DAY ONE - Meilana Gillard

By conditioning, I don’t believe girls can play or maybe shouldn’t play saxophones. They are best left to playing flutes and clarinets. And if by chance they play Alto or Bass Clarinets, maybe even bassoons, that is as close as they should get to the “saxophone”.

I promised myself I would spend the year seeking out new jazz artists attempting to push the envelope and keeping the flame - you know preserving the art. I have done a piss poor job because I find myself locked into my likes. Not that my heroes aren’t still producing forward thinking music but that is what is expected of them, being my heroes and all. But I have been less inspired by some of the “new” music by less proven artists being released.

Recently, I ran across a very mild mannered request from an artist, on a website that I frequent, to listen to her record. The request wasn’t directed at me specifically but when I realized it was a jazz recording, I felt it my duty to give it a listen. And WOW, I like this record!

Introducing, MEILANA GILLARD and her debut record entitled, DAY ONE on Innercircle Music. The label is the brainchild of master saxophone player, composer, educator Greg Osby - another hero of mine.

After trading a few emails with Meilana, she sent me the download of her record. After I downloaded it, I intended to begin my first listening while I was doing other things. It proved to be an impossible task as I was immediately interested from the downbeat of the first song. As I stated earlier, I was conditioned to believe girls can’t/shouldn't play saxophone. I had preconceived notions that this might be some candy shop or Candy Dulfer type jazz recording. The reason I couldn’t stop listening intently is because all my preconceived notions were most immediately eradicated.

The group consists of Gillard on Tenor Saxophone, Bass Clarinet, Flute; Nir Felder: Guitar; Sam Barsh: Fender Rhodes, Nord & Korg keyboards; Marcos Varela: Bass; and Tyshawn Sorey: Drums. By virtue of the use of Fenders, Nords and Korgs it is apparent that this would be a different type of recording. The use of the electronic instrumentation gives the record a phenomenal sound. The songwriting and arrangements fit this personnel extremely well. Knowing that Gillard penned every song except one makes her play that much more interesting. The only thing that concerned me was some of the tempo/feel changes. It sometimes feels a bit rushed. But this is my own bias. I am not a fan of that particular effect in most recordings.

Gillard’s improv skills seem to be more learned than natural. By no means would I suggest that this is a bad thing. In fact, I believe that it was probably just a case of the “I wanna do this right on the debut record” jitters. Because in the end, she sounds really good.

I judge all saxophone players abilities by how they handle ballads. Ballads expose you like nothing else. The ballads “SEMISWEET” (please follow the link to the hip hop remix of semisweet...it too is quite funky)and “A SPIRIT REMEMBERED” are handled with great dexterity and feeling. The fact that she exposed herself by playing the first 12 or so bars of the latter sans accompaniment, proves she’s confident in her ability and rightfully so.

Drummer Sorey is a groove machine. His ability swing inside his grooves were masterful. Felder, Barsh, and Varela hold the ensemble together quite nicely. Their dedication to the melodies and to the grooves made the lead work that much more interesting. They always played with each other and never seemed out of sorts.

This record mostly reminded me of the hybrid jazz-funk fusion of the late 60s and 70s by bands like CATALYST. Or even more recent funk offerings by CHRISTIAN McBRIDE and his work with THE PHILADELPHIA EXPERIMENT. However, it’s not quite as avant garde so it will be a more palatable for music listeners who don’t enjoy the challenge of more free form jazz.

I like Meilana Gillard’s music and this band. I think DAY ONE is just the start of many more days to come.

John Making His Legend Known

I know that my Liner Notes have been dedicated to Jazz recordings. Occasionally, I will recall a live performance. But it’s always about Jazz - until now…

On Sunday evening I heard one of the most remarkable voices attached the neo soul era I’ve ever heard. John Legend blew the doors off the Morton H. Meyerson Symphony Center in Dallas on the last stop of his North American tour.

I will give a courtesy nod to the opening acts. Legend’s brother, VAUGHN ANTHONY signed to Legend’s HOME SCHOOL RECORDS and LAURA IZIBOR. It’s not that they were not good. I was just not prepared for what the headliner brought to the stage.

Anthony’s performance was good and his sound is a lot like his brother’s. However, he does lack the vocal control that Legend wields almost effortlessly. I became less interested when he removed his shirt to bellow a song entitled “Yell” in which he advises his would be lover that this would be his goal whilst lovemaking.

Izibor would best be described as the Irish Alicia Keys. I generally find it disingenuous to compare one artist to that of a contemporary. And if you find my reviews useful, it is primarily a disservice to you. But I only do so in this case as Izibor will probably receive little to know press in America even with opportunity to perform with John Legend. She did a bang up job engaging the crowd as I’m sure most of the diverse audience was unfamiliar with her work. However she found a way to weave in Mary J. Blige’s “Real Love” into one of her tunes “From My Heart to Yours” that captured the crowds attention.

