Classy jazz fusion from the lads behind Max D, Motion Graphix, and Co La, getting back in the Lifted zone after a pair of ace albums for PAN, and now back to Future Times. We've no label notes on this one so not 100% who else is featured...
‘3:2’ is their subtlest and perhaps most classically authentic take on this style, foregrounding lithe, live-sounding instrumentation over the slippery electronic dynamism of earlier outings. The electronics are still there in the zapping, Moogy synth lines and Fender Rhodes vamps, and more craftily subsumed or rendered in the studio-as-instrument mixing trickery, but the emphasis is clearly on showing off their vibesome instrumental skills.
In that sense they nod to Miles Davis as much as his seminal producer Teo Macero in the 10 mins of shapeshifting groove on ’Cushion Push’, before getting skronkier, odder in ‘Purplelight Beat’ with something like a fractal Afrobeat jazz turn, and bringing it with lip-smacking, heads-down swang in ‘Cushion Beat.’
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Classy jazz fusion from the lads behind Max D, Motion Graphix, and Co La, getting back in the Lifted zone after a pair of ace albums for PAN, and now back to Future Times. We've no label notes on this one so not 100% who else is featured...
‘3:2’ is their subtlest and perhaps most classically authentic take on this style, foregrounding lithe, live-sounding instrumentation over the slippery electronic dynamism of earlier outings. The electronics are still there in the zapping, Moogy synth lines and Fender Rhodes vamps, and more craftily subsumed or rendered in the studio-as-instrument mixing trickery, but the emphasis is clearly on showing off their vibesome instrumental skills.
In that sense they nod to Miles Davis as much as his seminal producer Teo Macero in the 10 mins of shapeshifting groove on ’Cushion Push’, before getting skronkier, odder in ‘Purplelight Beat’ with something like a fractal Afrobeat jazz turn, and bringing it with lip-smacking, heads-down swang in ‘Cushion Beat.’
Classy jazz fusion from the lads behind Max D, Motion Graphix, and Co La, getting back in the Lifted zone after a pair of ace albums for PAN, and now back to Future Times. We've no label notes on this one so not 100% who else is featured...
‘3:2’ is their subtlest and perhaps most classically authentic take on this style, foregrounding lithe, live-sounding instrumentation over the slippery electronic dynamism of earlier outings. The electronics are still there in the zapping, Moogy synth lines and Fender Rhodes vamps, and more craftily subsumed or rendered in the studio-as-instrument mixing trickery, but the emphasis is clearly on showing off their vibesome instrumental skills.
In that sense they nod to Miles Davis as much as his seminal producer Teo Macero in the 10 mins of shapeshifting groove on ’Cushion Push’, before getting skronkier, odder in ‘Purplelight Beat’ with something like a fractal Afrobeat jazz turn, and bringing it with lip-smacking, heads-down swang in ‘Cushion Beat.’
Classy jazz fusion from the lads behind Max D, Motion Graphix, and Co La, getting back in the Lifted zone after a pair of ace albums for PAN, and now back to Future Times. We've no label notes on this one so not 100% who else is featured...
‘3:2’ is their subtlest and perhaps most classically authentic take on this style, foregrounding lithe, live-sounding instrumentation over the slippery electronic dynamism of earlier outings. The electronics are still there in the zapping, Moogy synth lines and Fender Rhodes vamps, and more craftily subsumed or rendered in the studio-as-instrument mixing trickery, but the emphasis is clearly on showing off their vibesome instrumental skills.
In that sense they nod to Miles Davis as much as his seminal producer Teo Macero in the 10 mins of shapeshifting groove on ’Cushion Push’, before getting skronkier, odder in ‘Purplelight Beat’ with something like a fractal Afrobeat jazz turn, and bringing it with lip-smacking, heads-down swang in ‘Cushion Beat.’