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Burnt Friedmann: Con Ritmo

 A l b u m   D e t a i l s


Label: EFA Medien GmbH
Released: 2000.06.17
Time:
 44:58
Category: Jazz Electronic
Producer(s): Bernd Friedman
Rating: *****..... (5/10)
Media type: CD
Web address: www.pulaster.de/bf
Appears with: Atom Heart, Señor Coconut, Flanger
Purchase date: 2001.11.26
Price in €: 17,99



 S o n g s ,   T r a c k s


[1] Los Corraleros (B.Friedman) - 3:49
[2] Demolition Derby (B.Friedman) - 4:24
[3] Octrahedal Spherical Caffufle (B.Friedman) - 3:31
[4] Platin Tundra (B.Friedman) - 5:26
[5] Escape The Night (B.Friedman) - 5:37
[6] Destination Unknown (B.Friedman) - 7:31
[7] Das Wesen Aus Der Milchstrasse (B.Friedman) - 11:09
[8] Gondel (B.Friedman) - 3:28

 A r t i s t s ,   P e r s o n n e l


THE DISPOSABLE RHYTHM SECTION:
BERND FRIEDMAN - Keyboards, Vibraphone, Composer
JOSEF SUCHY - Electric Guitars on [1],[2],[3],[5],[6]
BERNIE BOLT - Humphrey X-34 (Bass Machine), Pro-Tools
NICO PULSILAMO - Percussion

UWE SCHMIDT alias ATOM HEART™ - Moog-solo on [7]

 C o m m e n t s ,   N o t e s


Leftfield. Awesome CD which Compiles the Critically Acclaimed Two Vinyl-Only EP'S: Ep1 & Ep2. 'con Rito' Could Be Described as Jazzoid Cyberlatin Dub Funk, Impossibly Complex Percussive Clusters & a Sense of Repetition Offset by Surprise Elements.



This Nonplace artifact purports to be a live recording of a live nightclub set by Latin fusion band the Disposable Rhythm Section. Don't count on it. Original prankster (and programmer extraordinaire) Bernd Friedmann is clearly up to his old tricks. Whether working out of his studio in Cologne, making merry with New Zealand's Nu Dub Players, or taking in the Chilean sun with expatriate countryman Uwe Schmidt, Friedmann always makes music whose warmth disguises its digital derivation. The computer craft is almost invisible on Con Ritmo, well hidden by Joseph Suchy's excellent guitar work. Seamless as it may be, you can be sure that sampling software is responsible for the feisty vibraphones and horns and the meticulous cut-and-paste conga breaks that bring Latin-jazz fantasias like "Demolition Derby," Escape the Night," and "Destination Unknown" to life. Listen closer, and the iridescent sheen and pitch of the musical elements betrays digital tweaking. Similarly, there's a fastidiousness to even the loosest grooves here that can't be had with human players. None of this works against Friedmann's ingenious craft, mind you, which also encompasses the digi-dubscape of "Platin Tundra" and a vision of digital-age lounge music ("Das Wesen aus der Michstrasse," with a staggering, Sun Ra-worthy Moog solo by Schmidt).

gil gershman - 2001 feb 9
Copyright © 2000, fakejazz.com



German Bernd Friedmann spent all of the 1990's recording and performing electronic music in many styles under many names, including: Some More Crime, Drome, Nonplace Urban Field, Burnt Friedman & The Nu Dub Players and Flanger. The aptly titled "Con Ritmo" ("With Rhythm") is the solo debut under his slyly altered given name and is allegedly performed live by The Disposable Rhythm Section as detailed by the tongue in cheek insert. Friedmann's playful sense of humor extends well beyond names and liner notes though ... his music is a mysterious mix of genre blurring sound from unknown sources. Jazz is essentially the language but it's spoken in soothing and spacious ambient, electronic, latin, dub and fusion tongues. Latino rhythms and busy bass lines drive the tracks with flourishes of percussive fills, an abundance of pretty vibes and keys, meandering electric guitar notes and pluckings, some horns and the slightest traces of electronic tinkering. You're never quite sure what is 'played' and what is sampled, what's electronic and what's 'real'. Does it matter? No, it doesn't. The sound and feel is sincere and evocative. Some notes on a couple oddities: "Platin Tundra" is a gorgeous dub-jazz journey with a beautiful deep bass swell midway through and the 11+ minute "Das Wesen aus der Milchstrasse" ("The Nature of the Milky Way") features Friedmann's Flanger (see also "Midnight Sound") partner Atom Heart on an extensive Moog solo over electro-bass blips and latin poly rhythms. Fun stuff start to finish! Now to get everything else by Friedmann. A new much delayed album possibly titled "Long Fucking Time" is due out early 2001 on his Nonplace label ...



