Customer Reviews

Ki-Oku

5 star:		(26)
4 star:		(9)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

This album has been in my CD circuit for about a year now and I still love it. This is probably the jazziest of Krush's works and in my opinion, the best. The CD is a very dark, very moody, minimalist (and I stress minimalist) masterwork. Here he gets it all right, appropriately down-beat drum beats, excellent trumpet (by Toshinori Kondo), and sparsely used bass. I think the real stand out tracks are Mu-Getsu and Ha-Doh (which is a bit of a let down because they come at the beginning) but the whole CD is excellent. This CD would appeal to any fan of jazz, hip-hop, or trip-hop. However, you must listen to it with an open mind, rather than having a fixed vision of what the CD should be. NOTE: In Sparky's review he seems to have one, great, misunderstanding (which is what I believe led him to the lower rating he gave the CD). This is not jazz fusion, it is trip-hop and as such there is going to be repitition and as for that "probably for dancing" comment, ever hear of Philip Glass? The CD you mentioned (Underground) is an entirely different genre and is attempting to convey an eniterly different mood i.e. happy, upbeat, complex, which further leads me to believe that you're looking for the wrong thing in this CD. Additionally your comments on Kondo's trumpet playing are most unwarranted, I've heard him live and he is a truly excellent Trumpetist but, unlike Courtney, on this CD his playing is not overly complex in his delivery and to fit the minimalist, dark mood of the CD.

I'm forever in search of the perfect jazz/electronica hybrid, but 99.99% of the albums that are classified that way are just jive dance music with badly-played trumpets or tablas or some damn thing thrown into the mix. Some of Nils Petter Molvaer's music, particularly an obscure remix CD called "Recoloured," comes close; Erik Truffaz's "The Mask" tried to come close, but was too simple and pallid; but Ki-Oku is THE stuff -- the music that Miles Davis would be playing now if he was still alive and awake. Using trumpets and turntables only, two Japanese guys invent vast, brooding sonic landscapes that sound like what Deckerd of "Blade Runner" would be listening to if he had really good taste in jazz. The first track, "Toh Sui," was obviously at attempt to make a "dance-friendly" opener, but after that, the album dives deep into echoey, lonely spaces that are perfect for 3am stoned listening. I gave a copy to one of the guys who helped create "The Matrix" and he said, "This album makes me hallucinate."

I've always been a fan of jazz and hip-hop music. My introduction to John Coltrane and Kurtis Blow happened when I was 11 years old. I thought then, as I know now, the two genres blend perfectly. The 1999 release Ki-Oku by DJ Krush and Toshinori Kondu ranks high on my list of jazz fusion albums, right next to Miles Davis' Tutu. It also is a `must have' for any hip-hop collection as well, because it marks a special place in the evolution of `rap-fusion', if you will. The overall composition is not a boring attempt to bridge the gap between rap and jazz, like many poorly executed acid jazz albums from the mid to late 1990's. It stands in a unique place from the like of Guru's Jazzamatazz series, or Branford Marsalis' Buckshot Lefonque series (most notably, the self-titled debut of this series). This is a new direction in groove, and they blaze a trail very few could follow, let alone produce a result so enriching. The men play together as you would expect brothers to, and the album moves from track to track without a single flaw. DJ Krush has long proven himself a master of down-tempo grooves, and Kondu's horn rides over the beats like a warm, steady breeze. His playing is like Miles, especially reminiscent of his fusion concepts. Overall, if you want an album that you can play for a wide variety of people in nearly any setting, or a good album to sit back and chill out to, this is a great buy for the cause.

Dj Krush has been a premier figure in the art of stylished, beat arrangements, for some 12 years now, and he's produced a level of albums that have remained remarkably consistent. veering from hard-edged, hypnotic beats, to Slow cerebral laid-back grooves, as well as ominous and brooding soundscapes, and defining nocturnal and slightly detached tempos. Dj Krush has relatively explored the vast majority of avenues that a DJ/Producer can reasonably expect, encompassing: 'Trip-Hop, Breakbeat, Electronica, Acid-Jazz, Hip-Hop, Ambient'. And he is also remarkable for not only having collaborated with a great many artists, but seemingly able to generally always get the best, out of whomever he decides to collaborate with. Probably one of the more unexpected collaborations, was with celebrated Japanese trumpeter "Toshinori Kondo", who is able to manipulate the trumpet to perform in a sort of lyrical, introspective, and melodic style, that at times is refined, confident and mannered, but then also able to remain inventive with his performances and change the dynamic with a reflective, detached and atmospheric arrangement. Dj's taking Jazz instrumentation and implementing it within the confines of Trip-Hop/Hip-Hop isn't anything new, but instead of making a fairly uptempo Jazz/Hip-Hop record, Krush scales back on the BPM, and produces something far more cerebral and in tune with the relaxed feel, or something like 'Miles Davis'' seminal "Kind of Blue".

