Liner Notes

The Saxophone Colossus Honored

2011-12-28T13:34:00.005-06:00

"Die Moritat von Mackie Messer" is my first awarness of Master Sonny Rollins. Who among any jazz head didn't try to get their Frank Sinatra on to "Mack the Knife"?

To date, Master Rollins is one of my most favorite saxophone players. It's been noted previously that along with him, Joe Henderson and John Coltrane are the Triumvirate of Saxing.

This year the Kennedy Center Honors added to their circle the brilliance that is Sonny Rollins.

In my opinion, Rollins' most important contribution to the jazz world is his commitment to the beauty that is jazz improvisation. To hear him solo is to hear the foundations and the future of what jazz is and what it can be. At 81 years old, everytime I hear him play, it never sounds like the last time I heard him play. I'm not referring to his sound, I'm referring to his desire to reach for new spaces in music. Name one other jazz musician who would approach a country western folk standard and turn it into a jazz standard.

Congrats to Master Sonny Rollins for this well deserved honor!

Robert Glasper - Canvas

2011-12-04T23:36:00.011-06:00

The first time I heard of Robert Glasper was just after I got back to Dallas from President Obama’s inauguration. I think I had just thawed out. I came across a tune on NPR dedicated to the President called Enoch’s (Inaugural) Meditation; originally penned as Enoch’s Meditation from his 2005 album titled CANVAS(Blue Note, 2005). The tune was originally a concept tribute to drummer Enoch Jamal Strickland but the redux is a tribute to the election of President Barack Obama replete with speech excerpts from Dr. Martin Luther King, Dr. Cornel West as well as the newly inaugurated President of the United States. I once heard stories about the on the spot improvisation skills of Charlie Parker. For instance, while on the bandstand soloing, a sailor would walk in and Bird would begin adding elements of “Anchors Away” into his solos. I mention this because if you listen closely to Glasper’s solo work on this piece during President Obama’s speech excerpt, you will hear elements of “Hail to the Chief”.

Glasper left my radar shortly after I consumed this record. A couple of years later, I heard his name called as a tour keyboardist for Maxwell and I began a mission to seek out his recordings. Along with recording dates with likes of Terence Blanchard and Robert Hurst, I was surprised and intrigued to know that he has played on several familiar hip hop records with Q-Tip and Bilal. I was also shocked to find out his debut as a band leader was in 2004. How did I miss him?

Glasper’s sophomore offering CANVAS has been on constant rotation lately, more specifically the title track. Canvas is one of those tunes that remind me of elegant cigar rooms filled with beautiful people, full-bodied smells of smoke, glasses of scotch and swagger. He plays the full range of the harmony in his accompaniment and improve…I call it “ten finger chord playing”. The fullness of sound is audibly satisfying.

I have attempted to consume Glasper’s other offerings: IN MY ELEMENT (Blue Note 2007) and DOUBLE BOOKED (Blue Note 2009), but I keep coming back to Canvas. I think it just fits my sensibilities for the time being.
Glasper does some Fendor Rhodes work on this record and also uses Bilal for just that extra touch of sweet soulfulness.

This album is worth your time…and the song is worth 10 minutes of your day…every day.

Canvas Personnel:
•Robert Glasper – piano
•Vicente Archer – bass
•Damion Reid – drums
•Mark Turner – tenor saxophone
•Bilal – vocals

Geri Allen - So Colorful

2011-07-22T17:06:00.013-05:00

I was first exposed to GERI ALLEN on a documentary called Robert Altman’s Jazz ‘34: Remembrances of Kansas City Swing. The film was a tribute to “cutting contests” and jam sessions in Kansas City Jazz clubs in the 30s. The scene was set in what would be described as a juke joint and all the artists were dressed in 30s attire. The players included such giants as Ron Carter, David “Fathead” Newman all the way to young lions – at the time, but much seasoned now - like Christian McBride and Nicolas Payton.

Of course, what caught my attention first was Geri is a woman. It can’t be denied that the tradition didn’t boast many women as players. Mary Lou Williams was one of the few exceptions. In my opinion, swing, in the south, from the 30s, was very physical. It took a lot of agility, especially for rhythm section artists. So my quest began to find out who this woman was banging away with the big boys.
Shortly after seeing the documentary (I’m sure I didn’t see the first airing), I ran across my first Allen recording, THE GATHERING, Verve, 1998. I didn’t stop listening to this record for at least a month. I took it from my car to the office to the car to the house – and back again.

THE GATHERING takes on a dark, soulful, emotional, all-encompassing tone. Allen is one of those musicians who tend to describe sound in terms of color palates, a synesthete. I won’t pretend that I always understand or see what one sees when describing sound as color. However, with this record, I can see vivid colors of beautiful sunsets, clear starry nighttime skies and full moons on ocean vistas. While classic in nature, this record is an exercise in post-bop progressivism. An example of my characterization is the tune DARK PRINCE. This tune juxtaposes a classic jazz trio ensemble (piano, drums & bass) with an electric lead guitar accompaniment from VERNON REID of LIVING COLOUR. As Allen leads the ensemble through the funk filled, infectious groove, you can hear Reid compliment it with an unobtrusive wailing that lends itself to a soulful mystery. This song alone will make you understand why it was so difficult to put this record away for such a long time. Allen’s chops are phenomenal. I love her most because she’s an ensemble-ist. When it’s time to groove, she grooves. When it’s time to accompany, she accompanies. When it’s time to shine, she takes over. Without a doubt, she’s equally comfortable in all three arenas.

I started thinking about how much I liked THE GATHERING and Allen when I ran across an interview on Marian McPartland’s Piano Jazz on NPR. Her virtuosity was put on display in the studio in a solo format. She performed several pieces. Most of the compositions were her own; however, she blessed the listeners with a luscious version of Billy Strayhorn’s LUSH LIFE. Allen and McPartland also jammed a little while on two pieces including Charlie Parker's ANOTHER HAIRDO.

Allen's latest project is entitled, GERI ALLEN AND TIMELINE - LIVE, Motemaa, 2010. TIMELINE features KENNY DAVIS on Bass, KASSA OVERALL on drums and features MAURICE CHESTNUT, a tap dancer as part of the rhythm section.

Allen is married to trumpeter WALLACE RONEY. I have got to find my tape of Roney playing optional lead to Miles Davis at the Montreaux Jazz Festival the last time Davis ever performed any of his Cool Bop music. Allen is also busy teaching Jazz at the University of Michigan.

I’ve not heard this new recording in its entirety...I can't wait...

Miles Dewey Davis....Happy Born Day- May 26, 1926

2011-05-26T22:59:00.015-05:00

If you've ever found any reason to talk to me about Jazz, I'm sure I have spoken of my general awe and undying love of the song ALL BLUES. This tune, along with MOOD INDIGO and BLUE BOSSA embody what...JAZZ IS...in my humble opinion.

