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    <body>&lt;img src="http://www.beyondjazz.net/album_pic.php?pic_id=2968" id="img_1"&gt;&lt;div&gt;
&lt;/div&gt;&lt;blockquote&gt;&lt;/blockquote&gt;&lt;div&gt;&lt;span class="Apple-tab-span" style="white-space:pre"&gt;&lt;/span&gt;Cada sonido, cada &#233;poca tiene un artista referente y catalizador de un movimiento musical. Si hablamos de&#160;&lt;em&gt;broken beat&lt;/em&gt;, el genuino&#160;&lt;em&gt;puppet master&lt;/em&gt;&#160;de todo el movimiento es, sin lugar a dudas,&#160;&lt;strong&gt;Kaidi Tatham&lt;/strong&gt;. &#201;l, y en otro orden de cosas&#160;&lt;strong&gt;Dego&#160;&lt;/strong&gt;(4hero). Una colaboraci&#243;n explosiva que funciona a la maravilla por la capacidad de Kaidi de llevar a buen t&#233;rmino musical las pulsaciones en bruto del, por otro lado, genial alma fundacional del sonido&#160;&lt;em&gt;postjungle&#160;&lt;/em&gt;de los a&#241;os noventa en Londres.&#160;Ambos han elevado los jugueteos arm&#243;nicos y contrapunt&#237;sticos del&#160;&lt;em&gt;broken&#160;&lt;/em&gt;a&#160;sus m&#225;ximas posibilidades futuristas en DKD o&#160;la prueba en vivo y en directo de una banda como&#160;&lt;strong&gt;2000 Black&lt;/strong&gt;&#160;(que por cierto tendremos de nuevo en Madrid con&#160;&lt;strong&gt;Black Book Sessions&lt;/strong&gt;&#160;el 15 de marzo: pero esa es otra historia). Pero Tatham es mucho m&#225;s: es un inquieto arreglista, programador y multi-instrumentista con m&#225;s universos en su cabeza que el propio Carl Sagan. Por citar algunos:&#160;Afro Force, Blakai, Bugz In The Attic, Da One Away, The Herbaliser , Likwid Biskit, Misa Negra, Modaji, Neon Phusion, Silhouette Brown...&lt;div&gt;&lt;span class="Apple-style-span" style="font-weight: bold;"&gt;
&lt;/span&gt;&lt;/div&gt;&lt;blockquote&gt;&lt;/blockquote&gt;&lt;div&gt;&lt;span class="Apple-style-span" style="font-style: italic; "&gt;&lt;span class="Apple-style-span" style="font-style: normal; "&gt;&lt;a href="http://freedom-school.net/index.html" title="http://freedom-school.net/index.html" id="link_2"&gt;In Search of New Hope&lt;/a&gt;&lt;/span&gt;&#160;&lt;/span&gt;celebra los diez a&#241;os como artista en activo (discogr&#225;fico) de Kaidi. Es su segundo trabajo en solitario (antes fue&#160;&lt;em&gt;Feed The Cat&lt;/em&gt;, en 2002, firmado como Agent K) y en &#233;l desgrana la artiller&#237;a&#160;&lt;em&gt;multitarea&#160;&lt;/em&gt;de un hombre en su estudio. En la tradici&#243;n de grandes alquimistas de la fusi&#243;n entre el jazz (improvisaci&#243;n, libertad, futuro) y las m&#225;quinas (econom&#237;a de medios, invenci&#243;n, soledad), Tatham toma el testigo de caballeros armados como Zawinul, Hancock, George Duke o el grand&#237;simo Rod Temperton - con este &#250;ltimo comparte tanto como con Paul Hardcastle -, para transmitirnos unos cuantos mensajes instrumentales. M&#225;s all&#225; de su elevada capacidad para los arreglos, las harmon&#237;as, la percusi&#243;n artificial y los bajos sint&#233;ticos, los once cortes de este &#225;lbum nos muestran a un creador observando los l&#237;mites de un g&#233;nero que no llega a ser jazz - por la ausencia de solos e improvisaciones de altura -, no llega a ser m&#250;sica de club - por una voluntariosa ausencia de vocales y cl&#237;max de p&#236;sta de baile - pero que todo sumado ejerce una gran capacidad de seducci&#243;n por su impecable calidad de registro sonoro, su variedad de conjunto, y una extra&#241;a combinacion de seriedad intelectual y simpat&#237;a de vecino de escalera.&lt;/div&gt;&lt;div&gt;
&lt;/div&gt;&lt;div&gt;Aparecido justo a finales de 2008 en Jap&#243;n (pero ya con distribuci&#243;n mundial) es f&#225;cil que pase desapercibido, precisamente porque no cuenta nada a gritos. Pero es un trabajo elegante y modesto que tiene la virtud de esos discos que se acaban instalando una temporada larga junto a tu equipo hi-fi (no ordenador) por hablarte siempre con una sonrisa.&lt;/div&gt;&lt;/div&gt;</body>
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