What DJ Krush actually contributes himself, is a level of slow burning production, that pays full respect to the trumpeter, providing the programming and beats and more importantly in giving the music a subtly shifting quality, and beautifully coupling the laid-back grooves and low-slung beats with the lushly passionate arrangements, that work perfectly with the tonal and structurally harmonic orchestrated trumpet. Toshinori Kondo himself centres himself perfectly around the widely sensual, atmospheric textures, and languid, mid-tempo break-beats that Krush is able to provide, and rather than remain completely reliant on one form of trumpet, the various tracks across this remarkable album feature him using acoustic and electric trumpet. With some of the tracks that feature electric trumpet owing a sizable influence and debt to Miles Davis's late-period electric albums.

If you've become accustomed to the more uptempo, and breakbeat/Trip-Hop albums, that DJ Krush has become famous for, so long as your aware that no Vocal collaborations with Rappers or singers exists on this record, or that there is nothing here, that largely resembles the blunted, smoked-out beats of other albums, most will find this to be a supremely well-produced and surprisingly soothing album. Think more like an album that has more in common with steamy, soundtrack-type music, with the emphasis on slow beats, scratching, and mellow horns, and intimate grooves layered on top of other grooves. It has the sort of introspective and reminiscing quality of 'Miles Davis's' electric trumpet, fusion of jazz/electronic masterpiece: "In a silent way", but with a heavy emphasis towards beats fused with cool trumpet. Krush fans shouldn't hold back in any hesitation in purchasing this, as it really does fit within the brilliantly consistant run of albums that Krush has produced, and is arguably some of his most melodic and breathtakingly gorgeous work. And such is the elegantly stylish nature of this album, that places a firm emphasis on cerebral intimate harmony, that it has the accessibility & sheer brilliance to grab DJ Krush a whole new set of fans......unquestionably reccommended.

This album is a step away from DJ Krush's usual sampling. The tracks are a mix of synthesiser and drum machine beats and the acoustic/electronic trumpet playing talents of Kondo - the style is fresh and original. The overall mood of the album is mellow, subdued, relaxed.

It's no 'Bitches Brew,' but this album makes for listenable fusion which is itself an achievement. You won't find Krush's best beats or even well-structured jazz contributions from Kondo. However, the enjoyment that they feel in working together is evident. I find it a very pleasant listen.

If you like a Miles Davis-esque trumpet layered with trip/hip-hop beats, then you will love this import. All the tracks are consistent, but I wish the beats were a bit more creative, with some more variation. (Well, I suppose some people dig the repetition because it's more danceable, perhaps?) The second to last track is the best on the album in this regard. Listen more for Toshinori's trumpet than for the beat, scratches. The interpretation of Bob Marley's piece caught me off guard. It's a foggy harbor, a Whistler painting, a Los Angelican dusk on Codeine, a hazy-rainy dawn - it's all sfumato all the time. Listen with blue lights on. If you've 2 stereos, try it with some solo jazz piano in the background. You may also enjoy Courtney Pine's Underground for a "jazzier" experiment with hip-hop beats.

The idea of combining trip hop and jazz now is rapidly becoming centuries old and i feel people are ready fot the next big revolution which i feel is just around the corner. Despite that fact there are a few records that are so purfect they just fight right into the whole scene without any of the conventional forces having any kind of efffect on it. This is one such record. Monumental acheivement is all i can say to describe this classic....way up there with "Endtroducing.." and "Deltron" instrumentals. When i first herd of this cd....hip hop beats with jazz trumpet......instantly elevator music and cheezy porn scores came to mind and i decided to skip it...Big mistake. This cd is hands down Krush's best work to date (ofcourse he had Kondo to help him out) Toshinori kondo is master trumpet player and his style is along the lines of Miles Davis (only his style....Kondo is a true master but he is no Miles Davis...nobody is actually). DJ Krush maintains a strict hip hop ethic throughout the CD and that, i feel, is what draws the line and pushes them over to the good side. Every track on this cd is excillent and flawless. Musicianship is of the highest caliber and production values are absolutely unparalleled. The music switches in and out of funky almost dancable groovs (toh-sui) to haunting instrumental ballads (mu-chu) to dub jems(sun is shining) do downright dark and chilling sets (ki-gen). Each note the Kondo hits oozes jazz, each beat the Krush generates is litrally drenched in hip hop and together they are a musical match made in heven. Krush and Kondo compliment each other extreamly well and neither of them subdue the others effect on any track. I totally agree with S.Duda..the reviewr for Amazon.com about the fact that this is a hip hop classic. DJ Krush and Toshinori Kondo have immensely intensified the flame originally kindled by legends like "The Roots" (who Krush is a big fan of) and "Guru" and added a completely new instrumential dimention to it.

This is my favorite dj krush album. unencumbered by any rap , as on some of his other recordings, the music speaks for itself. intellectual, yes. downtempo, yes. maybe not groundbreaking, but always enjoyable. good music transends race, as the reviewer for JAZZIZ (above) seems to forget.

Being a Soundscape Artist myself, I have to give DJ Krush the props he demands by putting out work like this. I have ALL of his albums and this ranks among the best. Dark, Subliminal and Simplistic, Krush easily shows why he is considered one of, if not the best.

Rase1Bannon...