Earfood

I won’t lie. Growing up, I hated this kid. His arrogance offended my arrogance.

Hargrove and me grew up playing in bands together, first middle school and then in high school. My mother wouldn’t allow me to attend the Booker T. Washington High School for the Performing Arts in Dallas, but I continued my wingman position as a member of the wall of sound (at least in our minds) cover/show band, THE FUTURE.

Erykah Badu once lamented, “Roy Hargrove has a relationship with music that most people never get”. Now it took years for her to say this but if I had the wisdom to use those words at age thirteen, I would have said exactly the same thing. But at thirteen it just comes out as, “How did he hear that?” When we were under the tutelage of our mentor S. Dean Hill, he would use a term to describe the extraordinary ability of a young musician to interpret and play what he heard or improvise with skill and precision. He would say, “He’s got big ears…” He often said that about Grove. And I agree. I may have hated this kid because of his arrogance. But he was arrogant because he knew he would be a star…and the rest of us knew it too.

I must admit I was a fan of his playing from the beginning. Everything about playing music at that point in our lives was about blasting notes in high registers. I was an alto player and I remember the first full band practice we had, I couldn’t stay in my seat for trying to see who the trumpet player was that was “screamin’”. Until then, the only people I knew who had that ability were my cousin Don and his band mates at one of the local high schools and the trumpet players at Prairie View A & M and Grambling State. Also the way he twisted melodies when he improvised was so cool. He was way mature in his playing. Our middle school Jazz Band played a tune arranged by Maynard Ferguson, The Way We Were that featured a written solo that Ferguson himself played. Grove sounded exactly like the record. I was amazed.

I decided to make owning Hargrove’s catalog a priority after his first record Diamond in the Rough. I decided to do so mostly out of loyalty to an old band mate who I wanted to see succeed. But the more I listened to his records, I started buying out of fandom too, not just loyalty. I even became a fan of a couple of his early sidemen, most notably, sax man Antonio Hart and pianist Marc Cary. Hart’s Don’t You Know I Care, from the recording titled the same is one of my most favorite ballads. And Marc Cary’s record, Rhodes Ahead, which is his foray into jazz by way of electric pianos led by his Fender Rhodes play, made me view electric music in a different way. I also believe that, by Grove’s very appearance on the record, led him to the work he did on The RH Factor think Liquid Streets.

I think Hargrove’s document, With the Tenors of Our Time¸ is brilliant in form and content. I could only wish that Sonny Rollins, my 2nd favorite sax player had been on this date. But Joe Henderson (my favorite sax player) was there and that adds to its brilliance for me.

Earfood is Roy’s latest offering. I think the title is mad corny, but the record is incredible. Or should I say it’s nourishing to be as corny as the title. When Grove stepped on the scene, he brought bop back to the underground and his name became significant with the Boho set. Those who followed jazz found his sound to be energetic and fun. The moniker, young lion, fit him well. Most of the boho set came to him via Badu’s Mama’s Gun, and D’Angelo’s Voodoo. During this period, he also made appearances on Common’s Like Water for Chocolate and John Mayer’s Heavier Things.

For me, Earfood, has become one of those theme music recordings. I find that it has served as a soundtrack for many of daily activities. From the mundane driving to work to leaving it on in the garage while I sort Christmas lights and string them on trees. It just works.

I find it difficult to put this record in just a “jazz” category because it plays like an amalgamation of Jazz, Soul, Funk and Gospel. My guess is the title speaks to ones need for a well-balanced meal. And whatever you like about music, I think you will find it here. This is the reason I love this record on so many levels. I can point to specific songs on all of the previous documents that make me stop and listen. This record has fewer weak spots. But regardless how weak I may suggest one or two of the cuts are on this record, Hargrove still plays with a bravado and self-assuredness that reminds you to be cool while listening.

If I wanted someone to love this record as much as I do, the first cut I would play him or her is Strasbough/St. Denis. It’s a funky four anchored by a bass line that grooves as hard as any funk cut you’ve ever heard. The call and response part of the melody between he and his sax man is playful and spirited. The intro is a cut penned by Cedar Walton, I’m Not So Sure that will put you in the mind of Trying To Make It Real Compared to What. Grove never played much Flugelhorn while we were in school. He could play it like most instruments, but it wasn’t his “axe”. Clearly, by way of the ballads on this recording, he is becoming much more comfortable. “Lush” is the word that would aptly describe his Flugelhorn playing.

Though he won a Grammy for his Latin Jazz document, Habana, this may be his best yet.

Discography:
Ear Food [The Roy Hargrove Quintet] (Emarcy, 2008)
Distractions [The RH Factor] (Verve, 2006)
Nothing Serious [The Roy Hargrove Quintet] (Verve, 2006)
Moment to Moment (Verve, 2000)
Crisol: Habana (Verve, 1997)
Parker's Mood (Verve, 1995) [Trio w/ Christian McBride (Bass), and Stephen Scott (Piano)]
Family (Verve, 1995)
With the Tenors of Our Time (Verve, 1994)
Approaching Standards (Jive/Novus, 1994)
Of Kindred Souls (Live) (Novus, 1993)
The Vibe (Novus, 1992)
Toyko Sessions (Novus, 1991)
Public Eye (Novus, 1990)
Diamond in the Rough (Novus, 1989)
The RH Factor, Distractions (Verve, 2006)
The RH Factor, Strength [EP] (Verve, 2004) The RH Factor, Hard Groove (Verve, 2003)

A Distant Star In View

I've been away for awhile. I feel bad because I've neglected my blog since March. But I'm back now and I plan to be here again every week. But this week I'm going to post an article I wrote on one of my most favorite local horn players, Shelley Carrol. Enjoy!

