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More or less twenty years after its inception, acid-jazz is nothing more than a faded memory: what's left now of that refined, sophisticated, and danceable mix that cleverly blended new electronic rhythms with the atmospheres of soul, the vehemence of rap salvos on elegantly jazzed landscapes? Nothing more than a name, moreover belittled and considered on par with Buddha Bar and other pleasant compilations.
But going back in time, you'll rediscover fantastic records we had forgotten or let pass indifferently. One of these is "Criminal Justice," the second work for D*Note by Matt Wienevski: a precious combination of heterogeneous and seductive sounds, irresistible and sweetly enveloping.
It's a surprise with the frantic start of the title track: "Criminal Justice" sets a compelling raggamuffin voice on syncopated rhythms reminiscent of the most refined Goldie. "Place In The City" is one of the most beautiful acid-jazz manifestos one can imagine: dreamy and soul landscapes accompany the graceful wandering of vocalist Pamela Anderson (yes, that's really her name), with a soft electronic touch intertwining the completely black flavor of the piece. "Deep Water," "Perspex," and "V" are the instrumentals of the album: wonders capable of merging piano virtuosity, delicate atmospheres, and almost minimalist solutions.
Elsewhere, it sounds like the best Roy Ayers, but it's just an (excellent) apocryphal piece enriched by relentless African percussion and an unforgettable vocal performance (the concluding "The Garden Of Earthly Desire"). "Iniquity Worker" reconnects with the title track in its fusion of drum'n'bass, Jamaican voices, and stunning funky brass. "Solomon's Blade" is perfect jazz-soul for the '90s, exciting and sinuous like few other things.
"Criminal Justice," more than ten years after its release, is an album that still enchants and sounds timeless. Those who missed it should not make the same mistake twice and should recover it as soon as possible. "Criminal Justice" is, in its own way, a big album.
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