Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy, distinctive grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries once again, crafting a sonic landscape that feels both nostalgic and refreshingly innovative. Four years in the making, the album reveals itself from the opening track as more than a stylistic mash-up—it’s a thoughtful exploration of the shared DNA between two rich musical traditions.

The project is bolstered by an all-star cast including Jah Wobble (bass), Horseman (drums), David Hinds of Steel Pulse (guitar), trombonist Tim Hutton (The Prodigy, Groove Armada), Sam Bergliter (African Head Charge), Sly & Robbie, and the now-immortal Ernest Ranglin, amongst others.

From the opening bars, Gaudi’s vision is clear. His Hammond organ and Fender Rhodes create lush, textured soundscapes; the glockenspiel shimmers; the Taishōgoto harp adds otherworldly whispers. This is production as an art form—meticulous yet breathing, organic yet precise.

The artistry begins with “Cool Jazztice”, where Tim Hutton’s brass punches through as Gaudi glides effortlessly across the keys. It’s immediately apparent that this album is a considered exploration of two traditions in dialogue. “HELP (Happy Elephants Love Pistachio)” swings between one-drop rhythms and faster rockers, this time featuring Roy Paci, evoking the feel of a late-night jazz club. Bright, punchy layers sit perfectly beneath Gavin Tate-Lovery’s expressive sax and flute work.

Colin Edwin of Porcupine Tree joins Gaudi on “Deflated and Discombobulated”, delivering a beautifully elastic bassline that propels the groove and keeps heads nodding. “Alabaster Moon” showcases Gaudi’s gift for balancing atmosphere with melodic and rhythmic precision.

“Fragile Hands” is anything but fragile, riding an upbeat jazzy groove as Gaudi flows confidently over the keys. His production remains meticulous yet organic, with David Hinds adding tasteful guitar lines. Hinds returns on “Bach @ Liszt (Bucket List)”, where Sam Bergliter’s Fender Rhodes and Gaudi’s delicate chimes combine on a warm, vintage jazz-dub excursion.

Horseman’s dynamic drumming drives “Dub Lu”, while Nicolò Fragile’s piano lines float effortlessly above Gaudi’s solid yet fluid rhythmic foundation. Creating a deep mood and atmosphere, “Susceptible”—arguably the least jazzy but most roots-driven track—features exquisite guitar work from Ernest Ranglin, with Sly & Robbie guiding the song toward abstraction, brass lines drifting through reverb like smoke. At 93 years young, Ranglin still plucks with grace and authority—an absolute legend.

Jah Wobble delivers a meditative pulse on “Tokyo Subterfuge”, his bass grounding the track as Gaudi delicately weaves in the haunting tones of the Japanese Taishōgoto harp.

With Jazz Gone Dub, Gaudi bridges two musical traditions that share a deep respect for space, freedom, and feel. Rather than a novelty experiment, the album unfolds as a patient excavation of mood, tone, and time. Despite the star-studded lineup, Gaudi remains the connective tissue throughout—his mastery of space, delay, and reverb allowing each track to breathe and evolve naturally.

The musicianship across the album is exceptional, but it’s Gaudi’s sense of balance and restraint that elevates Jazz Gone Dub into something quietly magnificent. The album breathes. It evolves. It mesmerizes.

One Love —Todd M. Judd