Let's dive into Tom Browne's funk anthem from 1980, "Funkin' For Jamaica (N.Y.)" and the three young phenoms that made it happen: Marcus Miller, Bobby Broom, and Bernard Wright. I'll explore some history on the session and the tune with an exclusive one-on-one with the one-and-only @bobbybroom himself, break down some of the music, and take a moment to reflect on the legacy of 'Nard.
Can you share with us how your friendship with John Zorn began and how it evolved over the years?
My friendship with John Zorn began many years ago, and it has been a continuous connection ever since. We first crossed paths through the vibrant New York music scene in the late '70s, where our shared interests and creative inclinations quickly brought us together. Over time, we've developed a simple and easy-going relationship based on mutual respect and understanding. As musicians and artists, our paths have intertwined on numerous occasions, resulting in a multitude of collaborations that have left a profound mark on both of us. Our shared passion for pushing the boundaries of music and exploring unconventional sonic territories has fostered a strong bond between us. We've always believed in the power of creative expression as a means of transcending genres and conventions.
What are some of your earliest memories of collaborating with John Zorn? How did those experiences shape your musical journey?
I collaborated with John Zorn on a couple of projects, like the Cobra pieces and the I Ching pieces. They were early experiences that influenced my musical journey. John's innovative game-like structure challenged traditional notions of composition and performance. It was an entirely new way of approaching music, where the musicians' interactions shaped the direction of the piece in real time. This experience opened my eyes to the potential of collective improvisation as a powerful means of creative expression. That started everything, and later we formed bands together, most notably PainKiller and Bladerunner.
John Zorn is known for his eclectic and experimental style. How has his unique approach to music influenced your own artistic development?
John Zorn's eclectic and experimental style has definitely influenced me. We have different approaches, but knowing each other for so long has shaped our tastes. While we may have different approaches to music, there is no denying the significant impact of John's work on my tastes and creative outlook. On the other hand, you can say he didn’t influence me at all. We just have a great relationship. Our collaborations have been characterized by a sense of mutual respect and a shared commitment to artistic integrity. We understand that the strength of our partnership lies in our differences, and we cherish the creative energy that emerges from our diverse perspectives.
Could you describe the dynamics of your creative process when working with John Zorn? How do you navigate the balance between structure and improvisation in your collaborations?
Our creative process is open-minded and without a specific plan. We don't have much structure, but it works well because we get along and respect each other. Our creative process when working together is a unique and fluid journey that thrives on openness and spontaneity. One of the defining characteristics of our collaborations is the absence of a rigid plan or preconceived structure. Instead, we embrace the freedom to explore and experiment, allowing the music to evolve naturally in the moment.
Nenad Georgievski
 |
| Re-Upload |
 |
| Made To Measure, Vol.1 |
Released in 1984, the inaugural volume of Crammed's Made To Measure composers' series included works commissioned as soundtracks for dance & theatre performances, films, and a fashion show. The album offers both a glimpse into unusual aspects of these four artists’ work, and a testimony of the buzzing activity in what was becoming a close-knit community of musicians revolving around Crammed Discs’ Brussels headquarters, which spawned many collaborations.
Sun Ra’s ‘Nuclear War’ might be the Jupiter-born free-jazz maniac’s most malleable tune. Starting life in 1984 as the opening track on his album of the same name, there brimming with fucked-up be-bop modal slink, it was then reimagined four times over a single 40-minute EP by Yo La Tengo at the turn of the millennium, re-emerging as everything from one-chord krautrock mantra to loose-limbed electronica deconstruction.
Now, twenty more years on, New York’s Red Hot Organisation, famous for producing star-studded leftfield compilation albums to raise AIDS awareness (1993’s No Alternative, 2009’s Dark Was the Night, etc), have commissioned a parade of contemporary American jazzers to have their own pop at Ra’s mushroom-cloud-laying masterwork, with the likes of Georgia Anne Muldrow and Angel Bat Dawid each taking turns over a mesmerising hour.
If the prospect of 60 minutes of the same tune seems a bit much on paper, however, fear not: this is some of the most engaging, startling and imaginative jazz playing you’ll hear all year, full of exactly the sort of chaotic structure, mind-warping improvisation, eye-popping variety and inescapable groove worthy of the tune’s author. Muldrow first moulds the song into a sort of mournful G-funk elegy, then Bat Dawid goes full cosmic squawk for a three-movement, half-hour version that frequently gazes over the edge of madness. Philadelphia quintet Irreversible Entanglements (who feature Moor Mother among their number) steal the show, though, with a wild trip through free skronk, sarcastic marching band pageantry, and eventually a glorious post-hip-hop stride that feels, simultaneously, as strong as an ox and like it could collapse at any minute.
Collectively, the four interpretations here serve as a brilliant barometer of the vanguard of American jazz in 2023 – urgent, visionary, and (despite/because of the apocalyptic subject – delete as applicable) bursting with life.
A great resource for out of print Sun Ra albums and resource is no other than Yotte's