ALL BLUES, Columbia Records, 1959 was originally recorded April 22, 1959 on arguably the greatest jazz album ever recorded, KIND OF BLUE. Kind of Blue became the standard bearer for practically every recording jazz artist of the era and beyond.

Kind of Blue personnel:
Miles Davis – trumpet, band leader
Julian "Cannonball" Adderley – alto saxophone, except on "Blue in Green"
Paul Chambers – double bass
Jimmy Cobb – drums
John Coltrane – tenor saxophone
Bill Evans – piano (except "Freddie Freeloader") liner notes
Wynton Kelly – piano on "Freddie Freeloader

Miles would have been 85 years old today...Gone too soon...

Video personnel:
Miles Davis - Trumpet
Wayne Shorter - Tenor Sax
Ron Carter - On the Bass...ATCQ style
Tony Williams - Drums
Herbie Hancock - piano

Happy Anniversary Bunny...

2011-05-25T13:24:00.005-05:00

In the car, I tend to keep my IPod on shuffle. I have relatively diverse music tastes, so the music shuffle provides me with the formatting that I wish radio could be. I wish – not expect. The diversity of the music is pretty cool except when you hear Michael Jackson belting out songs about seeing his mother kissing Santa Claus…in May.

But this morning, ignition, thumb to play: MICHAEL FRANKS and BRENDA RUSSELL styling one my most favorite ballads, WHEN I GIVE MY LOVE TO YOU.

This tune is from the album, SKIN DIVE, Warner Bros. 1985. It was particularly apropos as today is my wedding anniversary. Michael Franks is one of only a few artists my wife commonly enjoy.

This one's for you Bunny…Happy Anniversary!!!

The video features VERONICA NUNN.

One O'clock....rock

2011-05-20T00:10:00.006-05:00

Embarrassingly enough, I missed the first date of the best part of my summer – Thursday nights at the Dallas Museum of Art - Jazz Under the Stars. But I redeemed myself tonight.

If you, as I did, grew up playing jazz/stage band in DFW, you probably dreamed of playing in the University of North Texas’ (formerly North Texas State University) One O’clock Lab Band.

On this unseasonably cool May night, I got to listen to the fabled band that once featured some of my favorite musicians from as far back as the eighties and recently as the few years ago. I have always loved this band. The tradition of the One O’clock Jazz Band has always been a standard bearer for Jazz Bands in the area and by the very fact that they have been nominated for Grammys, all over the world.

Tonight, this band did everything a stage band is supposed to do; from the swingin’ saxophone line soli and screamin’ trumpets to the full trambone harmonies and the tight rhythm section. I was not disappointed. They played about 8 – 10 tunes total. Two of the tunes really stood out for me. First being a tune called HIP PICKLES. This tune was written by a student in the 70s and it sounded like it. It was a funk fusion piece complete with funky guitar rhythms and those screamin trumpets abovementioned. Also, there was beautiful ballad titled, YESTERDAYS. This tune was led by the lead tenor player. Real nice…I found a couple of videos of this band from 2010 playing these tunes. I recognized the players. I hope you enjoy this as much as I did.

Meet Jason Davis...Again

2011-05-03T21:10:00.015-05:00

Latest Project: GREEN

Just before I took a trip to the Dominican Republic, Jason Davis released is latest record, GREEN. On my 5 am flight, I played the record for the first time. No sleep for me. The record kept me relaxed, interested and entertained from beginning to end.

This record is a trio setting which is Davis on Tenor, Lamont Taylor on Drums and Mike League on Bass. The trio setting sans piano is and always has been tough for me to digest. I am harmonically challenged sometimes and when I don’t hear the colors from the chords, I get lost. My first experience with this type trio was Branford Marsalis, Jeff Watts and Robert Hurst – The Beautyful Ones Are Not Yet Born…I still haven’t digested that record. So I won’t waste keystrokes trying to explain how I feel about this record, except to say, I really like it. I will say that this record was a lot easier for me to follow. I don’t know if my ears have grown up or Jason’s record is just that good. Jason’s driving style is reminiscent of the Texas Tenor tradition. His love for the tradition is guaranteed to keep it alive.

If I have one complaint, sometimes during Davis’ improvisation efforts he disappears. I believe it is the gorilla recording coupled with his physical style when he gets into the music.

I had chance to interview Jason.

What’s your main instrument? Tenor Saxophone
What other instruments do you play? Clarinet, Flute, Piano, Baritone Horn, Organ, Harmonica, Vibraphone, Drums, Bass Guitar
When did you know music would be your life? September 1984 @ Pearl C. Anderson Elementary School.
What song do you remember most as a child? Ava Maria
How do you describe the music you play? Husic; it is Healing Music that presents Hues, Shapes, Textures and Spiritual Intentions
What is the name of latest project? Green
Describe that project? When I recorded Green I wrote down a list of the 25 things that I do on sax better than anyone else. Then I called up Mike League and Lamont Taylor and asked them to come record some originals with me. I told them that this session would be very loose and have lots of time a directional changes. Green is an improvised recording that is the way I sound when no one is watching.
If you could pick one song that describes music for you, what would that song be? To God Be the Glory.
What is your favorite moment in your own personal music history? Standing on stage this year in front of my new Jazz Big Band called "Stage Band South" for our first gig.
What do you think about when you are improvising? Nothing
What is your biggest career challenge right now? I need my own music venue (Concert Hall) so that my audiences can see me without reserve.
What are your biggest creative influences?The Texas Music Tradition that comes out of South Dallas and Lincoln High School.
Who is your biggest fan? My dad - James Davis Sr.
Who are you trying to reach with your music? Im trying to reach everyone that dares to listen.
What is your approach to live performances? I want to be vernacular and take an Illinois Jacquet (Texas Tenor) approach.
If it is true that you write what you like to perform over and over, what song(s) have you written that you love to perform? #1 song is called "Put That Meat on The Grill" #2 song is called "Cozumel"
If you only had one song to play before you left the earth, what song would that be? Hymn #162 "Pass Me Not"
What are you doing now? Viral Marketing all over the web with videos, CD releases and blogs. Looking for funding for my Big Band Concept.

Without music, I would be I would be searching for my purpose in life.

Music is a gently twisted tool that can get you through anything

Video links: http://www.youtube.com/watch?v=gt3khwNPEDY
Social Media Links: http://www.facebook.com/wellingtonhancock
Music Links: http://itunes.apple.com/us/album/green/id42723220

Jason Davis' Equipment:
Reeds: Benz-Reeds #3 or Vandoren Java #3
Mouthpiece: Claude Lakey 6*
Ligature: Rovner
Horn: Band Now
Mics: AKG C419
Effects: Presonus Audio Box with Mac Book

James Moody - Rest In Peace

2010-12-09T20:31:00.004-06:00

Saxophone Master James Moody has passed away at age 85. Moody's greatest claim to fame, of course, was MOODY'S MOOD FOR LOVE, loosely based from the song I'm In the Mood For Love.

