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| Jack DeJohnette Does Electronica: 'Hybrids' by The Ripple Effect Jack DeJohnette’s imprint Golden Beams Productions Goes Electronic with the introduction of A new group — The Ripple Effect — and the group’s debut album Hybrids With 50 years of drumming behind him, innovative jazz pioneer Jack DeJohnette introduces Hybrids, the debut album by The Ripple Effect, his latest collaborative project to be released on his own Golden Beams Productions on October 4, 2005. Featuring seven interpretations of previously recorded material (three of which have never been released) and one brand new track, Hybrids is a continuation of what DeJohnette has been accomplishing for a half-century: inspiring and creating music without boundaries. Produced and remixed by sound engineer Ben Surman, with guidance by DeJohnette himself, Hybrids launches jazz into the 21st century. Blending shades of African jazz, reggae and dance music into DeJohnette’s already groove-heavy rhythmic patterns, The Ripple Effect’s Hybrids is an eclectic foray into numerous disciplines that works as a whole. Borrowing heavily from Music from the Hearts of the Masters, his 2005 release alongside Gambian kora master Foday Musa Suso, the African influence is tempered by the gorgeous vocals of Marlui Miranda, the most acclaimed and recognized performer and researcher of Brazilian Indian music. Multi-instrumentalist John Surman adds lilting strains of clarinet, saxophone and recorder, while Big Al polishes the project with effervescent guitar riffs. The ingenuity of each song lends itself to a broad audience. “It can fit into a lot of different programs, ” says DeJohnette, “from college radio to commercial jazz stations, and more esoteric channels. I think it will allow programmers to stretch a little bit.” This is an understatement for the drummer, whose classic work on Miles Davis’ Bitches Brew (as well as performing alongside John Coltrane, Ornette Coleman, Sun Ra, Thelonious Monk, Bill Evans and countless others) have solidified him as “one of the most important musicians in the last 40 years of jazz” (Ben Ratliff, The New York Times). His entire career has been about stretching what fits within jazz constraints. With one of the most impressive resumes in the genre, he has proven time and again that no boundaries exist. With the opening “Ancient Techno, ” from his collaboration with Suso, the mere song title hints at a connective tissue between past and future. Originally an acoustic display of astute showmanship, Suso’s intricate kora patterns swerved fluidly between DeJohnette’s perfect cadence. The result was a trance-inducing masterpiece of an exchange of human energy – the very root of ceremonial African music. With Surman’s digital texturing, the prevalent hi-hat stays while a tasteful breakbeat adds extra octane to the groove. Synthesizers only add to the mix, with nothing distracting from the fact that this is ritual music. “I was trying to stay true to the originals, ” says Surman. “I wanted to extract some of the grooves and melodies that I was drawn to and use them in a different context, retaining the groove and feel but placing it in a different musical setting. I wanted to move outside of the more traditional acoustic approach and add elements you wouldn’t normally find in jazz.” Staying true to much of the African-inspired work DeJohnette is cultivating, Surman reworked four of Music from the Hearts of the Masters' originals: “Ancient Techno, ” “Worldwide Funk, ” “Rose Garden” and “Ocean Wave.” Each is an example of Surman’s forward-thinking perspective of DeJohnette’s work, whom he has known since birth (Ben is the son of longtime DeJohnette collaborator John Surman). Ben adds a youthful dynamic, be it dub-heavy bass lines or speeded up drumbeats, spanning generations of sound. “Ben is a very sensitive and highly creative sound engineer, ” says DeJohnette. “He asked me if he could play around with some of the main tracks, and that was something I wanted to do — get into electronica and remixes. Ben recreates musical soundscapes that are always changing. Sometimes he draws you in and just when you think it has settled, he moves you, sometimes abruptly, sometimes very subtly. It enhances the creative aspect of improvisation that I do when I play. Most people listen to it and their faces light up and they start smiling.” Smiles continue with the heavy reggae influence on “Dubwise, ” featuring Miranda’s sailing vocals. As in 1970s Jamaica, nothing is straightforward: Surman splices and dices her voice, making lyrics more layered than upfront, relying on the slow rhythm to seduce and penetrate the listener. The two other songs featuring Miranda – “Na Na Nai” and “Corn Song” – also make her voice larger than life (even if studio tampering wasn’t needed). The final song, “The Just-Us Department, ” is a new track specially made for Hybrids by DeJohnette and Surman. In many ways, it is the most club-friendly track, turning up the bass and letting the rhythm drift into blatant dance territory. “It’s not specifically aimed at a club vibe, ” says Surman. “Although some of the production values sound like club music – the bass is pushed forward and there are heavy rhythmically signatures – there are also intricate time signatures that change often. Some of the elements are rather fluid, though. I wanted to stay true to the depth inherent within each song.” With a broad array of upcoming projects, DeJohnette launched Golden Beams Productions in order to have full control over the material he was releasing. The Ripple Effect’s Hybrids follows Music from the Hearts of the Masters and Music in the Key of OM, a meditation-inspired CD. With such variety and depth to each, DeJohnette is empowering younger generations of musicians by example, staying true to his legendary musical integrity by following his heart and not catering to predetermined formats. “Everything we do on the label is coming from that place of presenting music that is in tune with the cosmic laws of the universe – diversified, collective yet has its individuality and can inspire listeners and take them to a level of clarity, ” DeJohnette says. “Humanity is waking up from sleepwalking, to a more aware and enlightened consciousness. Golden Beams sends out good energy, of healing and joy and peace and reconciliation.” write your comments about the article :: © 2005 Jazz News :: home page |