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Boastfully pretentious though he is, he can hardly touch Yeezy's supreme ego-eccentricity – which just might make him the game's most extravagantly delusional self-promoter.Two Eleven [R&B] Melisma is one thing, but Brandy's voice is really all about texture: luscious and creamy, with just the slightest, tangy hint of grit.Scruff, DJ Food.) But it's not an aesthetic or approach that was getting much play a decade later on, which is partly why Bay Blue – the eponymous debut of Oakland-based producer Matt Chang (who's previously provided beats for Sole and Pedestrian, and collaborated with Sixtoo, under the moniker Matth) – is such a refreshing delight.Essentially doing for jazz what Ninja Tuner Kid Koala did for the blues on his similarly time-out-of-joint 2012 release, Twelve-Bit Blues, Chang carefully constructs wholly new compositions out of untold dozens of samples.
It's hardly beholden to any one era or style, spanning Frankensteined be-bop ("Don't Clap On The One And The Three"), recombinant Dixieland ("Postcard From New Orleans") and throwback Cuban jazz (the roiling "Ulises Takes The Silent Cinema By Storm"), along with the growling, Mingus-like "Take It Back Time" – maybe the most impressive thing here – and the musty, cinematic 78 RPM swing of "To The Cornerstore," which recalls early-period Daedelus at his dandiest.
It's a subtle thing, and almost unfailingly sublime.