Links to some of my favorite Moody performances:

Cherokee and The World is a Ghetto - on flute

First Thing in The Morning

The Making of MOODY'S MOOD FOR LOVE

and of course the song: MOODY'S MOOD FOR LOVE

and an awesome remake by Take 6 and Patti Austin

Thank you for sharing...

Happy 90th to Dave Brubeck....

2010-12-07T15:14:00.005-06:00

Happy Birthday to Dave Brubeck. I meant to do this yesterday. Better late than never...like he will ever read this...

Who among us doesn't LOVE the standard Take 5...Take 5 and enjoy...

Bach to Blues

2010-12-05T00:08:00.004-06:00

I think part of the reason I’ve had such a hard time catching the blog back up is because I owe someone a review of his album. I don’t know if I really believe in karma to that level but I do feel a kind of way about not offering this review months ago when the gentleman asked me too. Don’t get wrong, it’s not because I didn’t listen to it - it even got space on the Ipod. It’s just because I didn’t finish writing my review.

I received an email from Dave Leonhardt inviting me to review his record. Mr. Leonhardt honed his chops with the likes of Jon Hendricks and the incomparable David "Fathead" Newman. He's produced and arranged and performed with for Stan Getz, Slide Hampton and Lewis Nash. Needless to say, he's got alot of good music infused in his playing.

I read the title BACH TO BLUES and knew instantly what the theme was – of course that’s not hard to figure out. So I was interested in what I was about to listen too. I admit that I love music that makes me think. But as I read the title of the songs and saw that they were direct copies of Bach song titles, I pushed the play button with a little fear of being disappointed. I didn’t know if I wanted to hear Bach’s music with a swing beat. I was pleasantly surprised! This isn’t that! Well not really that…

I wanted to go into this recording with an open mind. I wasn’t familiar with Leonhardt or his music so I didn’t read his included bio. I downloaded the record and listened to the music. Basically, what Leonhardt does here is to use the themes from Bach’s music and comment on them in his own way.

I was only slightly familiar with most of the tunes. I really enjoyed his take on Ava Maria. He kept it a ballad of course, however a well placed minor third here and well placed seventh there made for beautiful song.

All and all I like this record alot. I like to refer to this album as "dinner music". It’s soft, unimposing but gives the right vibe for a delicate evening in front of the fireplace or over Merlot, T-Bone and conversation.

Thanx Dave for offering me this record. It has certainly been a joy to experience.

Electric J

2010-10-31T22:20:00.002-05:00

The day before Halloween, I got a treat.

An interesting fact, well at least to me, I have three saxophone heroes Joe Henderson, Sonny Rollins, and John Coltrane. There are three saxophone players in Dallas, that I’ll go most anywhere to hear play: Shelley Carrol, Keith Anderson and JASON DAVIS.

My sister had her 40th birthday party and it featured Mahogany and the Jam Box band featuring musical director Jason Davis (I suggest he’s the feature).
I first met this cat playing at the South Dallas Cultural Center monthly jam sessions. I was mesmerized listening to him play. And there hasn’t been a time when I haven’t been impressed every time I hear him play. He told me his email address was Electric_J @... It could be only one reason I remember that and that is because the cat is just that…electric. I have never not seen Jason turned up to 100 when he’s playing his horn.

Jason is one of the best musicians this city has to offer. I suggest you get by to see him whenever you can.

Check his trio out November 1st at Buttons in Addison. And Mahogany will be there November 6th.

Also, hit his website: www.jasondavisjazz.com

Blue Shoes & Jump Blues

2010-10-29T19:12:00.003-05:00

Fall is upon us. I have a pair of suede shoes that I’ve had for about 10 or 15 years that I love. They are light tan in color. So you can imagine that after 15 years, they’ve lost their luster – if that’s a word that can used to describe suede. The style of the shoe is still very classic. The upper, sole and the heel are in phenomenal condition. They just aren’t pretty anymore. I took them to a shoe shop and the cobbler wouldn’t touch them when I asked if he could clean them. So, I’ve decided to try to dye the shoes. How hard would it be to find some suede dye and bring life back to one of my all time favorite pair of shoes? I googled “Blue Suede Shoe Dye” and look what I found…WOW! My eyes bugged and my heart skipped a beat. These were some of the most beautiful shoes I’ve ever laid eyes on.

There’s an HBO movie called LACKAWANNA BLUES that I love. There’s a scene that features MOS DEF as a Jump Blues artist. And during the performance, the narrator laments how the Saturday Juke Joint night was a chance for the party-goers to show off their shoes – “Nothing compares to the shoes…” The scene in the movie was the first thing I thought about when I saw the shoes.

So what does any of this have to do with SonicVibrations? Well I’m glad you asked. JUMP BLUES.

Jump Blues is another jazz child that features up-tempo blues. Most of its origins are usually attributed to artists like Count Basie and Lionel Hampton; but also, one of my favorite artists, the incomparable Louis Jordan who brought us the story of Beans and Cornbread having a fight. Oh, you remember the little childhood diddy: “Beans and Cornbread had a fight, Beans knocked Cornbread out of sight”! If you’re still not sure you’ve heard the music before, think of the dance the Lindy Hop or Fred Sanford singing Flat Foot Foogie with the Floy Floy…Well I couldn’t find his version…but enjoy The Count doing his thing.

So now, I’m in a bit of quandary. Do I dye my well-worn broken in shoes? Or, do I purchase a pair of the beautiful shoes above? Or, do I do both? Whatever I decide, I’m sure I’ll keep loving and listening to Jump Blues and looking for somewhere to dance in my blue suede shoes…

Saturday Nite Wind Down: Scotch & Soul

2010-10-24T01:53:00.011-05:00

So. I’ve had a million and one things to do today. Finally, I have a chance to sit down, be still and enjoy my favorite pastime, listening to a funky ass tunes…tonight it’s via the computer. As I peruse the i-net reading the news and some of my favorite blogs, I’m also sitting here contemplating getting my wallet and copping a copy of THE COOL REVOLUTION on CTI Records – a 40th anniversary compilation record. As I pull the track listing, it has occurred to me that most of the singles pulled together for this compilation, I already have. I didn’t realize that so many of the artists I enjoy have recorded on CTI. Artists like Ron Carter, Yusef Lateef, George Benson, Chet Baker, Hank Crawford, Bob James, Hubert Laws, Stanley Turrentine, Freddie Hubbard, and Idris Muhammed among others.

