Santa Cruz jazzer Bob Burnett is an oddity, someone who’s ostensibly extremely straight but gets there in a puzzling way. He loves his semi-acoustic guitar – keeps it clean, plays it with an economical and modest Wes Montgomery twinkle – but he’ll dab in a few colours on guitar synth and is also very much into what digital sampling offers the modern composer.
This you’d expect in somewhere like New York City – hip-hop saturated, with digital cut-up/jazz crosstalk from the likes of M-Base or Q-Tip. Coming from Bob, it’s a little less of an obvious path – a transplanted New Jersey-ite now residing in roots-band heaven, he’s played with world-beat bands Kosono and Pele Juju for much of the past decade. With ‘Loops And Lines’ Bob’s giving his sample, hold’n’swing ideas their first recorded outing.
At root, these are pretty cosy ideas. Don’t come in expecting a cross between John Scofield and Disco Inferno, nor yet The Young Gods playing Gil Evans. That living-in-California easiness initially makes ‘Loops & Lines’ sound like an Acid Jazz comedown pleaser. But although the six pieces on the mini-album are sweet enough to be lounge-fare, they’re also lush enough for a lock-in. Bob’s music is refreshingly innocent of guile, but that doesn’t mean that it’s without a dash of wit: a quality which is a precious balance within sampler culture.
Together builds on a moment from John McLaughlin’s Peace One, as the guitarist skips spider-fashion across his low strings: joining in, Bob swings tastefully over the top while Rhan Wilson’s bells and assorted metals mist the edges. Igor plays a similar trick with a few phrases and deep string chops from Stravinsky’s ‘Soldier’s Tale’, Bob adding some Hawaiian lines over the top of the thudding march of deep strings and drums. For Out West he affectionately samples some local-band friends (Pipa & The Shapeshifters) to craft a little bit of Portishead spy music – Adrian Utley’s breed of Duane Eddy twang, with the big stoned swats at the drumkit and the sound of rain sifting down in the background.
Most successfully, there’s Home James in which Bob stitches together a dream jam between himself, Jimi Hendrix, Charlie Parker and John Coltrane. Bright and cheerfully funky, it’s close to an Us3 moment. You expect a laid-back rapper to come strolling in at any moment, with rhymes about strolling by Electric Ladyland with a spliff and a sax case. Instead, what you get sounds more like Bob finding all three legends together at the same Harlem party; each in a separate conversation but still meshing, by happy chance, into a common thread and rhythm. The music – and the falls together with a simple eloquence. Trane throws out a sinous four-note tenor wave from Countdown; Bird counters with a acquiescent call from Night In Tunisia. Somewhere in the background Jimi chips in with a reverberant Band Of Gypsies clang. Bob’s sweet and skinny guitar bubbles throughout the whole thing, chatting merrily away on the breaks.
The only things missing are the “yeah!”s and the punctuation of hand-talk. In fact if it weren’t for the tall (and dead) shadows which that all-star trio cast, Home James would almost convince as a genuine studio jam. Surprisingly, it’s a humble piece: Bob never feels like he’s stealing from his three luminaries, nor as if he’s harbouring vain hopes of cutting them in competition. It’s all about making the links, making a might-have-been occasion; being the helpful guy in the middle.
In fact, on ‘Loops & Lines’ it’s not so easy to work out when, exactly, Bob has got his sampler switched on. He has a remarkably subtle touch as a samplist. In contrast to the way, say, Young Gods or Jesus Jones would proudly ride on the back of a blatant parade of loops, he’s more interested in the seamless interweaving of sample and solo, using temporary digital capture to get more musicians and voices flickering in and out of his virtual band. If, via the magic of samping, he can bring the amicable ghosts of the Johns and the Jimis round to his local bar for a few beers and a blow through one of his tunes, he’s happy.
For instance, Decoy might make use of another Coltrane sample, as well as drawing on snippets of American pop TV themes – ‘King Of The Hill’, ‘Teen Angel’ – but there’s no separation between those inserted elements, the light-footed touches of the live rhythm section, and Bob’s mellow-mischievous guitar skips taking centre stage throughout. The reggae-fied ripple of Lower Nile (the disc’s only cover version) brings back a live band, winds soprano sax through North African melodies… and uses no samples whatsover apart from a few jungle chirps and rustles.
In the end, “Loops & Lines’ is an announcement of relaxed intent; short, sweet and discreet. It’s interesting to indulge the thought of Bob Burnett taking it to slightly wilder climes – maybe coming on like Ronnie Jordan playing over found-sound backdrops. But I get the feeling that he’s happier just stretching loops round the barbeque, shooting the breeze with heroes and friends, providing small glows of warmth rather than burning it up with his music.
Bob Burnett: ‘Loops & Lines’
Bob Burnett, 9801 (no barcode)
CD-only mini album
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