NEW CONCEPTION OF JAZZ

One of nu.jazz cornerstone albums, it is Bugge debut on his own label Jazzland. Very interesting album in musicological sense: Bugge started his career as jazz pianist, played with Jan Garbarek and some more Norwegians, associated with ECM Records label, but than founded his own record label and became one of founders of nu.jazz.

Norway in late 90-s bring to the European scene few jazz musicians searching for fresh ideas in jazz. Being jazz professionals, they simplified sound, rhythm and structure of composition, used some recipes from acid jazz, house and techno, and mixed everything in what was later named nu.jazz. In fact, "New Conception Of Jazz" is one of the very first releases of new style.

The music is much more simplified from any form of classic jazz ( incl. be-bop, hard- bop, post-bop, fusion, free-jazz, etc), but are more complex from all forms of electronic pop- music. But, most important, it contains some live instruments, which even play some improves ( in the hard frames of style). As a result, music is a bit more intellectual, than all forms of electronic pop-music, but still very accessible. And a bit less boring, than acid-jazz.

Some moments are interesting, many compositions - not too much. For me it often sounds as "jazz for masses", but at least it doesn't sound as new-age. Possibly this music can attract more young generation listeners to more serious jazz. And for sure this music will give some material for future jazz, I mean - real new jazz.

This is Bugge Wesseltoft's first album and also one of the first albums in a new genre to become known as nu jazz. Nu jazz is a sometimes somber and ascetic offshoot of the more club friendly acid jazz genre. While nu jazz retains some of the acid jazz DJs relationship with trip-hop, it also features influences from 60s-70s Miles Davis and the 'fourth world' sounds of Jon Hassell.

Like a lot of beginner albums this one is brilliant in places and inconsistent overall, but the good songs are some of the best jazz fusion to come out during the last part of the previous century. Bugge's vision of nu jazz is fairly upbeat with big horn sections and driving rhythm sections colored with electronics. Some of these cuts sound like the blaxploitation soundtrack of the future when rogue detectives with jet packs will chase gangsters in hover-limos. Along with the crime jazz influences Bugge also draws heavily on some of the more experimental and electronic output of Miles and Herbie Hancock. Its as if acid jazz meets On the Corner, Get Up With It, Crossings and Thrust on the set of Shaft 2021, and that is one of the finest compliments I think I could ever give a piece of music.

The weaker cuts aren't that bad, but their disparate styles draw away from the continuity of the other tracks. There are three vocal numbers that range oddly from neo-soul to Middle-Eastern trip-hop to beatnik spoken word, as well as a couple of avant-garde jams that sound like one take studio 'accidents'. Despite the inconsistencies, this album is highly recommended for fans of psychedelic jazz.