After a brief intermission, the lights dimmed and I was disturbed by stirring on my right side. As I turned to investigate the rustling, it was the Legend in the making. One Legend belting out a special tune from The Legend, BOB MARLEY. John opened his show with a stirring rendition of "Redemption Songs".

As John Legend performed hit after hit, I had the feeling that some of my discontent with popular music was beginning to subside just from listening to this one performance. Most of the reason that I enjoy Legend’s music so much is that he has not allowed himself to be pigeon-holed into his hit song formula. He just keeps making good records and takes chances musically that seem to capture the attention of the “music” lover.

Not only did he pay homage to the legacy of Bob Marley, he also found ways to weave in offerings by legends Michael Jackson and Prince. During his performance of "It’s Over" he vamped in Jackson’s "Remember The Time" complete with a photo montage of the King of Pop’s performances. Also, during the performance of “This Time” he added in Prince’s “Adore”. Legend also found was to pay homage to some of the biggest hits of the soul era like, “Rock Creek Park”, “Heaven Must Be Like This” and “Feel Like Making Love”.

Legend ended the show by performing “Green Light” - apropos as the lyrics include the verse, “I’m ready to go right now…” The thunderous applaud coaxed him back to a solo performance of his most well known hit, “Ordinary People” in which he engaged the audience to assist with part of the chorus, “Take it slow, this time we’ll take it slow.”

John Legend’s voice and music are unique and inspirational. I enjoyed this concert as much as any other of the great concerts I’ve seen. And I’ve seen Miles and Prince. And they were both great. Though I don’t suggest that John Legend is there yet, I have little doubt that he is on the right track.

I look forward to being a fan of his work for a long time to come.

Set List:
Redemption Songs
When I Use To Love You
Alright With Me
Satisfaction
It’s Over
Quickly
When It’s Cold Outside
Lifted
Where Did My Baby Go
Do It Again
Magnificent
If I Was In Your Shoes w/Vaughn Anthony
Slow Dance
Save Room
Good Morning
I Can Change For You
One More Try
This Time
Cloud 9
Green Light

Encore:
Ordinary People
Stay With You

Roy Hargrove Big Band

Bias acknowledged.

I’ve been waiting for this for a long time. Roy Hargrove Big Band.

I realized I hadn’t written anything on my blog since Michael Jackson’s demise. I won’t act like I was just so hurt I stopped listening to music. But I will say up until that point I had become a tad bit uninspired about what was been offered. Not to suggest that there were no good releases, I just wasn’t feeling much.

I received an alert that I had new messages on my Facebook page. And as I perused my wall, I saw it! A video of Hargrove’s Big Band and the announcement of his new album, EMERGENCE. Attached was the video for a performance of “SEPTEMBER IN THE RAIN”. Hargrove also recorded this tune on his sophomore effort, PUBLIC EYE. I was so excited about seeing this that I watched and listened to it no less than 5 times in a row.

Roy Hargrove Big Band - "September in the Rain" from doug yoel on Vimeo.

Since his debut, DIAMOND IN THE ROUGH, Hargrove has had major success and critical claim as a featured soloist and small group leader. Even his foray into fusion with RH factor earned him a Grammy nomination. There is no doubt that his ability to place himself in this context would produce this amazing record.

Grove’s ear seems to be classic. He took compositions from previous records and arranged them for this big band offering. I won’t suggest that there is anything new and or innovative. But I will say this is an awesome sounding record and really has a different sound then any of the popular big ensembles, like Marsalis’ Lincoln Center Jazz Orchestra.

I find myself not wanting to rundown every track and what I think of said tracks. I just want to encourage all my readers to just really listen to this record. I think what I love the most about this record is the incredible amount of musicianship and technicality in the arrangements. While the music might seem to sound difficult and arranged with such dexterity, it never loses the song in the music. I read another writer call it safe. I think I'll just call it organic...

Enjoy.

In addition to Hargrove on trumpet and flugelhorn, the ensemble consists of four other trumpet players (Frank Greene, Greg Gisbert, Darren Barrett, Ambrose Akinmisure), four trombonists (Jason Jackson, Vincent Chandler, Saunders Sermons, and Max Seigel on bass trombone), five reedists (Bruce Williams, alto saxophone and flute; Justin Robinson, alto and flute; Norbert Stachel, tenor sax and flute; Keith Loftis, tenor and flute; and Jason Marshall, baritone sax and flute), as well as pianist Gerald Clayton, bassist Danton Boller, guitarist Saul Rubin, drummer Montez Coleman and percussionist Roland Guerrero. Vocalist Roberta Gambarini contributes her vocal charms to two tracks. Emergence was recorded at Capitol Studios in Hollywood.

Dallas Record Covention

Fellow OKP SP1200 hipped me to an event of EPIC proportions: THE DALLAS RECORD CONVENTION. I can't wait to get there. It will be Sunday, August 16, 2009. It will be the first held in 3 years. Please support this convention as it will continue to bring the Art of Crate Diggin to Dallas.

Click the link go to the website and be added to the email list.

It will be held at the Westin Park Central at 12270 Merit Drive, Dallas.

