・ラネリンに"ブラック・クラシカル・ミュージック"と言わしめた本作。ヴィンテージ・ミュージックを吸収し、見事に現代へと解き放ち未来に繋ぐ怒涛のビートと孤高のブラックネス!マッドリブの新たな伝説がまた一つ誕生した!

発売・販売元 提供資料 （2020/12/09）

Jahari Massamba Unit is the very occasional collaborative recording project between producer/mixologist/multi-instrumentalist Madlib and jazz/hip-hop drummer/producer Karriem Riggins. The duos first appearance was on the trippy post-bop of Umoja, from 2004s stellar future jazz outing Yesterdays Universe. They reassembled as JMU for cuts on 2010s High Jazz. Pardon My French is an exploration and statement of Afro-futurist jazz refracted through hip-hop, vanguard, Eastern and Latin influences, and funk. The track titles offer abundant uses of profanity and wine references, deliberately juxtaposing high and low culture; this is a carefully plotted and executed release. Opener Je Prendrai le Romanee-Conti (Putain de Leroy) commences with abstracted synths and upright bass -- a la the earliest Weather Report excursions -- stuttering, bleating trumpet, rolling tom-toms, and cymbals; it sets the frame for exploration. As Les Jardins Esmeraldins (Pour Caillard) emerges, Riggins kit introduces a theme framed by double bass, modal piano, and a wandering soulful flute (a la Yusef Lateefs Eastern Sounds). The albums centerpiece is Du Morgon au Moulin-a-Vent (Pour Duke), a nine-plus-minute jam introduced by the sound of running water, incessantly rolling tom-toms, crystalline vibraphone, and acoustic guitar. Its long intro is anchored by a two-chord piano vamp, and the track eventually weds post-bop, Latin and Brazilian jazz, exotic percussion, and squalling trombone, all before Jackie Earley recites a brief poem. Riggins drums are key. Check the hypnotic snare patterns at the center of Trou du Cul (Ode au Sommelier Arrogant), where electric bass lines, atmospheric samples, and jaw harp swirl around them. The funk formally enters on Etude Montrachet, as sub-bass effects frame a syncopated, reverbed drum kit shuffle, and organ, electric piano, and synths cascade in sequence around a rubbery bass line. Riggins is the bedrock on Merde (Basse-cour), with a zigzagging snare/hi-hat shuffle atop wobbly synth effects, electric piano, and multi-tracked souled-out flutes. The drummers phase-shifted kit makes up the front half of Inestimable le Clos, which expands to include didgeridoo, Latin and Brazilian rhythms, multi-tracked piano, fretless bass, reeds, and brass, surrounded by a swelling B-3. It sounds like a cross between an outtake from Santanas Caravanserai and a cop movie soundtrack. That exotic yet meaty jazz-funk vibe persists in La Closerie (Pour Prevost), with striated sci-fi synths, punchy soprano sax, and a driving electric bass line. It eases into the head-nodding closer Hommage a la Vielle Garde (Pour Lafarge et Rinaldi), which reworks funky grooves from fusion-era Frank Zappa, CTI-period Milt Jackson, and late-70s Herbie Hancock with punchy trombone and tenor sax. Abstraction is part and parcel of Madlibs complex musical identity; with Riggins use of modal forms of jazz and funk, they expand their influences to emerge as a band. Pardon My French flows seamlessly from jazzs outer limits to the club on Saturday night, slipping all box-confining definitions. Its difficult to pin down to be sure, but extremely listenable as a mind-blowing experiment to encounter and absorb. The future is now. ~ Thom Jurek

Rovi