All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
This latest offering by German EFX ace, composer and producer Jan Jelinek embodies some of the subversive, or perhaps subliminal, elements of dub and digital loop-based fare. With this outing, the artist uses space as a mechanism for injecting faint sounds, scratches and dreamy synth motifs into the grand scheme of things. Pronounced bass grooves, samples and quietly oscillating noises equate to a forest of quaintly organized textures. Jelinek doesn’t overwhelm you with bombastic drum ‘n’ bass motifs or Indian divas chanting wordless vocals to airy synth orchestrations. His musical approach might be conducive to something that rings like ornamentation for the mind’s eye. He features murmured voices in certain passages that are at times eerie and forbidding. Jelinek is a painter of canvasses, as he generally maintains an exacting pulse throughout many of these alluring pastiches of sound.
As a kid, my mom told me I'd like jazz. I thought she was nuts. Then I went to hear Cannonball Adderley (with Nat Adderley, George Duke, Walter Booker, Roy McCurdy and Airto) and everything changed. Yeah, mom knows best.