This is exemplary nu-jazz, fusing jazz instrumentation with complex production techniques. For me it adds something to a genre which often feels lacking.

Bebop,post-bop and jazz funk. Miles Davis, Herbie Hancock; free improvisation. Also written nü-jazz or NuJazz, it is sometimes called electronic jazz. este estilo de Jazz hay que escucharlo con mucha atención, hay que cogerlo con las ganas de escuchar música diferente muy experimental. En conjunto sorprende, aunque las influencias están bastante marcadas.

Fajne, tylko momentami odrobinę za bardzo kwaszą jak na moje ucho. A może po prostu niektórych motywów nie rozumiem? Trudna i intrygująca nuta, na pewno zaserwuję ją sobie jeszcze raz, nie jest wykluczone, że wtedy zmieni mi się zdanie na ten temat. Ostatni kawałek najlepszy.

great stuff which keeps leading you on - offering so much to think about.

Basically, Miles Davis' explorations in the seventies started it all: that phenomenon called "NuJazz", and in the days where due to lack of musical creativity, every style of music got the prefix "Nu" and some hiphop influences added, it's easy to forget which great musician rooted that desaster. The Kolektyw Etopiryna finally silently slips some new approach under that ill-fated moniker - and their approach to "NuJazz" is not exactly new, either, it rather is a fusion of various jazz styles from the past - including NuJazz (whatever that exactly means). There's the all-important Davis salute in "Jazz Emulator", presented in two versions (with funny version numbering - will music in the 21st century all have version numbers like software?). A deceptively simple groove forms the basis for some non-harmonic explorations on organ and trumpet, before we move into a completely genre-atypical silent part. The odd combinations continue on the next track - a really quiet and subtle affair, more in the realm of early Art Ensemble of Chicago work, starting off with beautiful (improvised) double bass/piano interplay, before odd electronic noises and glitchy loops take it to the present. There's lots of bebop influences, too, reminding in its drums/bass/two horns lineup of some early Ornette Coleman work, all in all, there's a lot of great influences to be discovered. The greatest thing that can be said about this album is that it's not what you'd expect of a "NuJazz" album at all! Rather, it's an interesting, beautiful, if somewhat challenging collage of jazz - highly recommended

Świetna muzyka. Ciekawe czy coś jeszcze po tym końcu nastąpi?