Go There to “This Place” on Aman Jagwani’s New Single

By Deuce

Aman Jagwani’s really got something with his latest single, “This Place”. Moreover, it’s something special, if not flat out remarkable.

The thing is, it’s not the vocals of Anubha Kaul, which grace this tune with an oxymoronic, angelic earthiness to ground its leaping aspirations. Kaul’s lyrics, her ad-libbing, makes this tune accessible and something everyone from mothers to club-goers can understand—and even like.

Nor is it the tenor sax of Nick Bredal, which continuously shifts places with Kaul for the lead of the song. Cool enough to sound like a trumpet, yet able to mimic every note of Kaul’s in its persistence to dominate this work, Bredal’s sax imbues the piece with a definite sense of jazz.

And, despite the best efforts of Ron Cha on the keys (including the key bass), the magic of this tune isn’t quite attributed to his captivating performance. So understated at first it’s difficult to notice in light of the vocals and the horn, Cha’s keys give this number direction and a chromatic coloration that makes it palpitate, breathe, and truly come to life.

Finally, you can also rule out Jagwani’s composition skills, his artful arrangement, and the clever vocal arrangement he put down alongside Kaul that’ responsible for festooning horn solos, a bridge, a couple verses and all of the progressions this song makes while clocking in at just over six minutes.

Nope, the peerless standout on this cut is unequivocally the drumming, courtesy of Jagwani himself, which truly distinguishes this number from almost any other. These are unrestrained drums, mind you, an unbridled, wild variety with the ferociousness of a classic chaotic break beat from the best of late 80’s and 90’s rap.

Would that I could have been in the studio to watch this man put it down on the cue sticks. It’s far from the typical kick, snare, and high hat pattern that dominates most contemporary music. His percussion is unhinged, his snares chatter about incessantly, the kicks hit every now and again, and somehow it all just works without giving you an inkling of understanding how it does.

Yes, it’s the drums that give this song its edge and make it dangerous, the way the best jazz (and music period) inherently is. It bridges all the foregoing elements (including Milena Casedo’s flugelhorn) and simply must be heard—as you’ll hopefully see for yourself.

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