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[kamolejazz]

Benjamin Jephta- The Evolution of an Undefined: Album Review By Kamohelo Phele

As legend has it, iconic trumpeter Miles Davis had grown tired of contemporary jazz rhythms by the late 60s. Instead the raspy revolution was in search of a more visceral sound, something that transcended the constraints of traditional suit-and-tie bebop and drifted into more electronic musical genres. The results were remarkable: the ground-breaking 'In a Silent Way' and 'Bitches Brew' albums forever changed the trajectory of jazz, making it acceptable for its musicians to live outside the restrictive “jazz box”.

Almost fifty years later, bassist Benjamin Jephta lives within the same rarefied air, as a musician rooted in traditional jazz standards and brazen enough to push the limits of his sound, no matter how peculiar the outcome. Although Benjamin Jephta comes from a deep, inducted-into-the-fraternity jazz background as demonstrated with his 2015 beguiling debut, Homecoming. In this record, Jephta treats "jazz" more as verb than noun, which has allowed him to freely and frequently collaborate with rappers, singers and other unclassifiables of talent.

 On The Evolution of an undefined, the dread-locked bassist heads down the fraught path of electronic/hip hop jazz and gets it frighteningly right. The "undefined" spirit pervades the entire album, informing everything from song structures to production.

Simply put: The Evolution of an undefined isn’t just ‘one thing’. It’s a dynamic recording of aerial soul compositions and unorthodox alternative rhythms, resulting in an effervescent glimpse into modern day jazz/rock fusion. We’re treated to an amalgam of the Jazz, Rock, Soul, and Hip Hop traditions Jephta was raised in. A truly wild blend of different styles and grooves, even if there is a beautiful and hypnotic consistency in the sounds that Jephta puts out here

The direction of this album is announced right away on the first track Intro Jump Interlude a busy combination of a fiery powerful bass line, synthesizers, snare drums all held together by dreamy vocals thus creating a warm bed of sounds. Things really kick into high gear on track three, Dear Mr. Hodge, a haunting dense tribute to American bass master Derrick Hodge. The track is led by a few erratic crashes, poignant cosmic squeaks, muddy percussions resulting in an uplifting and novel feel. It’s cinematic, conversational and accessible. Surely, Derrick Hodge would approve.

  On Identity Jephta features Jitsvinger and Eden Myrrh on the vocals, an infectious rock/fusion rhythm mixed with swanky horns, turntable styling and driven by strong drums then propelled by Myrrh scorching, distorted solo.  This is juxtaposed by the track's uplifting message, with artful spoken word verses delivered by Jitsvinger, and singer, Eden Myrrh’s emotive voice. A pretty jovial rhythm, though it still carries emotional heft and an important message.

The last two tracks of the album, Mombelli, Pt.1 & Pt.2 are a lush texture, and feel incredibly full. On Mombelli, Pt.1 Jephta opens with a distorted drenched clean-tone solo from the upper register, and it then develops into a smart & inviting melody. The interplay of all the instruments is an absolute wonder to listen to. While the last track takes us to church. We get to witness Jephta’s genius, he doesn’t really do anything crazy, he serves as the backdrop to this frantic confrontation between the drums, the horns & piano melodies. It creates warmth and absolute raw emotion. A really amazing track that takes you to church in all the right ways. You will feel a smile of homecoming creep over their face as Jephta bows out. It’s a fitting end to this fine effort.

For years, jazz & fusion/hip-hop went together like oil & water. But on The Evolution of an undefined, these liquid arrangements herald new chemistry and create fuel.    

If South African jazz has a future, then this is it.