The Near Jazz Experience are Terry Edwards (who has played with Higsons, PJ Harvey, Gallon Drunk), Mark Bedford (Madness) and Simon Charterton (Higsons, Alex Harvey) and their release Afloat last year was a wonder, with a deep, driven groove on many tracks. I have used tracks for programs and as back-drops for interviews, so impressed was I.
NJE initially collaborated with On-U Sound producer Adrian Sherwood at London’s bi-annual Sherwood at the Controls event, where the headliners were Asian Dub Foundation and featured DJs Steve Davis and Kavus Torabi. Radio presenter Gideon Coe’s producer then phoned from BBC6 Music to ask if the Near Jazz Experience could record a session at Maida Vale for the August Bank Holiday dub special broadcast. The answer was “yes,” and they enlisted Adrian Sherwood to provide the live dub mix. NJE took the view that they would work in the future and, in the meantime, took four tracks to On-U headquarters in Kent for Adrian to make special dub versions to compliment the BBC recordings.
The BBC session appears on Side 1 of Afloat in Dub, a Record Store Day release, and radical remixes of four tracks from the NJE’s debut Afloat comprise Side 2. They describe their sound as a love of improvised music which is accessible (funky beats and grooves), yet experimental enough to break the mold of middle-of-the-road jamming. The Near Jazz Experience have a stalwart following, a residency in the East End and a whole lot of cool sounds. Afloat in Dub is presented in the style of a white-label dubplate, but that might be misleading. This sounds as if it is established already.
“Mystified” sets off with a Latin/Eastern rhythm before keys come over the top with the simple two-part theme, which is oft repeated while underneath the heavy bass line works magic and wonder. “Songo” is quirky, funky and a little bit of happiness, the sax soaring out at several points and creating improvised mayhem in the middle section, bass and percussion supporting brilliantly and holding the rhythm in check. The production is beautiful, all echoes and atmospheric.
“6 Foot 2” begins with doubled sax recorded over itself, and then the track develops into something of a beauty, with saxes rolled back under and over-synthesized sounds while
the constancy of the bass and percussion offer solidity and foundation. This is a tack which allows the production and the reedsman to forge a relationship in the music – something quite unusual and striking. “The Long Tail” is easy on the ears, has atmosphere and features the brassy notes of trumpet over the core. The musicians work together to create a sound which is pretty captivating, and the final trumpet scales and micro tonal ascensions are nifty. The sounds, which warp and play with the acoustics, are probably over produced for some ears but it works in good measure here.
Side 2 opens with “Voodoo Child,” a track which the NJE recorded for Afloat. Here, the number is treated to a remix which almost takes the essence away at the start, though it returns with gusto. Ultimately, the track doesn’t have the drive and intensity of the original recording (heard above), but it’s more than decent – particularly if you turn the volume up, something I did half way through. Much better. The stellar bass line holds “Voodoo Child” together; the rest is not as strong as the Afloat version – but OK, why not?
The title track is expanded and re-worked, while the enjoyable “Freak Kings” sounds as if the original track has had a make over – it’s all tweaks and whistles – without losing hardly any impact. The percussion is glorious. With “Beachcomber in Dub,” something a bit special happens as the song is opened up, dubbed and explored. What is good about Side 2 is that, though the production is experimental, it is also still so relatable – so the music loses nothing. As these songs gain a new outlook, the listener gains a wider viewpoint.
One of the great things about this group: At one point, you think the sax leads it all. A moment later, the thought is: “No, definitely bass leads.” Then, “Or maybe drums dominate.” Then, finally: “All are equal.” It’s proof, if any were needed, that the Near Jazz Experience is a trio who can read each other well.
The results are interesting and enjoyable. I could be accused of being slightly biased, because I really respect the music the Near Jazz Experience produce, but I commend Afloat in Dub – as a recording, as music, as NJE.
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