Ok, it might be a bit late to review Hendrik Schwarz’s K7 mix. Also, the Cobblestone Jazz album came out last year sometime already. But it might be good to let the hype die down for 23 seconds before actually trying to talk about “Jazz” (an incredibly wide universe) and “club music” (an incredibly…) - and the way these two styles may merge in the work of these two artists.

Hendrik’s approach is coined by his origins in the West London style. A music which normally has nothing to contribute to anything because it is stuck with standard formulas of old time Jazz trying to melt these into mostly mediocre electronically produced tracks. That style might have had its moment in time in the mid nineties, trying to emancipate itself from that overhyped and just too abvious “Acid Jazz”. But even back in the days, I never understood the hype about Jazzanova and their superficial lounge approach, mostly lacking any sign of deepness, real soul, or innovation - let alone real Jazz, House, or Techno.
So enter Hendrik Schwarz; unfortunately his “Leave My Head Alone Brain” surprise hit just came up with the same old clichés - in a more contemporary and a bit more sophisticated disguise though. And so does his live mix, what’s that gotta do with Jazz (the melange of which with club music, the mix was so praised for among other things)? Jazz, namely improvisation, ensemble play, complexity of rhythm, richness of harmonies and a mastery of the instrument? Nothing, but really nothing can be found here. It’s a superficial and typically post-modern (if that wouldn’t be so cliché itself) half-baked mess of boring formulas. Out of context citations of standard Techno and House chords, famous drum patterns and otherwise atmospheric synth pads mixed with obviously black vocals (I am almost tempted to say “Negro” vocals, because that’s what they are reduced to here), dumb lyrics and some Jazz and Blues trash. The mostly too harsh and stump kicks round up the picture. It’s what I would call the ultimate caffé latteism of club music.

On the other hand we have the Cobblestone Jazz ensemble and their live versions of their studio album “23 seconds” (unfortunately I missed their gig in Berlin). Although it is quite clearly a club music act and therefore might have not sooo much of an appeal to classic Jazz audiences, it’s the best ever merger of Club and Jazz imho. Of course do they work with classic Club and Jazz formulas like Schwarz, but it’s not the “What”, it’s the “How” that counts (sorry for that standard formula). Cobblestone Jazz just manages to walk this very thin line while making you completely forget that a merger is actually performed here: complex and danceble, rich in harmonies and one chord only, subtle and in ya face, an endless flow and a form, improvised and formula - I could go on. Ony Hancock’s “Head Hunters” or Miles Davies late electric phase come to mind here - from the other side of the fence though.

So I guess I made my preference clear - but it’s beyond taste really, it’s rather about the flat vs. the phat. And that even counts in the club. Just check out that video piece: Cobblestone Jazz @ The End, London.

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This is a rather associative follow-up on my recent ‘Vinyl is Dead‘ post. I just happened to have quite an unusal discussion with one of the guys from the Melbourne born mnml ssgs blog. The whole thing started on the occasion of a mnml ssgs post about Rozzo. It is a rather long but imho quite fun to read threat with a lot meandering going on. About politics, “the” media, a lot about rules of hype and finally also about the actual subject which the headline suggests. Thanks for PC’s interesting and original views indeed.

I recommend strongly reading PC’s (my main thread partner) musings about vinyl before starting to read the actual thread. Cheers

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