As the name suggests, the Near Jazz Experience owe a huge musical debt to jazz, but that’s not the full story by any means. For a start, the rhythm section has more in common with the motorik groove of Can and the general atmosphere is closer to the soundtracks of ‘60s TV shows and films like The Avengers and Bullitt than any of Miles Davis’ famous ensembles.
For those unfamiliar with the band, they are a trio of musical veterans, comprising Madness bassist, Mark Bedford, saxophone slinger for hire, Terry Edwards and his former Higsons’ confederate, Simon Charterton on drums. None of their other groups, however, even begin to suggest what they get up to under this alias. NJE’s sound is a weird head trip of instrumental hypnotic funkiness. A spirited improv-based sprawl of jazz-fusion melodies marinated in global rhythms that are cool but distinctly trippy.
Tritone brings in additional keyboards by Mike Garson and Matt Johnson, especially on the subliminally sinister “Tuba Cop” and the spaced-out title track, but it’s an album that still stays largely within their previously marked-out territory. So, while it may be an album that’s difficult to pin down, it’s very easy to enjoy.
“Astro Disco” brings along spicey Get The Blessing-type vibes, conjuring up images of Californian beatniks cruising along coastal roads in open-top sports cars, while “Funky Kino” is laid-back with a scatty trip-hop groove. “Midwinter” lays down pastoral folkie vibes with Edwards’ flute and Bedford’s laid-back bass lines, however, “Burner” changes gear and brings in North African melodies to a distinctly funky atmosphere. NJE are certainly no one-trick ponies, but add sounds and textures from all over, even hinting at the sound that John Zorn might make if he were to jam with a South Asian ensemble on “Bebinca Beat”.
This makes Tritone an eclectic gumbo of funk and world sounds filtered through a jazz sensibility and, as temperatures rise and the sun makes itself welcome in our lives, it totally hits the spot.