Another of my new favorite things is scotch. Though I don’t drink very often, I’ve come to enjoy the occasional after work drink or the evening wind down taste. Some years ago, I started drinking J & B Scotch Whisky and then became a fan of Johnnie Walker Black Label. Black Label as opposed to Red, Green, Gold, Blue, or Swing…in all honesty, I don’t know if I’ve ever been anywhere where Swing was available. Now that I've tried Macallan, I really like.

Putting these two things together, Scotch and Soul Jazz, just works.

It’s late on Saturday night when I’m writing this, I hope when you read it you’ll consider having a wind down libation. I suggest The Macallan 10 Year Old and the following CTI Records soundtrack:

Saturday Nite Scotch & Soul
Sugar – Stanly Turrentine
Red Clay – Freddie Hubbard featuring my all time favorite Joe Henderson
Westchester Lady – Bob James
I Had a Dream - Hubert Laws
Mr. Magic – Grover Washington Jr.
Piece of Mind – Irdris Muhammed
Nautilus – Bob James
Nubian Lady – Yusef Lateef – Okay…this is not a CTI recording…but it’s one my favorites by Yusef

Since I’m not a big fan of compilation records, I’ll continue to mull over this purchase. But I know I need the proper glasses for The Macallan…maybe these or these.

Happy Birthday Diz...

2010-10-21T14:11:00.003-05:00

For real...since May? It's way too long since I've been here last. I have a million and one things going on...but, again, I'm going to make this a priority again.

I must apologize to several artists who sent me their records with my promise to review them. I did the reviews but publishing them became more of a task than I was ready to handle. I will still get those reviews in over the next week.

I've decided to spend a lot more time on the many facets I would like for sonicvibrations to be. So those of you who continue to check me out, keep doing so. I think you will be happy with the new product.

Happy Birthday Dizzy Gillespie!

Google did a great tribute!

DMA Jazz Under The Stars...disappoints me for the first time...

2010-05-28T09:29:00.009-05:00

I do not want to “trash” artists on my blog. I’ve been asked to write reviews of music and have declined due to the lack of musicality of the work…or I just didn’t like it. However, now and again, I find gems. Like now, I’m listening to, for review, pianist David Leonhardt who has taken a swing approach to Bach, which I think is pretty good. I tell you about that one later. But last night...

Anybody who knows me knows that I begin my summer by attending the Jazz Under the Stars event at the Dallas Museum of Art. I’ve been attending this event for well over 10 years. Now, I drag my wife along with me every Thursday night. Last night was the first time I ever walked out on an artist because the music was so not good.

First, I tend not to like to walk in on sound checks. But considering the circumstances of this event, I can abide. Tonight's featured artist, Margo Rey is on set. She plays this genre of music she calls “Organica”. Think Basia meets Sade playing bossa novas….but with much less musicality, style or soul. She began her first set with a bluesy ballad that was so boring I can’t remember the name of it. The next song was a slow to mid-tempo version of Besame Mucho which she sung in some loose jazz operatic voice style…and it went south from there; including a type Latin version of “You Belong to Me” by Michael McDonald. I found myself more interested in my Toastmasters magazine that I accidently picked up and brought with me. After the first set, I spent time playing Words with Friends on my wife’s IPhone, hoping the second set would go better. It didn’t. She began the second set with “There’s No Sunshine”. Yes, you are reading that right…”THERE’S NO Sunshine”. I think had Bill Withers been there…he would have asked her to stop. No Soul.

Music is such a subjective thing. Some you like. Some you don’t. And some you’re indifferent too. She records and other people buy her work. In fact, she mentioned that a song from new record went from number 7 to number 4 on the dance charts.

Though I won’t suggest that I’ve seen every show that DMA has put on in the last 10 years (they’ve been putting this series on for about 25) I have questioned several of their choices…I think they just missed with this one. Or, she just didn’t have a good show.

Last week, I met Danilo Perez and John Patitucci. That was cool...

And of course...I'll be back next week!

Miles Dewey Davis - Happy Birthday!

2010-05-27T14:57:00.002-05:00

Happy Belated Birthday...

Sir Miles Dewey Davis

May 26, 1926 - September 28, 1991

Hopefully, someone who really loves me will get me THIS for my birthday...

Danilo Perez

2010-05-17T23:47:00.007-05:00

I don’t remember the first time I heard Danilo Perez. My memory is not serving me well. But if I had to take a good guess, it was when BET had a show called Jazz Central that was hosted by Angela Stribling. Wow…I can remember rare good programming on BET and hosts of those shows, but I can’t remember where I first heard Danilo Perez.

I bought a recording from him around 1998 titled PANAMONK, which featured two drummers that I admire greatly, Terri Lynne Carrington and THE infamous Jeff “Tain” Watts. It also featured bassist Avishai Cohen. Who wouldn’t buy a record with such an interesting title? But I was familiar with Perez’s prowess on the piano. I will say that Perez pulled off this Thelonious Monk tribute with veracity. I appreciated every moment of the record. From the ballads to the Latin flavored reworks of some of Monk’s tunes.

I’ve soaked up a lot of music since listening to that first record. I didn’t really seek out any other Perez offerings. Not that I wasn’t impressed, I just got mired in the work of my old favorites. And during that time, I was only seeking out the work of the artists who created and innovated jazz. But, some years later – a lot of years, I came across Perez again on Wayne Shorter’s ALEGRIA. On this recording, Shorter weaves his way through all of his styles – from classical jazz to the avant-garde. Perez fit Shorter’s musical vision with deftness. I imagine that his time touring with Shorter made that pretty simple. This was another recording that I was familiar with featuring Perez, Brian Blade on the drums and John Patitucci on Bass.

Fast forward to 2010…Every summer I look forward to my wife and me, and assorted friends who join us, attending the Summer Jazz Series in the Park at the Dallas Museum of Art. It’s just us, good food, good spirits and most importantly good music. This year’s headliner and series opener is none other than Danilo Perez. So me being me - I pulled out PANAMONK and ALEGRIA and sought out more recordings/appearances by Perez. I found MOTHERLAND among others – but found myself drawn to this one.

MOTHERLAND speaks of a young composer with seasoned abilities still wanting to provide playfulness inside sophistication in the music he creates. It certainly is a joy to listen too! Sometimes, Latin recordings can be intimidating because the rhythms can be complicated. This isn’t one of those records. This recording is classy, lively and fun. This is definitely one of those “Afro Latin Blue” moments in jazz. I found myself dancing - in my head - rumbas, salsas and starting conga lines. I even considered taking capoeira lessons. Okay maybe not. But I really do dig this record!

