BadBadNotGood - III (Album Review)

 

BadBadNotGood - III

(2014)

My copy: 2014 press by Innovative Leisure Records.

The spotlight had become focused on this Canadian modern jazz trio following their first two full-lengths and several high-profile collaborations with notable rappers. BadBadNotGood are best known for their fusion of jazz and hip-hop, with a production style that focuses heavily on rhythm and grit to highlight their modern approach to recording. On paper, three white guys updating jazz for modern hip-hop fans sounds dicey, but there are a handful of powerful moments, proving their talent for composition.

It is quickly apparent that the band is at its best when focusing on dynamics: the pensive “Triangle” proves this with rocking piano melodies that bob and weave around the impressive rhythm section. The drums are the main hip-hop component, playing beats that would otherwise be rather ill-suited for traditional jazz. “Can’t Leave The Night” is their most fruitful proof of concept, infusing nocturnal, seductive RnB with booming bass drops that work surprisingly well as payoffs to their preceding baths of tension. “Confessions” sees Leland Whitty’s saxophone switching from hyperventilating tones to smooth, lounge jazz breathability. Things begin to tumble with “Kaleidoscope,” which stays interesting thanks to the cleverly written keyboard progressions but overextends way too far into rhythm solos that strip away the dynamics of the earlier tracks. 

Then comes the C-side, which holds the three least interesting tracks of the record. The tempo shifts of “Eyes Closed” are unable to save the track from its boring core movements, though it does stand slightly above the rehashed malaise of “Hedron” and “Differently, Still,” which proves that they should keep away from traditional jazz sounds. The final two tracks do manage to wrangle the energy back in a favorable direction, mostly thanks to the complicated rhythmic changes of “Since You Asked Kindly,” where the tone also toys with chillwave through layered synth melodies. “CS60” starts and ends with moody string arrangements met by dilapidated synth drones, then mixing in exotic scales for queasy guitar and piano. The bass drops here on the final track feel forced and cliche however, threatening to throw off the overall atmosphere.

In short, III seems unsure of its own identity at times. One moment it embraces hip-hop flavors fully and another moment it falls back to simple jazz meandering. There are truly great concepts, with a well-executed production, but it is not enough to make up for the three track snoozefest in the middle of the record. As a six track mini-LP or EP, this would be great.