John Coltrane's "Love Supreme“ has been considered one of the best jazz albums of all time since its release in 1965. In fact, there is probably no jazz piece that is as comprehensible, intense and attractively characterized by spiritual feelings as this 33-minute suite in four movements: “Acknowledgement,” “Resolution,” “Pursuance” and “Psalm.” This album is the greatest proof of the genius of a composer whose virtuosity is only surpassed by the fascination of his music.
Especially in the late 1960s and early 1970s, the album opened up new paths and perspectives for many rock musicians. In 1973, for example, I first came across an adaptation of “Love Supreme“ by Carlos Santana & John McLaughlin and was thrilled. Only then did I start to study the original in depth. If Mick Dick's adaptation has the same effect on some interested people - all the better.
The director, producer, bassist, sound designer and Dub-Artist Michael "Mick" Dick began studying jazz and double bass at the Victorian College of the Arts in Melbourne in 1984. He became a member of the MIA (Melbourne Improvisers Association) and developed into a professional musician and sound artist. For more than 30 years he has performed, toured and played with a variety of artists from a wide range of genres, including (free) jazz, blues, reggae, Afro, Latin and experimental music. His double album ID of RA – a tribute to Sun Ra – received a nomination in Australia for the ARIA Award for Best World Music Album 2023.
Almost 60 years later, the Australian multi-instrumentalist almost single-handedly set about transforming the jazz classic into DubAlbum "Mick Dick: A Dub Supreme” He kept the four parts of the original. As with the original, each part has its own mood and meaning. “Acknowledgement” becomes “Dubknowledgement" and the opening cadence, a simple melody that also consists of just four notes in the original, is played through in different variations, keys and sound manipulations. The theme runs through the entire track, which, like the original, is kept in African or Latin American rhythms. At times the guitar also sounds like Juju music from Nigeria, the best known representatives of which are King Sunny Adé and Ebenezer Obey.
In "Dubolition" uses the melodica where in the original "Trane's" saxophone can be heard. Overall, I find the driving track exciting, even if the drum loops from Prince Fatty's buddy Horseman seem a bit unimaginative at times. "Dubonance”. The drum solo of the original is replaced by percussion and mbira (kalimba). Mick Dick creates sounds here by constructing and deconstructing them and allowing the moment to create a narrative through vibration and resonance. A soundscape that is most similar to the Jamaican model. With the mystical sounding “DubWith “Ness”, this highly exciting album ends with a foray into the trip-hop genre of the early 1990s.
This nearly 30-minute album can be summed up in the words of Mick Dick: “A four-part cross-cultural journey in which reggae, jazz, Duband trip-hop grooves into a cinematic palette. It blends Jamaican riddims, Celtic Sufi beats, African percussion and ethnic instruments such as dholak and kalimba in an analogue live mix that Dub-style.“ His very personal world musicDub-Homage to John Coltrane's "A Love Supreme". That's exactly how it is! After a long time, another "Dubios Dub-Album".
2 Responses to “Mick Dick: A Dub Supreme "
Dubgods Dub Album, I love it.
Sounds more than interesting. Thanks.
First, “Dubness" had the greatest fascination for me. The rather dark riddims in trip hop, compared to the Jamaican riddims, have always had a hypnotic and therefore magical effect on me. In addition, they were wrapped in a mystical veil of DubAtmosphere and subtle but effective Dubeffects.
But also the other DubVersions draw me to their side.
"Dubknowledgement” convinces me with its percussion and groove and occasionally delights me with DubEffects that give rise to a certain radicalness. Not unimportant is the guitar (? perhaps another ethnic instrument), which adds a slight accent to the exciting and driving rhythms from Africa and Latin America and thus contributes to a lively, musical reasoning. Or something like that...
At "Dubolution”, it is not only Prince Fatty’s buddy who has a little problem. I also find the bass line pretty thin and that is probably exactly what led to the Horseman not being particularly inspired and delivering a rather minimalistic steppa drum groove. Nevertheless, this is “complaining at a high level” because I have to DubDon't skip this tune. I find the sound, the mix and the effects just too exciting.
"Dubonance" is now also my highlight on the album, as it grooves the best and provides the most variety with its instruments. The riddim guitar is "sharp as a needle" and Mick Dick almost gives it a "Creation Rebel glaze", in the old school, and thus almost reaches "the measure of all things".
To the original template, which this DubEp probably served as inspiration, I prefer not to write anything ;-) ……………. I just keep realizing,
that the DubAlchemists may not be able to turn porcelain into gold, but they are always able to transform any kind of music into jewels and make it shine with a whole new splendor. Even though there are apparently many exceptions.
As long as ………………. lemmi