I don’t know how many Latin jazz recordings (speaking specifically about South American, African, Cuban influenced Jazz...I mean there was Flamenco Sketches) I’ve heard that have used violins but Perez found the use of one that didn’t take away from the integrity of the theme. But how could Regina Carter ever be out of place? Brian Blade is ever more rapidly moving up on my personal list of young lions who have become jazz heroes. His drumming on this recording is masterful. Much like the all the other music I’ve ever heard him play. The vocals and chants on this record are hauntingly beautiful. The rest of the accompaniment on this date handles Perez’s compositions and arrangements with extreme competence as well as love. In my opinion, Perez really shows his chops as a soloist on the song Rio to Panama.

I really love this record. It’s summertime in the park music. I began to find myself fantasizing about me and my wife on white sand beaches, watching sunsets, snacking on empanadas and sipping red wine.

I can’t wait to see Danilo on Thursday night. If you see us there...come say hello.

Dallas Museum of Art Summer Jazz Series

Motherland Personnel:
Danilo Perez - Piano
Claudia Acuna - Vocal
Greg Askew - Percussion, Background Vocals
Aquiles Baez - Acoustic Guitar
Brian Blade - Drums
Louis Bauzo - Percussion, Background Vocals
Richard Bona - Vocal, Electric Bass
Richard Byrd
Regina Carter - Violin
Carlos Henriquez - Acoustic Bass
Chris Potter - Alto Saxophone, Soprano Saxophone
Luisito Quintero - Percussion, Triangle, Chimes
Kurt Rosenwinkel - Electric Guitar
Antonio Sanchez - Drums
Luciana Souza - Vocal
Diego Urcola - Trumpet
Ricaurte Villarreal - Tamboura, Tambor Repicador

The Divine Ms. Lena Mary Calhoun Horne 1917 - 2010

2010-05-10T10:55:00.008-05:00

When I was about twelve years old, I sneaked and stayed up to watch TV all night. This is before cable TV was standard in every home and network TV played old movies all night long. A movie titled "CABIN IN THE SKY" came on and I didn’t think I would be interested in at all. I mean, here was this Black man called Rochester with this heavy southern drawl reminding me of a grown ass Buckwheat and Ethel Waters, who at the time didn’t fit my standard of beauty. I vaguely remember why I decided to stay with the movie. I imagine it was because of the music playing in the background. I had just begun to listen to and appreciate Jazz.

And suddenly, she appeared - Georgia Brown aka The divine Ms. Lena Horne. The “Horne” as I knew her by watching her appearance on Sanford and Son. She was much older then so she didn’t capture my attention as a middle-aged woman. But Lena as a young woman…WOW! I could see why Rochester almost messed up his happy home…

Though Lena never really became a major influence in my view of art, culture or jazz, I’ve always recognized her contribution; everything from her appearances at the World Famous Cotton Club in Harlem to her stances against Jim Crow in entertainment.

Ms. Horne’s rendition of STORMY WEATHER will always be my favorite. Also, IT’S NOT EASY BEING GREEN with Kermit the Frog on Sesame Street…

Rest in Peace Ms. Horne. You will always be Royalty to African Americans...

Musings...

2010-04-13T11:13:00.012-05:00

I found this interesting article the other day and wanted to share it. Jazz Musicians are having a concert to provide health care for themselves.

Also, yesterday, April 12, 2010 was the 70th Birthday of the genius know as HERBIE HANCOCK.

My love for Herbie started in the seventh grade. I was 12 years old and the O.W.Holmes Boss Band played a funkdafied version of THE CHAMELEON. If, by chance, you can get your hands on a copy of BOSS BAND VOLUME ONE, you would have the opportunity to see just how funky we were. Since that time, I have found myself mesmorized by the music of Herbie Hancock. From MAIDEN VOYAGE through his electric foray with the THE HEADHUNTERS. I even dug his Hip Hop offering ROCKIT. Herbie even proved how creative he is with the ROCKIT video, which was ahead of its time in Hip Hop.

BUTTERFLY from the THRUST record and WATERMELON MAN from TAKIN OFF, will most likely always be my all time favorite Herbie Hancock records.

Happy Birthday Herbie! Keep on being funky!

I'm in the Mode for JOE

2010-03-24T21:46:00.011-05:00

A friend of mine and I always say, true fans of a particular artist don’t buy “Best Of” records. Because a true fan of an artist may not like all the tracks by an artist, but the ones that are not considered the artist’s “best” always make an impact. And “Best Of” records tend to only document the artist’s most popular tunes.

I’ve been rummaging around in my garage for the last couple of days. The weather has been really cool and comfortable and I’m not allowed to smoke cigars in the house. I have an old CD component set in the garage for such times as I’m in there working on my putting stroke or washing the car or whatever else would have me out there. I grabbed several CDs from my rack. Just my heroes, Joe Henderson and Sonny Rollins, and started my garage hang…I began to listen to a record I had come across at a used CD shop for so cheap had to get it. It was THE BLUE NOTE YEARS: THE BEST OF JOE HENDERSON.

If you’ve ever had an in depth conversation with me about Jass and my likes and dislikes, you know that BLUE BOSSA by JOE HENDERSON is one of the three songs that personify Jass for me…and thus, one of my three favorite records! This particular CD starts with this song. Probably the reason I bought it in the first place. It’s the original recording on Blue Note featuring Kenny Dorham, trumpet; McCoy Tyner, piano; Butch Warren, bass; and Pete Laroca, drums. It was recorded June 3, 1963, released originally on his album PAGE ONE.

This “Best of” record I love! I think it documents Henderson’s work in such a manner it highlights all of his abilities. This is one of those times when I won’t spend a whole bunch of words trying to describe this document. I just will suggest you pick it up with a fine Ashton, gin and tonic or your favorite spirit and just listen.

All Star Weekend...

2010-03-09T22:47:00.029-06:00

I’ve had an awesome few weeks. It has forced me to write. Of course, I haven’t been as faithful to the blog. I started on new adventure and I’ve have had my attention elsewhere. But I couldn’t leave this alone.

So back to my awesome few weeks - first, it was NBA All Star Weekend in Dallas. Though I did want to see the game and possibly hit a party or two, the thing that I got to do excited me most. My favorite trumpet player and my friend, ROY HARGROVE was doing a show in town. The first show he’s had in Dallas in years. The brothers at SANDAGA MARKET brought him to town. Fortunately, his wingman and also my friend, saxophone player KEITH ANDERSON and also keyboardist/organist BOBBY SPARKS of the RH FACTOR band also live in Dallas. Along with CHUCK SMITH on Bass, JASON “JT” THOMAS on drums and BERNARD WRIGHT on Keyboards, this was setup to be a great night. However, it was not. Grove got stuck in Atlanta or somewhere because of the weather and didn’t get into town until Saturday night. The wife and I had plans so I could not attend the Saturday show. I decided to go by Saturday evening after our previous engagement and got to laugh and talk to my old friends. He told me that they were going to do a matinee show the next day. So Sunday, February 14, I got to take my girl to hear my friends play. It was her first time and my first time in years. Since the matinee show was a jam session of sorts, saxophonist Quamon Fowler also played a couple of tunes with the group.

