Jazz House artist, Berlioz, captivated groove seekers on a Thursday night at Rock City. Harriet Bodle, and friends Makena Mugambi and Caleb Gray reflect on last night’s jazz antics…
With the philosophy of creating playful jazz music, with a setting of house syncopation, Berlioz’s latest release open this wall is accessible for all lovers of jazz fusion and soul. Released in last year’s July summer, the album incapsulates Berlioz’s newfound approach to the sampling of spoken word and the manipulation of precomposed demos. In comparison to his 2023 EP, jazz is for ordinary people, open this wall has a real emphasis on affirmations and musical experience garnered through the quick success of Berlioz as a producer. The snippets of spoken dialogue, most notably in open this wall with a Nancy Wilson interview from PBS, reflect the albums ethic of allowing things to happen over time – embracing the playful nature of life and privilege of music that provides us moments of warmth and connection. This sample begins with the affirmation of a ‘supreme power that gives me the ability to be everything if I just allow it to happen’. This feels like an appropriate piece of word that sets up open the wall, an album that continues to celebrate music and the pushing of genre boundaries until its end…
"In comparison to his 2023 EP, jazz is for ordinary people, open this wall has a real emphasis on affirmations and musical experience garnered through the quick success of Berlioz as a producer"
The virality of Jasper Attlee’s music has garnered an array of listeners, commendable in reaching an audience outside of a jazz niche. Last night’s audience was a clear reflection of Berlioz’s inclusive listening platform, with Rock City packed full of club enthusiasts and more reflective jazz consumers. It was an impressive feat for Berlioz to turn the University’s Crisis setting into a more intimate jazz lounge. A singular pink shaded lamp stood by Berlioz’s DJ stand, providing a cozy – and slightly humorous - juxtaposition against Rock City’s sticky club floors and a rowdy audience inhabiting the balconies above.
"Even though I was stood in the back behind this impenetrable crowd, the atmosphere created by the musicians was so charged and immersive that I’m sure my experience and those of the people at the front did not differ" - Makena
Accompanied with a bassist, baritone saxophonist and an inconspicuous keys player behind the set, Berlioz began the show with a contemplative synth sound, gradually allowing the ensemble to improvise within an ambient environment. Recognising the fact it was packed inside, the audience themselves seemed almost unsure of whether to remain locked into the performance or two-step with the people around them. Whilst writing this, I remember a moment when a girl to my left barked to those around us ‘the crowd is so dead!!!’, I wonder what she was expects from the performance of house jazz, often favoured in ‘lo-fi jazz to study to’ Spotify playlists.
In anticipation, the crowd grew into a frenzy as the keys harp-like improvisation progressed. Track Miro began with a singular drum pad, with keys and sax providing an energetic pace as the ensemble begin to play off with one another.
"The record reads like extended poetry, unbound by the notion of sectionality and instead, meandering down lanes which feel difficult to predict. But no matter, this evening we are happy to be led" - Caleb
The bassist was heavily appreciated in the crowd around me, people remarking on his sheer ability to bring something new to each song, unheard in the recordings. Interestingly, open this wall, was produced through Berlioz cutting up demos from previous studio sessions by jazz performers, however, the gig itself focused on the real-time improvisation amongst the ensemble – bouncing of Berlioz’s electronics.
Personal favourites of the show were wash my sins away and r&r. wash my sins away brought an incapable groove, with the keys and sax hyping up the crowd as they worked almost in call and response to each other’s improvisation. The higher register of the baritone with some crazy trills in the piano transcended into a joyous soundscape, leaping around house percussion.
Popular tracks for the audience seemed to be jazz is for ordinary people and nyc in 1940. Jazz is for ordinary people had the baritone taking the opening lead, as the keys laid down the opening 7ths. This one felt more house-y, with its techno-inspired percussion getting people back on their feet. This was also brought about with the lights moving from red to orange and growing in number. Nyc in 1940 had the crowd singing along, perhaps a little pleased with its familiarity. The piano played its riff, in a more chilled environment – similar to the laidback inclusion of samples echoing throughout.
Start to finish, Berlioz's set filled the venue with an exciting and ambient spirit. Who knew jazz and house appreciation worked hand in hand...
It is possible Berlioz's next direction will be to explore lyrical writings with music, I don't doubt this will garner even more success for the project.
Listen to open this wall
Harriet Bodle
Edited by Harriet Bodle
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