{"id":14820,"date":"2019-09-20T11:00:00","date_gmt":"2019-09-20T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/jamiroquai-funk-that-refused-to-sit-still\/"},"modified":"2026-09-27T00:01:08","modified_gmt":"2026-09-26T22:01:08","slug":"jamiroquai-funk-que-se-nego-a-quedarse-quieto","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/jamiroquai-funk-que-se-nego-a-quedarse-quieto\/","title":{"rendered":"Jamiroquai &#8211; Funk que se neg\u00f3 a quedarse quieto"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Acid jazz, Buffalo Man, Travelling Without Moving, suelos m\u00f3viles<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">En el Londres de 1992, mientras house y rave persegu\u00edan volumen four-on-the-floor, Jay Kay y un elenco cambiante publicaron Emergency on Planet Earth en Acid Jazz Records. El sonido era bater\u00eda en vivo, bajo el\u00e1stico, Fender Rhodes y falsetto sobre l\u00edneas que caminaban, tomadas de Stevie Wonder y Roy Ayers. La silueta Buffalo Man en la portada se volvi\u00f3 tan reconocible como cualquier gancho. Kay hab\u00eda construido el nombre a partir de jam sessions y una referencia iroquesa; la banda nunca fue un solo con extras.<\/p>\n<p style=\"text-align: justify;\">Kay creci\u00f3 en Londres y el noroeste de Inglaterra con soul, funk y discos brasile\u00f1os en casa. El sentido arm\u00f3nico de Stevie Wonder, el cool de vibr\u00e1fono de Roy Ayers y la era Head Hunters de Herbie Hancock dejaron huellas. Frecuentaba clubs acid jazz donde los DJ mezclaban jazz-funk con rare groove, luego escrib\u00eda canciones que aguantaban tanto un caf\u00e9 jazz como un club del viernes. Las primeras formaciones inclu\u00edan a Toby Smith en teclados, Stuart Zender al bajo, Derrick McKenzie a la bater\u00eda y Wallis Buchanan al didgeridoo cuando los arreglos necesitaban un drone terrenal bajo el brillo disco.<\/p>\n<p style=\"text-align: justify;\">The Return of the Space Cowboy (1994) ampli\u00f3 la paleta sin abandonar el pocket. \u00abSpace Cowboy\u00bb y \u00abHalf the Man\u00bb mantuvieron el pulso acid jazz mientras las letras mezclaban ansiedad ecol\u00f3gica y swagger nocturno. La voz p\u00fablica de Kay sobre clima y consumo conviv\u00eda con temas de fiesta que segu\u00edan grooveando. La banda importaba: las l\u00edneas de bajo de Zender hablaban en frases completas, el Rhodes de Smith charlaba en los huecos, McKenzie cerraba el tiempo para que Kay bailara en el escenario sin perder la canci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Travelling Without Moving (1996) fue el quiebre global. \u00abVirtual Insanity\u00bb lleg\u00f3 con el v\u00eddeo de Jonathon Glazer: Kay en un suelo que se desliza mientras los muebles permanecen quietos, un gag que MTV repiti\u00f3 meses. El single llevaba acordes funk, voz principal recortada y estribillo hecho para clubs y radio diurna. \u00abCosmic Girl\u00bb y \u00abAlright\u00bb llevaron el \u00e1lbum por estadios y festivales. Las ventas superaron multiplatino en el Reino Unido y gran parte de Europa; Brit Awards y un Grammy siguieron al groove en lugar de inventar un g\u00e9nero nuevo.<\/p>\n<p style=\"text-align: justify;\">Synkronized (1999) y A Funk Odyssey (2001) demostraron que el proyecto pod\u00eda absorber cambios de alineaci\u00f3n sin perder disciplina r\u00edtmica. La salida de Zender doli\u00f3, pero \u00abCanned Heat\u00bb y \u00abLittle L\u00bb mantuvieron el falsetto de Kay y la bater\u00eda de McKenzie en rotaci\u00f3n fuerte. Discos posteriores como Dynamite (2005) y Rock Dust Light Star (2010) se mantuvieron fieles al funk en vivo aunque las listas dance favorecieran software. Los coches, sombreros y titulares de Kay a veces eclipsaron el oficio; debajo, los discos segu\u00edan registrando m\u00fasicos en una misma habitaci\u00f3n.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb14815&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790414783573{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">En lo s\u00f3nico, escucha un bajo que camina en vez de abofetear para presumir, teclados que responden a la voz y arreglos que dejan aire al gancho. El falsetto de Kay es la veleta del proyecto: brillante en \u00abAlright\u00bb, m\u00e1s recortado en \u00abVirtual Insanity\u00bb. Metales y pads synth llenan espacio sin saturar. La mezcla suele favorecer calor y punch sobre brillo digital fr\u00e1gil, incluso en singles tard\u00edos orientados a radio.<\/p>\n<p style=\"text-align: justify;\">Las puertas de entrada est\u00e1n claras. Emergency on Planet Earth para el manifiesto acid jazz. Travelling Without Moving para el pico de listas y el v\u00eddeo que todos recuerdan. The Return of the Space Cowboy si quieres la mezcla eco-nocturna antes del gag del suelo. A\u00f1ade \u00abCosmic Girl\u00bb, \u00abCanned Heat\u00bb y \u00abVirtual Insanity\u00bb a una lista y oyes tres caras del mismo proyecto funk londinense.<\/p>\n<p style=\"text-align: justify;\">Junto a Brand New Heavies o Incognito, Jamiroquai compart\u00eda el carril acid jazz pero empujaba m\u00e1s hacia ganchos pop y escala de estadio. Junto a Daft Punk o French house, mantuvieron m\u00fasicos en vivo en el centro en lugar de muestrear disco solo como arquitectura. Lo que distingue la banda de Kay es el matrimonio de estribillos tama\u00f1o festival con l\u00edneas de bajo que a\u00fan suenan a deberes Motown hechos en un almac\u00e9n.<\/p>\n<p style=\"text-align: justify;\">En directo, los slots de festival demostraron que el cat\u00e1logo viaja. \u00abVirtual Insanity\u00bb a\u00fan reinicia un campo cuando el visual del suelo golpea las pantallas; luego metales o stabs synth recuerdan a la multitud que siempre fue una banda, no un disfraz. Kay trata el escenario como pista de baile con techo. El Buffalo Man era branding. Los discos eran deberes de groove.<\/p>\n<p style=\"text-align: justify;\">Jamiroquai nunca pidi\u00f3 a la pista que se sentara. Construyeron canciones que mantienen los pies en movimiento aunque los muebles del v\u00eddeo sigan quietos. Por eso el cat\u00e1logo sigue mereciendo una escucha completa: no como nostalgia de 1996, sino como m\u00e9todo de trabajo para un funk que se niega a quedarse quieto.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Jay Kay lanz\\u00f3 Jamiroquai en Londres a principios de los 90 como proyecto acid jazz con un logo Buffalo Man; Travelling Without Moving (1996) y \u00abVirtual Insanity\u00bb llevaron el groove al mundo entero.<\/p>\n","protected":false},"author":1,"featured_media":14812,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[427,632],"class_list":["post-14820","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-discofunk-es","tag-jamiroquai-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jamiroquai - Funk que se neg\u00f3 a quedarse quieto - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/jamiroquai-funk-que-se-nego-a-quedarse-quieto\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jamiroquai - Funk que se neg\u00f3 a quedarse quieto - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Jay Kay lanzu00f3 Jamiroquai en Londres a principios de los 90 como proyecto acid jazz con un logo Buffalo Man; 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