My wife instantly became a fan of Keith Anderson. And I have to say, when we were growing up this kid was better than anybody our age. He's only gotten better! His sound is big and full. And I too became a fan, all over again.

The show was focused mostly on music from HARD GROOVE but sprinkled in a joint or two from some other records including STRAUSBURGH, my favorite tune from the EARFOOD offering. Also, Grove played a tribute to his mother, who was also in the audience, by playing IN A SENTIMENTAL MOOD. It was played as a duo. Grove turned to his flugelhorn and played it over a beautiful keyboard strings arrangement played by Wright. I doubt that it had been practiced but it was done so well. It spoke to the musicianship of both artists. My wife recognized the melody immediately from the movie LOVE JONES. I think Hargrove gained a new fan.

The last few times I saw Hargrove perform he had done so with his acoustic groups. But I really like the HARD GROOVE record. So seeing this band along with all the effects made me appreciate a new dynamic in Grove's and Keith's playing.

As for the venue, SANDAGA MARKET, it is a place that only a jazz fan could love. It's decor, with the mixed match chairs, tables and plastic table cloths is primitive to say the least. But all a real jazz fan needs is a place to sit or lean and great acoustics. Sandaga has that.

It was great to see and hear the RH FACTOR band. I hope they are not done recording. I'm sure they have many great perfomances and songs left in them.

Several weeks ago, the wife and I went to the MORTON H. MEYERSON SYMPHONY CENTER here in Dallas to hear the Dallas String Orchestra's renditions of Beethoven's Symphony No. 4 and Schumann's Symphony No. 4. We found out that WYNTON MARSALIS was bringing the LINCOLN CENTER JAZZ ORCHESTRA, which he does most every year. I had forgotten about it. She didn’t and bought me tickets for Valentine’s Day. She’s so sweet!

It’s not the first time I’ve seen Wynton and the LCJO but I always enjoy him when he comes. He’s not only and incredible horn player, his showmanship is engaging and worth the price of admission. He played three sold out shows in Dallas.

This year’s show was dedicated as a collaboration of music artists and painters. The LCJO just released a new CD entitled PORTRAIT IN SEVEN SHADES that was penned by TED NASH. Nash is reedman with the LJCO. If I remember correctly he and the LJCO were commissioned by THE MUSUEM OF MODERN ART in New York to create this piece.

I’ll give you my impressions of the entire show.

The orchestra began the first set with a tune written by CHRIS CRENSHAW. Crenshaw plays trambone and is from Georgia. He joined the LJCO in 06, which means to me that I haven’t seen this group since at least then as he is one of the newer members of the group and I had never seen him before. I don’t remember the name of his tune but it was a fun up tempo swing piece that had a second movement that turned into a ballad with a seductive tenor sax lead played by VICTOR GOINES. The 3rd movement was lead into by a stride piano soli played by DAN NIMMER.

The next piece was penned by trambonist, VINCENT GARDNER. If I have the title right it was called BLUE TWIRL. It is when avant-garde meets jazz orchestras. The song had many dimensions and seemed like a bit of experimentation. The song then turned into sections of beautiful melodies and then took a sharp turn and then began to swing as hard as possible. As I watched them play, it sruck me how difficult the music was and they were playing it sans director. Wynton mentioned how difficult it was to play sans director when they finished playing the tune.

The next piece was dedicated to the art of landscape painter WINSLOW HOMER. The tune was written for LJCO by guitarist and jazz great BILL FRISELL entitled HOMER’S BLUES. It was standard 12 bar blues with a lot of movement in all sections of the group. It was the first of Wynton’s solos for the night. He appeared to be so into this solo – I think playing the Blues is his favorite thing to do – I wasn’t sure if he was going to throw himself from the chair he was sitting in.

From there the LJCO played the 7 tunes that were featured on the PORTRAIT IN SEVEN SHADES document.

MONET – Is a lightly swinging piece. It felt like a leisurely walk through Central Park in the rain.

DALI – was written for the impressionist Salvador Dali. Nash described how Dali’s paintings spoke of discomfort and something chaotic. He said the time signature was in 13/8. I couldn’t figure it out. But it felt good.

PICASSO – was written inspired by the cubism in his art. It was written with 4 chords, with 4 part harmonies and 4 this and 4 that. I couldn't figure out all the fours. The composition speaks to the intellectualism of jazz. It started predicated on a Spanish theme. I thought of it as Spanish Bullfighting Jazz. The 2nd movement turned into a funky four. Nash referred to Gardner and Marsalis and battling matadors for being featured in these songs.

VAN GOUGH – Nash described this tune as an attempt to provide a nourishing environment for Van Gough’s tragic life. It featured Wynton at his best as he lead the ensemble in this ballad. The best thing about this tuen was the singing by VINCENT GARDNER. With lyrics like, “When I paint the sky, I wonder why you don’t share my view…When I paint the sky, I wonder why you don’t see my love…I paint for you”.

CHAGALL - I started thinking of Russian death marches when I heard this song. Then I started thinking of gangster movies or Mike Hammer. I didn’t start to like it until Walter Blanding started to wail away on soprano saxophone. At that point it got interesting. But as a whole I didn’t like the song much. But I'm not willing to say that the song was not good. Themeatically, it fit the artist.

POLLOCK - Was written for Jackson Pollock the abstract impressionist. The music challenged the dexterity of all the players in the band…and my spelling of the word dexterity. It was furious fugue that morphed into a mid tempo swinger back to a furious fugue. My fingers were confused watching the trumpet and sax players work.

All and all, I loved every minute of the concert. I was so very disappointed that the concert was done after only two hours including intermission. But I got to spend those two hours with my favorite music AND my favorite girl.

So after the show was over, the wife and I, feeling adventurous, decided to head down to the Green Room to see if we could meet Wynton - and we did. I got to talk to him about our shared love for ROMARE BEARDEN. When I had my first apartment, I took the album covers for Soul Gestures in Blue - Volumes One, Two and Three and used them for wall art. We also talked about Cassandra Wilson - my favorite singer.

I also met, Ali Jackson (drummer) and Vincent Gardner (trambone). I saw Chris Crenshaw (trambone) but I didn't get to talk to him. I wanted to meet Sean Jones (trumpet), but he never came out. I wrote about one of JONES' records on this blog. Someone wanted to take me to task about something I commented on. They have the right too because I wrote it for public consumption. But I hope they understood that I love Sean's record.