Be there - beef up your lab...I'll be the cool kid in the jazz section...I need something new to write about.

Michael Joseph Jackson (1958 - 2009) Rest In Peace

This album cover sums Michael up for me...I thought I should post a long story...but I just didn't have the words...

Peace Balance & Light

20 STANDARDS

Okay, the first time I ever tried to listen to this record I stopped after the first song. The tune ALL THE THINGS YOU ARE clocks in at just over 20 minutes. Uh…the shortest tune on the record is 8 minutes; I don’t have this kinda time right now. This was 2003 during one of my record buying binges and ANTHONY BRAXTON’S – 20 STANDARDS was on the list. The fact that it was a four CD set should have set my expectations for the length but I guess I just didn’t pay attention at the time. And it was a record full of standards- we’ve been here before.

The entire recording clocks in at just less than 5 hours. It’s not background music; you will actively listen and attempt to digest it all.

I promised myself that I would spend this year searching for new artists. But I was going thru a crate and rediscovered this recording again. I had a long day ahead, sitting at my workstation and decided that this would be a chance to listen to this recording to keep my sanity because of the tedium I was about to embark upon.

On this date Braxton’s quartet didn’t include a piano. But he never had an opportunity to lose the melody due to the Guitar play of Kevin O’Neil.

I had a special affinity toward the tune, ON GREEN DOLPHIN STREET. Although this was arranged for this quartet, it is the same arrangement that my high school jazz band played. Those years are when I first learned to love this song. Over the years, I’ve heard many arrangements, but I love this one most.

While listening to APRIL IN PARIS, it struck me how deft a sax player Braxton is. Of course ballads are much harder to play because of the tempo; the improviser is much more exposed. But without missing a chord change he hangs in there with much bravado.

I’m not sure which axe he is using on the tune FREEDOM JAZZ DANCE. I can’t really tell if it’s a Soprano or Sopranino. He improvises throughout in the highest register of the horn and it almost sounds like a varitone of some sort. I’m not sure that I can really appreciate his play on this song. The interpretation of the melody from the beginning wasn’t immediately recognizable to me and just didn’t really like the output. But of course, I stand by my assessment of his ability and deftness.

As Braxton improvises throughout this record, he touches all jazz sensibilities. He does everything from swinging as hard as possible to the percussiveness associated with avant-garde or free form jazz.

The breadth and depth of this recording will make it necessary to listen too more for years to come. I know that I don’t have the ability to digest all the music here in one sitting. Maybe if I had started in 2003 I would just about have it now.

BOSS Productions Volume One: The Beginning of an Era

Have you ever seen an old picture of yourself and become immediately horrified? It’s happened to me. But it happened to me most recently when I heard myself play.

I was searching for the email address of a local artist that I’m acquainted with. I couldn’t find his card and for some reason his addy isn’t in my address book anymore. After I Googled his name, one of the entries took me to a blog on NPR. Apparently, this DJ EGON is also acquainted with the artist I was seeking out, ROGER BOYKIN. Roger is a legendary jazz/soul artist in Dallas, TX. Legendary meaning, if any jazz or soul record was recorded in Dallas in the 60s and 70s, if he didn’t play on it…he knew about it. Thus he has an incredible collection of records as well as an encyclopedic knowledge of the music at the time. I always refer to him as Dallas Jazz Royalty.

Apparently, Egon was on his way to SOUTH X SOUTHWEST Music Festival in Austin, TX and stopped off in Dallas on the way. He went by to see Boykin and raid his record collection. When Boykin decided on which records to give him, BOSS PRODUCTIONS VOL. ONE was on the list.

BOSS PRODUCTIONS VOLUME ONE, is the sole recording of the 1983 – 84, OLIVER WENDALL HOLMES MIDDLE SCHOOL BAND under the direction of local pied piper/musician/educator S. DEAN HILL – the “S” stands for Sweetness…so he’ll tell you. DJ EGON critiques the recording as bizarre. But I will tell you it is an important point in history. First, it is the first wax recording of ME playing alto sax and secondly, maybe a tad bit more important, it is the first known recording featuring ROY HARGROVE AND KEITH ANDERSON on the same date. If you are a connoisseur of jazz, you know that Anderson became Hargrove’s wingman on alto and tenor saxophones for the dates that produced THE RH FACTOR and he also toured with this group. Okay, maybe "important piece of history" is a reach, but - you know.

The song featured on the NPR Blog is titled “Break Out”. The alto solo is me – thus my horror! HOW in the world did THAT end up on NPR and the WWW for the world to critique?

As I’ve gotten older and revisited that record it makes me laugh to no end how extremely out of tune we were as well as how rhythm-less the solo was. I vividly remember being scared to death of recording that solo. I wanted to do it again after we played the song the first time, but we didn’t have the time or the money to re-record any of the record…call us “One Take Masters”. The trumpet duet features Hargrove and Jesse Fudge.

Follow the link and listen to “Break-Out”. Remember, I was only 13…try not to be too brutal or amused too much.