• S
    • M
    • L
    • XL
    • XXL
      • XXL
      • XL
      • L
      • M
      • S

Jazzmatazz, Vol. 4

jazzmatazz.jpgWhen Guru started his Jazzmatazz series back in 1993, it was a genuine nod to the forebearers of hip-hop. The project successfully married his stoic rhymes with the smooth sounds of various jazz greats. But somewhere along the line, the Gang Starr front man veered off his original course. Now, after three progressively different chapters, he returns with Vol. 4, a sonic amalgam of the previous three that produces mixed results.

Helming the boards throughout is Solar, the same producer behind Guru’s lackluster 2005 solo effort, Version 7.0: The Street Scriptures. Unfortunately, the beatmaker’s use of ancient drum breaks (“Stand Up”) and equally dated bass lines (“Cuz I’m Jazzy”) only serves to highlight Baldhead Slick’s seldom quote-worthy rhymes. Evidence of that surfaces on “Kissed the World,” a politicized interpretation of MC Lyte’s “Georgie Porgie,” where he spits, “Who’s up next now, against the rootin’ tootin’?/Invading and raidin’ is what he’s used to doin’.”

While jazz favorite David Sanborn’s sax serenades the cool “Living Legend” and Bob James’ keyboard skills accentuate the blaxploitation soul of “State of Clarity,” most of Guru’s aural accomplices are contemporary singers. Neo-soulsters Kem and Raheem DeVaughn impress on the polished skirt-chasing selections “Connection” and “Wait on Me,” respectively. However, Bobby Valentino’s limp vocals further drag down the already cheesy Brazilian swing of “International.” The aforementioned “Stand Up,” featuring Damian Marley’s ragamuffin style, is another awkward collaboration.

Lacking the legendary instrumentalists, such as Donald Byrd and Roy Ayers, that anchored previous Jazzmatazz projects, Vol. 4 plays out more like a scattershot compilation than a fully realized thematic disc. Despite the lack of focus, Guru and Solar manage to pull together a few notable tunes—namely, the mellow “Look to the Sun” and the Vivian Green–guested “Fine and Free.” But instead of just talking all that jazz, the duo could have actually made some. —PAUL W. ARNOLD


Recommended for You

Around the Web

Best of XXL

  • http://www.yahoo.com FourOneDuece

    do ya home work young’ns guru that dude

  • Holla

    Guru is washed up – this album is trash. The last 2 are so much better. He needs to drop Solar – he’s terrible.

  • http://theurbanblock.com FateL

    You Hear Hip-Hop, We Live Hip-Hop

    Sign Up Today.

  • AnthonyC

    What is the reviewer talkin about?
    A collaboration with Damian Malrey is awkward? Shut the fuck up and do your home work first, the track that Guru recorded with legendary reggae crooner Barrington Levy was straight classic, why would it be awkward for him to rip into some more reggae?
    fuckin dumbass, fire that writer

  • http://none bluesstar

    well this review is obviously
    “lacklustre” in that it lacks research,effort and is biased against a few things.1:where are these “ancient beats” and bass lines from?does the writer know?then tell us please.give us some facts,not suppositions.2.on the first jazzmatazz there were 3 jazz legends at the time(more of them might be legends now).on the 4th there are also 3.in terms of the lone quote the “reviewer” gives us,there’s a difference between hearing guru’s voice saying something in context and reading an out of context quote in a half assed article.5.the writer implies that having contemporary singers on your album isn’t ok.6.there have always been musicians,singers and rappers on jazzmatazz.7.the “reviewer” doesn’t mention a single rapper that guested on this record(what’s with the broad brush?)8.finally is this album even out yet?when it comes out please let’s have a real track by track review.this article tells us nothing of substance musically or lyrically about the record.i’m not convinced the reviewer has a grasp on this material.