Before I got to Marsalis, my wife and I watched as he engaged all the young people personally. He was gracious and personable in a southern gentlemen kind of way. I've taken exception on occasion to Marsalis and his rants against popular music...but this night, he was just a cool dude talking about life and jazz. I could respect that and I was glad to finally meet him.

It was a good night...

Wynton Marsalis, music director, trumpet

Sean Jones, trumpet
Ryan Kisor, trumpet
Marcus Printup, trumpet
Vincent Gardner, trombone
Chris Crenshaw, trombone
Elliot Mason, trombone
Sherman Irby, alto saxophone
Ted Nash, alto and soprano saxophones, clarinet
Walter Blanding, Jr., tenor and soprano saxophones, clarinet
Victor Goines, tenor and soprano saxophones, Bb clarinet, bass clarinet
Joe Temperley, baritone and soprano saxophones, bass clarinet
Dan Nimmer, piano
Carlos Henriquez, bass
Ali Jackson, drums

The Grammys 2010

2010-02-09T12:48:00.010-06:00

Okay…So it’s obvious that I’ve been NOT blogging for a couple of months. Sometimes life gets in the way. But I always have to give shine to the nominees and winners of Jazz Grammys. I feel like this is still one of maybe 4 categories that is actually based on the performance and not the populous.

I’d like to especially shout out the homie, Roy Hargrove, for his 3rd Grammy nomination for his solo performance from his large ensemble offering, EMERGENCE and his work on the tune “Ms. Garvey, Ms. Garvey”. He won Best Latin Jazz Album for ROY HARGROVE'S CRISOL: HABANA. His second nomination came in the form of Best R&B Performance for the remake of “I’ll Stay” from his RH FACTOR offering, HARD GROOVE.

Congrats to Terrance Blanchard for yet another Grammy. He must be using for paper weights at this point.

If you grew up playing in High School Jazz Ensemble’s in Texas and you wanted to continue that through college, then you most likely wanted to be part of the UNIVERSITY OF TEXAS ONE O'CLOCK LAB BAND. At least I would have. Congrats on the nomination for LAB 2009!!!

Best Contemporary Jazz Instrumental Album
• Urbanus - Stefon Harris & Blackout
• Sounding Point - Julian Lage
• At World's Edge - Philippe Saisse
• Big Neighborhood - Mike Stern
• 75 - Joe Zawinul & The Zawinul Syndicate

Best Jazz Vocal Album
• No Regrets - Randy Crawford (& Joe Sample)
• Dedicated To You: Kurt Elling Sings The Music Of Coltrane And Hartman - Kurt Elling

• So In Love - Roberta Gambarini
• Tide - Luciana Souza
• Desire - Tierney Sutton (Band)

Best Jazz Instrumental Solo Performance
• "Dancin' 4 Chicken" - Terence Blanchard soloist

• "All Of You" - Gerald Clayton soloist
• "Ms. Garvey, Ms. Garvey" - Roy Hargrove soloist
• "On Green Dolphin Street" - Martial Solal soloist
• "Villa Palmeras" - Miguel Zenón soloist

Best Jazz Instrumental Album
• Quartet Live - Gary Burton, Pat Metheny,Steve Swallow & Antonio Sanchez
• Brother To Brother - The Clayton Brothers
• Five Peace Band — Live - Chick Corea & John McLaughlin Five Peace Band
• Rememberance - John Patitucci Trio
• The Bright Mississippi - Allen Toussaint

Best Large Jazz Ensemble Album
• Legendary - Bob Florence Limited Edition
• Eternal Interlude - John Hollenbeck Large Ensemble
• Fun Time - Sammy Nestico And The SWR Big Band
• Book One - New Orleans Jazz Orchestra
• Lab 2009 - University of North Texas One O'Clock Lab Band

Best Latin Jazz Album
• Things I Wanted To Do - Chembo Corniel
• Áurea - Geoffrey Keezer
• Brazilliance X 4 - Claudio Roditi
• Juntos Para Siempre - Bebo Valdés And Chucho Valdés
• Esta Plena - Miguel Zenón

*Winners in bold

DAY ONE - Meilana Gillard

2009-10-15T23:32:00.004-05:00

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

2009-10-06T00:23:00.006-05:00

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

2009-09-05T22:36:00.022-05:00

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 acclaim 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 than 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

2009-08-15T07:42:00.003-05:00

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

2009-06-26T08:43:00.007-05:00

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

2009-05-28T12:43:00.005-05:00

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

2009-05-21T14:04:00.009-05:00

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.

Nicolay got the Jazz

2009-05-15T17:36:00.010-05:00

Dutch-born NICOLAY first hit my radar when I started listening to his random music postings on okayplayer.com. There were times when I listened to those joints thinking to myself, I wish I had his ability. His largest claim to fame to date, as far as I know, is his unique collaboration with PHONTE of the Hip Hop group LITTLE BROTHER. They formed a group, THE FOREIGN EXCHANGE, bi-continentally having never met each other in person – Nicolay was in the Netherlands, Phonte in North Carolina. They recorded and released an incredible record titled, CONNECTED in 2004.

Nicolay’s hip hop tracks are birthed from the traditions of A TRIBE CALLED QUEST’S classic record, PEOPLES INSTINCTIVE TRAVELS. He uses hard bass line grooves, funky drums and the lush-est of melodies and “he Got the Jazz”. It’s no wonder Bob James’ people tapped him to do a tribute record.

BOB JAMES has been sampled quite a bit by the Hip Hop community. Everyone from PUBLIC ENEMY to ERIC B and RAKIM to THE ROOTS to Run DMC have sampled from James. His music has been revered by the hip hop elite.

NICOLAY did a funky remix of NAUTILUS from James' debut album titled ONE (Tappan Zee). Nicolay didn’t deviate much from the original recording. He just dusted it a bit with his own magic and loved it for what it is – a classic.

Check for Nicolay - Click the link NAUTILUS for free download. I guess the Dutch have soul too!

Thanx to Aimee @ Nicolay Music

RIP Wayman Tisdale 6/9/64 - 5/15/09

2009-05-15T12:13:00.010-05:00

Basketball Player, Bass Man, Man of God, Wayman Tisdale dies at the age of 44 after a battle with cancer. In August 2008, Tisdale had part of his right leg amputated because of bone cancer.

The self taught bassist began his professional music career while playing for the Phoenix Suns. His debut album in 1995 was titled, POWER FORWARD. Since his retirement in 1997, he's hit Number 1 on Billboard's Contemporary Jazz charts several times. In 2002, he was awarded the Legacy Tribute Award by the Oklahoma Jazz Hall of Fame.