On this night, she requested that Shelley play her favorite tune that he plays. Amongst the reverberated shouts of 'yeah', she leans over to a companion to remark, 'that's so sexy'! Carrol plays in sub tones and drains every bit of emotion out of the horn as he whispers 'My Funny Valentine'. As the music plays on, any listener soon feels as if Shelley was playing their personal request.
At first glance, Carrol looks like any other cat just wanting to play a little music. But once he sinks into the sound, you realize all at once that this is not just the average saxophone player. How could he be? After all, much of his jazz training came from the likes of Arnett Cobb and Don Wilkins, two of the legendary 'Texas Tenors' who just happened to live in his neighborhood. When asked about his experiences with the legends, his eyes light up and he speaks with a fondness of a son speaking about his father. 'I really learned how to get all the emotion out of the horn by listening to those old cats play in the club', says Carrol.
“I now really understand that music is to minister to people, to heal them and make them feel better!”
Growing up in a family full of musicians, Carrol began his formal music training as a member of the Boys Choir of Houston. Soon after learning to pick out tunes on the church piano, he joined his school's band. Because they ran out of saxophones, he turned to playing oboe and stuck with it for 10 years. He attended the High School of Performing and Visual Arts in Houston, Texas where he had the pleasure of sitting under the direction of the schools then band director, trambonist/educator/band leader Frank 'Kuumba' Lacy. He also spent his summers in Houston's Summer Jazz Workshops. Carrol then received a scholarship as a Jazz Singer to University of North Texas' (then North Texas State University) famed Jazz program and earned a place in the One o'clock Jazz Band as a saxophonist. After his second year at UNT, he earned a spot in the Duke Ellington Orchestra. This afforded him the opportunity to play with legends like Sarah Vaughn, Tony Williams, John Faddis, and Ernie Andrews as well as contemporaries like Roy Hargrove. All of which, without a doubt, have made a major impact on his playing. Since finishing his education, he continues to record and tour with the Duke Ellington Orchestra, finds time for clinics, private lessons and master classes and even a stint with rockers Pink Floyd. Carrol has also spent time as an assistant band director and teacher at Dallas' prestigious Booker T. Washington High School for the Performing and Visual Arts.
Though much accomplished, Carrol isn't satisfied with his present success. He continues to focus on his craft and grow to become the best musician he can be. At the end of March, he will be in the studio with a book full of original compositions for a big band project he is working on. He is experimenting with funk-jazz and smooth jazz arrangements for recording, and also working toward doing a vocal jazz record.
Carrol spends his nights gigging all around the Dallas metroplex area at restaurants, wedding receptions, makeshift jazz clubs, jam sessions and music festivals. His first love is straight ahead jazz. When asked, Carrol finds it difficult to put into words how disappointing it can be not always having the venues and/or audiences available to play what he loves. He speaks of having to be 'self-motivated' to find places to play. But he sees the silver lining and speaks about it with ease, 'I just see it as giving me the means and opportunity to do all the things I want to do'.
Shelley Carrol, without a doubt, is a music lover! It's evident in his performances and in his listening habits. Currently, his car's CD changer is spinning Arnett Cobb, Nat Cole, Eddie 'Lockjaw' Davis, Eddie Jefferson and the saxophonist he most emulates, Branford Marsalis. Also, as research for his funk/jazz experiments he has been spending time listening to legendary funk/rock star, Curtis Mayfield. While listening to Mayfield, Carrol received an epiphany of sorts. 'While listening to Curtis, I now really understand that music is to minister to people, to heal them and make them feel better! Now that's, what I want to do with mine''
A Distant Star, is Carrol's sophomore effort as a bandleader. It is an awesome display of his talents as a musician, writer and arranger. Not only does he show deftness of technique playing both tenor saxophone and flute, he also shows the astute ability to interpret arrangements by the likes of Joe Henderson, Duke Ellington and Joe Sample. He uses a contemporary approach to the music without discrediting its tradition and style. Carrol's playing is true to his roots and breeding in the 'Texas Tenor' traditions. His sound can be big and percussive as well as soft and emotional. Carrol says that his mother told him, 'Play like it's the last time you will ever play. Sometimes I remember that, sometimes I don't.' It is evident on this recording that he remembered.
'As I Go' is the only original piece on this document. Carrol takes the opportunity to wield his flute playing. This mid-tempo groove is one of the standout pieces on this recording. His breathy style reminds you of a melodic wind song. 'No One Has to Know', is a ballad penned by bassist and collaborator Curtis Lundy. Here is an example Carrol's ability to drain all the emotion from his horn and make you fell something different every time you listen to the song.
Every song on this particular recording and every time this writer has heard Carrol play is a testament to his commitment to minister to people with his music. Carrol has the ability plus the drive to push his agenda. His star is shining brighter and getting closer with every note he plays.