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AZURE Hiptronics AZUREMUSIC AZMU1401

1. Ocean’s Edge (instrumental)
2. Musquito Massacre Part II
3. Within Reach
4. It’s Like Nothing Ever Changed
5. Waving Tables
6. Miss Incognita
7. Dawinul
8. Planets
9. Puddle of Sand
10. DB
11. Burn Everything
12. Planets II
13. Ocean’s Edge

Federico Solazzo – keyboards

Rogier Schneemann – guitars

Luciano Poli – electric & acoustic bass

David Barker – drums

feat. Rik Mol – trumpet/flugelhorn

feat. Benjamin Rhodes – vocals

feat. DNA – rap

It has been five years since Azure’s last outing When She Smiles, and while it would seem very little of the original band has remained these changes stand witness to a progressive evolution in which founder Rogier Schneemann has maintained a kind of ‘Azure ethos’; improving a little here and adapting where required, but keeping an elegant sense of melody, tight harmonies and an elusive sense of poetry. Original pianist Pierre-François Blanchard has returned to Paris, but co-producer Federico Solazzo’s contribution to Hiptronics is central, both as a composer and performer on piano and a range of keyboard sounds of which Joe Zawinul would have been proud. The artistry of bassist Luciano Poli should also not be underestimated, as much a key to the rock-steady feel of these tracks as drummer David Barker.

The press release for Hiptronics is keen to emphasise Azure’s move towards electronic and funky grooves as opposed to what might be considered more ‘straight’ jazz. Guest artists such as Rik Mol, who has appeared with Chaka Khan, Basement Jaxx and Candy Dulfer, sees the band further raise their game into a product which can stand alongside the best in this genre. The concept behind the track listing is one of a “circular story of estrangement and homecoming”, though this is only really apparent with the opening and closing Ocean’s Edge, the instrumental first version with pacey and frenetic rhythms over a basically calm set of chord progressions and mildly symphonic development. This is given a nice vocal treatment from Benjamin Rhodes in the closing track, with some well produced vocal counterpoint and extra details which go that extra mile. DNA’s rap is also pretty convincing, working surprisingly well with the number’s middle section.

There are some great highlights and no weak tracks on this album, though tastes will inevitably differ. I like the fun bounce of Waving Tables and the muted Miles Davis style trumpet of Miss Incognita. Weather Report has to be cited as an influence in general, though 1970s action movie soundtracks also contribute to the retro feel of something like Dawinul. Slow numbers deliver necessary contrast, but I prefer the enigmatic Groove Armada atmosphere of Planets I with its cunningly dropped-in samples to the more homely sentiment of Puddle of Sand. On the subject of samples, there is indeed one weak element in the Brand X tinged DB, the exchange between filtered strings and grunge moments too angular to lie comfortably on the same side of the blanket. More rock orientated is Burn Everything, which also allows for some understated double bass from Luciano Poli in the lyrical middle section – a nice contrast with the more frequently taken electric bass.

Each of the tracks is given its own little programme note in the booklet which is a helpful touch, and the production and design/presentation standards of this release are very high. If you like creatively composed and superbly performed jazz funk with a steely edge then this is a top venue to get some genuine kicks.

Dominy Clements

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