Thursday, November 08, 2018

Interfaces - Jazz Meets Electronics [Ravello Records]

Put on the circuit via Ravello Records on October 12th, 2k18 and sent to us straight from Texas by Jeff Morris only recently was "Jazz Meets Electronics", the latest album outing created by the Interfaces project consisting of Mr. Morris himself alongside collaborators Karl Berger and Joe Hertenstein. Aiming to fuse computer technology and the aesthetics of a modern Jazz ensemble we see Morris employ various glitch and looping techniques to handle samples recorded from his co-musicians, turning the opener "Upzy" into a grand exploration of processed backward percussions, mesmerizing, dramatic pianos and intricate, complex Jazz drumming whilst sporting surprising breakdowns and unexpected shifts in the tunes structure whereas the following "A Solo Is The Nth Melody" almost touches the boarders of (Future) BarJazz standards and classy, smoke filled atmospheres without too much electronic / digital interference getting in the way before "In Which" goes deep into minimalist Piano Ambient territories of sorts for a start before progressing into buzzing, yet stripped down FreeJazz later on. With "Rondo" we see the Interfaces project once again connect backward glitching and a deep melancholia, "Into" explores more of a playful vibe seemingly drawing inspiration from Minimal Music, Jazz as well as Neoclassical formalisms alongside its tongue-in-cheek electronic preparation leading into a crackling climax of sonic decay, "Three At One" employs a sweet, and this time dancefloor-suitable, Future Jazz vibe for advanced club floors and "Unwind" brings on 127 seconds of highly experimental chaos and Illbient / UnAmbient for those digging deep into the depths of the genre. Listening to what the "Clocksays" - sic - we're confronted with maybe the most light-hearted composition of the entire "Jazz Meets Electronics" album, "Inderneath" provides a spaced out variation on retrofuturism and classic B-movie scores within the Interfaces spectrum which makes this one our favorite track out of these ten and the concluding cut "Dot (Dot Dot)" comes full circle with its mostly organic, uninterfered, yet fever'ish drums and ecstatic climax. Highly advanced music for Jazz afficionados and an audience way beyond.


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