very few things even come close to this! i could go on and on about how incredible this release is but why would you believe me? real musicians performing real instruments, producing the most impressive dubby-jazzy-exotica-psychedelic piece of work since Mouse on Mars' GLAM lp. i'd give it 10 stars if i could. no description would do justice to this completely original music. friedman is also the guy behind Nonplace Urban Field and Flanger and the Nu Dub Players. all his releases are great! this one perhaps the most creative yet.

mike miller from cuba, ny USA, August 5, 2000



This Album is VERY interesting indeed. The overall feeling of this music is techno/jazzy/dub. The first track I heard by Burnt Friedman was from 'Future sound of Jazz vol.7' (A brilliant Album). I was very impressed by this tune, it turns out that it's one of the tracks from this album slowed down. It sounds good at both speeds. There are no duff tracks on the album!! but it's all crazy and easy to listen to at the same time. This album must have been very difficult to make.. many instruments/percussion are real and the rhythm programming is second to none. Anyway - If you don't like it - I've got no sympathy for you!!!!

Tim Jones (tmjcardiff@netscapeonline.co.uk) - 2 December, 2000



The electronic jazz movement takes another leap forward with this release by Burnt Friedman (aka Nonplace Urban Field, leader of the Nu-Dub Players and one half of Flanger). Since his transformation from the more ambient Drome project into Nonplace and sundry other guises, Friedman has been busy reconfiguring drum n' bass, electronica, dub and fusion into his own highly individual shapes. On this release, which collects tracks from the last two Nonplace EPs together with four new excursions, he teams up with the 'Disposable Rhythm Section' (another of the virtual bands living inside his Atari), together with guitarist Josef Suchy to produce a funked up latin tinged cyberjazz which captures the subtleties and complexities of a live performance without descending into mere digital imitation. Friedman likes to play with notions of live, sampled and programmed material, even down to the addition of crowd noise between tracks, together with mumbled introductions by the 'musicians', (check his website for further elaboration) but he also uses the capabilites of digital technology to produce edits, breaks and rhythmic matrices that even Tony Williams might think twice about attempting. Actually I would guess that Friedman has at some point has performed a Vulcan mindmeld with someone like Williams, such is his rhythmic sense. This veers from the Alphonse Mouzon on mescalin approach which characterised much the Flanger record, to the relatively incident free dub skank of 'Platin Tundra' (enlivened by some ridiculously funky bass squelches), Even here Friedman eases the hi hat across the bar lines to produce constant, subtle changes of emphasis in an almost Reichian fashion. At the other end of the complexity scale, 'Escape the Night' works a virulently infectious Headhunters meets Can groove which builds under a blanket of cloudy Rhodes chords, digital groans and cheesy analogue synthetics. As they say, if this one doesn't move you, better check yourself for a pulse. Friedman's grasp of texture, space and dynamic is incredible here - there's no clutter, nothing extraneous. The eleven minutes plus of 'Das Wesen aus der Milchstrasse' relocates 'Black Market' era Weather Report in the outer reaches of the known galaxy, with Atom Heart (Friedman's partner in Flanger) delivering an echo drenched, zonked moog solo which suggests how Joe Zawinul might perform under extremely strong hallucinogens. The only slight disappointment is the closing techno tinged 'Gondel' which seems like a bit of a filler here, but that's just nitpicking. Light years ahead of the lazy appropriation and quantised rhythmic tedium (or to quote from the nonplace site, 'manky MIDI miserabilism') that dominates computer based music in general, this is witty, positive and intelligent stuff . Don't file under triphop.
 

 L y r i c s


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