AT SOME POINT during a half hour chat with British composer, vocalist and multi-instrumentalist Jacob Collier, he gets a bit meta talking about jazz’s place in the world. “We improvise all the time, I’m improvising right now. It’s based on a language I’ve learned. Jazz is like a study of how to improvise as well, which I think is a really good skill for human beings,” he says over the phone from his home in North London.
In the course of the last decade or so, the 25-year-old went from YouTube wunderkind to a must-hear versatile artist who could sing in a manner that’s perform beyond smooth and pitch-perfect and arrange songs old and new to breathe a new life into them. After all, he won two Grammy awards in 2017 for his arrangement of Stevie Wonder’s “You and I” and the theme to The Flintstones, a beloved cartoon show. With his earlier covers and reworks, Collier became part of the wave of A Cappella artists who would split screens and perform incredible vocal-only versions of songs. He says, “I might add some crazy rhythms or crazy grooves, chords or melodies, but the most important thing is that the spirit of that song remains as it was born. However, the way I fell in love with it as a kid is maintained.”
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality â Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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