Just submitted. Save your flames for constructive debate...if you want.


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Something different...for Prince.

Eager to see what sort of reviews this album was getting, I was interested to see such diverse levels of praise...from blatantly indiscriminate adoration to that of exceptionally frank (and seemingly personal) disappointment. The very fact that you are reading these reviews is a good start. If you are the sort of person who will buy anything and everything your favourite artist releases then there is always the chance of disappointment – especially with someone as versatile and inconsistent as Prince. Having bought this CD myself through the online fan club I knew exactly what I was getting myself into.

Touted as an ‘experiment’ of ‘new directions in music’, Prince allowed club members to sample sound bytes of this impending release prior to our decisions to purchase. Moreover, I have noticed that the commercial release of this album has placed it securely in jazz sections of retail outlets. Thus, it would seem especially perverse that club members who have purchased this CD would subsequently express extreme disappointment. Such reviews are likely to be personal dissatisfaction towards the seemingly inherent stylistic inconsistency with which Prince has decided to make his recent music, rather than a critique of the music itself. N.E.W.S is jazz-fusion instrumental, and should be reviewed in such a context. Whether or not the artist will decide to delve back into his more pop-tastic past with funky little songs concerning the taboos of modern culture is a question for only those who care, and those of us who are “still waiting for the track he has yet to write” (as referenced from ex-band mate, saxophonist Eric Leeds, who makes a return on this album). It is this unpredictability that still hooks most of his respectable following (together with the chance to witness one of the greatest live performances known…even if the music isn’t your cup of tea).

N.E.W.S is Prince, together with other highly proficient musicians, indeed ‘meandering’ through four separate musical journeys. You like jazz-fusion? Bitches Brew this is not. Head Hunters this is not. Although the groundbreaking experiments have already taken place in the jazz world, interest may remain for one composer’s interpretation of (any) genre. New ground is not broken here, yet this experiment should not fail to interest those that are intrigued by the nuances with which Prince has decided to take this project.

The music on N.E.W.S is provided by five musicians – working with piano, synthesisers, acoustic and electric bass, electric guitar, tenor and baritone saxophone, and drums. Numerous special effects have been put in place, to varying degrees of affectivity. The music here effortless delves between different time signatures, even different styles, more often than not maintaining a funk edge that is (always consistently) typical of Prince music. The four tracks are intended to provide individual movements, and are to some degree separated by certain musical qualities such as the ethnically orientated melodies in parts of ‘East’, and the cliché driven cheesiness probably apt for the beginning of ‘West’. However, in a single track Prince attempts to explore numerous ideas, and so it would be misguided to assume that each is completely self-contained within a regionally specific style. As such, N.E.W.S rather goes in the ‘directions’ of Prince’s jazz-like musical interpretations with a very flow-of-consciousness feel. In places, there is emotion, punctuation, exclamation, all qualities typical of such music. Seemingly intentionally, this album lacks the strong contextual themes of past fusion greats, and thus may fail to generate immediate satisfaction. Although light in places, the music is nevertheless interesting (and funky) enough to satisfy those who require background sound, or thinking-music without fear of ridicule.
For non-Prince fans that enjoy modern jazz, you will be pleasantly surprised with the flavour that he has injected into the music. For now this release in quite rightly an experiment, but quite possibly a useful one at that. Even for the fans, it is impossible to say which direction Prince will take after this, but if he decides to stay with the jazz theme, he will have to offer more of a blatant Prince-like lack of inhibition if he wants to affect the genre to the degree that he has for pop, rock and funk.

George Benson was once the greatest jazz guitarist. He then followed the path of pop and was more commercially successful. He also gave his guitar to Prince once-upon-a-time. It now seems that Prince is attempting to turn the tables. Dirty Mind may have been the Bitches Brew of the pop world, but old men singing about blow-jobs virtually drowns out all that is funky. Prince is maturing musically, more so than his equivalent contemporaries, and undoubtedly music like this will contribute towards the recognition of his artistic status, if not yet for his innovative influence on jazz.

MaggotBrain said:

I agree that there are changes in tempo (speed and rhythm), but I'd be interested to know where the time signature (measures in each bar) is anything other than 4/4?

langebleu said:

Start of East, when drums kick in...for example. If not, then maybe I'm just talking about the tempo and I'll shut up.