One/Three sees hip-hop going under the precise knife of Dabrye and emerging with a serious facelift, but with a new zest for life. Dabrye’s electronic hip-hop beatscapes are vaguely familiar yet futuristically new. Unashamedly electronic in atmosphere – his beats sound like they have been put through an industrial shredder – they went in as crisp boom-bap a la Jay Dee and came out as squelchy, metallic chrome-blip. But Dabyre injects enough warmth into his mechanistic basslines to maintain a healthy neck-snapping quotient. These are steel-encased hip-hop beatscapes that fuse the intrinsic groove of hip-hop into a warm, malleable liquid metal that IDM-ers will be proud to call their own. For example, "So Scientific" recalls an electro sensibility with its so smug title and Atari-game bleeps. Meanwhile, "I’m Missing You" reminds you of the human imagination that went into all this, with the hint of a spliced up, tweaked out vocal sample. For all its spit-polished steely grinding, One/Three never seems far from its human source, and carries with it a self-deprecating sense of humor lest we take it all too seriously. Just check out the playful "Hot Mating Ritual" for further evidence. Dabrye turns hip-hop inside out and lovingly exposes it by its sampled, drum-machined guts on this quirky, but enjoyable grower of an album.
I love jazz because it is both challenging and exhilarating, and the endeavor of improvisation is the highest form of art.
I met so many great musicians--including my two earliest heroes, Maynard Ferguson and Dizzy Gillespie--by attending concerts
and being willing to treat them with the respect they deserve.
The best show I ever attended was the Pat Metheny/Ornette Coleman Song X concert at Cornell University.
The first jazz record I bought was an RCA compilation by Dizzy Gillespie.
My advice to new listeners is to not be afraid to listen to something because you're not familiar with the artists or the band or
the genre or anything - this is music that is best experienced through discovery.