Review Summary: Progressive, jazzy, and funky, the relatively unknown Dapp Theory fuse contemporary jazz with hip-hop to create a surprising sound.
I have been fortunate enough to come across this band simply by chance. After hearing solo samples of drummer Sean Rickman I became curious as to whom or what on Earth he could lend his flawless technique. Soon after investigating Rickman’s affiliations, I learned that he is the son of jazz guitarist Phil Upchurch, another man whom I know little to nothing about. I also discovered one band in particular that Rickman belonged to-- a fusion group called Dapp Theory. I picked up the album simply for the fact that a musical genius was behind the drum kit, totally unaware of the brilliance that was upon me.
As a jazz novice, I was expecting the overall sound to be an acquired taste like the few jazz artists that I listen to today. Boy was I wrong! This album was nothing like I had ever heard before. Beginning with Trickle Down, the opening track begins with a gentle guitar riff followed by repeating piano chords accompanying a tight hi-hat/rim click combo (ironically, Trickle Down is one of the few tracks with former Dapp Theory percussionist Mark Prince behind the kit… could’ve fooled me.) and an ever-so-soft bass line in 7/4 timing. Sixteen measures later and… POW!! Kick in the jam! MC Kokayi unleashes a poetic barrage to an extremely funky slapped bass guitar riff. At this moment it became clear to me that Dapp Theory was going to appeal to me much more than I initially thought.
Y’all Just Don’t Know is an incredibly unique album. Part hip-hop, part jazz-fusion all the while maintaining a continuum of sound by tying together several songs through gentle transitions eventually sped up by Sean Rickman, or through fade-outs into a softer tune, most of which are sung by the legendary Bruce Cockburn whom lends his talents to Trickle Down, Everywhere Dance, and Bad Air. Two of Cockburn’s contributions allow both the record and the listener to breathe amidst flowing harmonica and piano duets—a welcome change of pace from the sporadic drumming and the constant change of flow that rarely lets up.
As stated before, drummer Sean Rickman’s talents are undeniable on this record. His odd timing and unpredictable playing superbly highlight the rapping of MC Kokayi. You wouldn’t know it unless you listened carefully, but Sean Rickman’s drumming follows Kokayi’s words and at times can accurately replicate accented words and changes in the pitch of Kokayi’s voice. One of the best tracks to recognize this is
Why 2 K? For nearly two minutes, MC Kokayi articulates rapid-fire lyrics seemingly about the fears of the year 2000 while Sean Rickman relentlessly jams away on his kit. After Kokayi’s solo an short instrumental break follows, after which Rickman unleashes a barrage of sound during his drum solo in 9/8 timing. A very prog-like electric piano outro signals the end of Rickman’s madness, dramatically finishing the song mid-measure. And boy, you’ll be glad they did.
Band leader Andy Milne has always strived to be as out-there as possible with his music. His experimental style is expressed extremely well through his group Dapp Theory, and their first release will hopefully foreshadow a continuous change in sound on future releases. With a new lineup already in the works, we can expect great things from this new, exciting band.
