"I need to be in an atmosphere that is free, that is open, that is striving for truth - and not somebody else dictating to you how to do your thing, which you know how to do better than anybody else."

When I recently heard that Mark Farina had released a new Mushroom Jazz mix, I was surprised because of the lack of publicity for the release of a third volume to this legendary set. At the same time, I was anxious to buy the vinyl compilation immediately based on the remarkable track listing of the first two volumes. As with the earlier Mushroom Jazz mixes and all of Mark Farina's incredible house mix releases ("San Francisco Sessions" and "United Deejays of America"), I looked forward to a superb listening experience that would sound fresh each time, well worth the few dollars spent on superb underground music. I purchased the vinyl locally and mixed some of the tracks myself, and my curiosity was piqued by the track selection.

"Mushroom Jazz I" (OM Records 1996) marked the moment when I first truly appreciated a downtempo deejay mix. Since the first time I heard it four years ago, I've played it in its entirety over a hundred times. The mix is remarkable, not only because it is flawless (which it is), but also because of the soul and depth of the mixing, the deejay's controlled touch, and the exuberance of presentation that shows a love for the music. Each time I listened to "Mushroom Jazz I," I heard something new - a subtle foreshadowing of a track to be played later in the mix, a slight adjustment of the sound levels to accentuate the music, a triple-layering of tracks that created a new melody from the individual tracks. "Mushroom Jazz I" isn't just a journey, but rather a guided tour. Farina brought out the character of each track with his dynamic interpretation, proving the mix deejay can be a collaborative musician.

Farina's sequel, "Mushroom Jazz II" (Om Records 1998), was at least as good as the original, which is rare in music just as in movies. Some classic tracks include Naked Music NYC's "If I Fall For You," Smoke No Bones' super-jazzy "Lyrics And Vibes," and Jaywalker's "That Time Of Day (Again)" which led into "Poppy's Song" by Big Muff. Over this last track, Farina sampled a voice that suggestively stated, "I need to be in an atmosphere that is free, that is open, that is striving for truth - and not somebody else dictating to you how to do your thing, which you know how to do better than anybody else." If that's a little narcissistic, it's totally justifiable. "Mushroom Jazz II" was the mark of the genius, Mark Farina.

After so much history with the Mushroom Jazz mixes, I finally returned to the record store to purchase the mixed version of "Mushroom Jazz III" (Om Records 2001) on CD. Playing it from beginning to end, I immediately enjoyed the first quarter of the mix, even with a rather uninventive intro. But, as the mix went on, I began to lose interest and felt let down by the integrity of some track selections as well as distracted by the overzealous EQ tweaking and sometimes strained mixing.

"Mushroom Jazz III" simply does not live up to its precursors, and I say this with loving regret: the mix sounds rushed. Farina seems a little off in several transitions, poorly juxtaposing certain tracks (particularly Jaffa's "Sneakin'" with Slide 5's "Streamline"), and tweaking the highs so far out of otherwise full-ranged tracks that they are left momentarily lifeless. This bludgeoning of perfectly solid music deserves its own special term: "The Tweak of Death." Herb Alpert's "Flirtation" is maimed by the Tweak as soon as it's introduced in the mix, which is a shame since the tune is so incredibly rich and vibrant. It sounds as if Farina is presenting a broader range of his downtempo flavor, but most of the songs are less captivating, and don't necessarily feel married to each other.

Rough-edged transitions are completely unsolicited by Mark Farina, who is known for pulling off some of the smoothest and most complex transitions on virtually all his other recordings, most notably his United Deejays of America house mix. For a legend who is known for his sheer skill and remarkable track selections, he certainly has offered us a release less than worthy of his reputation.

I say all this with regret because Mark Farina's track choices and musical journeys have influenced me in so many ways, and I'd be less critical if I didn't enjoy his mixes so much. After listening to the mix with several friends (who have yet to purchase it themselves), my impression was reinforced by their disappointment with the new mix, and nostalgia for the "old" Mushroom Jazz vibe. I still recommend the unmixed vinyl because there are some great gems within, including the premier cut, King Kooba's "California Suite" followed by the delicious "De La Bass" by Raw Instinct, as well as the deep "Rock Box" by Que D. and "Do It" funked out by the Mountain Brothers. But leave the mixed CD on the store shelves for someone new to Mark Farina to pick up, someone whose ears will be less critical, and who is not influenced by his previously flawless recordings. I look forward to "Mushroom Jazz IV," unless this marks the end of that era.

DJ RV
July 2001