CIRCUMSTANCE is my favorite song by Tisdale. It always made my dinner music and cool out playlists.

I pray God's blessings, comfort and peace to Waymon's family.

Thanks for nice dunks and funky play.

Discography:
Power Forward (1995)
In The Zone (1996)
Decisions (1998)
Face to Face (2001)
Presents 21 Days (2003)
Hang Time (2004)
Way Up! (2006)
Rebound (2008)

McBride is Live

2009-05-11T21:48:00.010-05:00

I know of few things that can produce the feeling you get when you hear a solo for the first time that completely captivates you. The artist pulls away from the microphone and you realize all in that moment, that you just heard something incredible that will almost never be reproduced the same, unless someone had the forethought to record it. But even then, if you heard it live, the recording does it no justice. But if you hear the recording first and you feel that way, you know you’ve heard something special.

That’s exactly how I felt when I heard the opening piece of CHRISTIAN MCBRIDE‘S LIVE AT TONIC. The opening piece is titled TECHNICOLOR NIGHTMARE. Its violent from beginning to end. I can’t ever recall listening to a Jazz piece that was so loud and percussive from every instrument on the stage - and then finding out it was just four musicians. But never does it become obnoxious and too loud.

The beginning of the song finds McBride bowing a solo on what I believe to be an upright bass with electric pickups. Though I can’t see him playing, I imagine that he is throwing his entire being into the instrument.

McBride is joined on this date by keyboardist, GEOFFREY KEEZER, reedman RON BLAKE and drummer TERREON GULLEY. The core is just four. Wow! Blake is becoming more a force to be reckoned with. This album is 2 years old, so imagine what I must be thinking of him now. This set also features appearances by CHARLIE HUNTER on Guitar, JASON MORAN, JENNY SCHEINMAN, DJ LOGIC, and SOULLIVE’S ERIC KRASNO AND RAHSAAN PETERSON. This on any night would make for an all star jam session. Thankfully - it was recorded!

You won’t meet anybody who purports to know enough about jazz to write about it to say they don’t like MILES DAVIS’ foray into Rock and Fusion. However you may find one or two so called purists who would dare suggest that Davis’ fusion period may have been lacking. I’m not one of those writers. I loved BITCHES BREW and I love McBride’s take on it. Keezer’s integrity to the melody gave Blake plenty of room to play.

This 3 disc set was released in 2006, and it was buried amongst many of the recordings I had acquired in those years - I forgot I had it. Now I hate I didn’t listen to it then. But I’m glad I found it. It is truly a gem.

Even if you had never heard his music, McBride’s resume is unreal and I wouldn’t be afraid to say unparalleled by any of his contemporaries. He’s played with WYNTON, STING, GEORGE DUKE, ROY HARGROVE, PAT METHANY, BILLY HICKS, ?UESTLOVE of the hip hop super group THE ROOTS, and BOBBY WATSON. Playing with as many different musicians as possible has made him even more brilliant.

Musically, everything is here - “From bebop to hip hop to funk to fusion”. I’m not that clever I quoted that lyric from SY SMITH. Sonically, its loud where it needs to be and soft where it needs to be.

More than unearthing this from my collection, I wish I had been there to hear it!

Blade on the Beat

2009-05-06T14:06:00.008-05:00

The word fellowship invokes a certain spiritual sensibility in me. In fact, I can’t say it, think it or spell it without singing the tune, “What a fellowship, what a joy divine, leaning on the everlasting arm…”. I got the same feeling the first time I heard BRIAN BLADE AND THE FELLOWSHIP BAND.

My introduction to the THE FELLOWSHIP BAND was during an NPR/WGBO broadcast of a set at the Village Vanguard in New York. Somewhere around the first 6 bars of a tune called, “Rubylou’s Lullaby”, I was reintroduced to that slow, spiritual place in my mind that speaks to my ears and reminds me that I’m hearing soul music. This set was a remembrance of the warm feeling that music can bring. Sometimes in jazz, other than on ballads, we forget how pretty saxophones are supposed to sound. You’re reminded in this set.

This set opens with the first four tunes from their third recording SEASON OF CHANGES (Verve), their first for Verve. This is the first recording from the group for eight years. The first two recordings were on the Blue Note Label. It appears as tight as they sound on stage together, they are kindred musical spirits.

I listened to the recorded versions of these songs after I heard the concert, and I loved the songs just as much. I like this band because it is attempting to carve out a place in a new jazz idiom. The music swings and allows itself to find its place not within the context of interpretations of the Golden era but attempts to establish a new place.

Blade has spent the last eight years touring with WAYNE SHORTER and as a studio musician for the likes of BOB DYLAN, JONI MITCHELL, SEAL and PAT METHANY. In listening to these avant-garde arrangements it is apparent that his musical sensibilities have certainly been piqued by a range of performers and performances. Also during this hiatus from the band, he began recording and released a folksy jazz vocal document titled MAMA ROSA. I can’t wait to hear this recording. As a matter of fact, I’m going to be watching this artist quite closely for years to come.

Click the title to hear the concert on NPR

Sean Jones is searching...

2009-04-28T14:02:00.007-05:00

So my bias toward the trumpet playing of Roy Hargrove is documented. I have unapologetically been biased toward his music for the last 20 years. On an earlier blog, I didn’t hold back proclaiming my affection for his last offering “Earfood”. But I grew up playing with him and his sound is stuck in my head. It’s like being able to distinguish a sibling’s voice in a crowd because you’ve heard it for years.

But I have been a quest to find artists that I’m not familiar with and find new voices to enjoy. I haven’t done a good job because some of my favorites have released incredible records. Most notably this year was B. Marsalis’ latest, Metamorphosen.
Enter Sean Jones. His new record is titled, THE SEARCH WITHIN. The title alone strikes me because it is a true jazzman’s eternal quest. Maybe it is a bit narcissistic for any artist to believe that they have something “within” that they haven’t already offered. Or maybe it is a directive for the listener to “search within” while listening. I took it as personal challenge to find another trumpet player that I would give more than a cursory listening. But this is my blog so I don’t necessarily have to be objective.

This record I like! I won’t search for eloquent language about how this recording is far reaching into jazz’s future because it’s just not that record. But THE SEARCH WITHIN is a solid outing by this artist. It reminds me of some very competent cats getting together to teach a master’s class at a college competition and at the end showing the kids how to do “it”. This may be because Sean Jones is a professor of music as well as a recording artist. The old saying goes, “Those who can do and those who can’t teach”. Let me be clear, Jones can and he does and he teaches.

I got a glimpse of his work from a suggested clip, SEAN’S JONES COMES DOWN. From the downbeat, he comes right at you. He’s studied his bebop well and interprets it with veracity. Also, throughout the recording, Jones’ approach to Flugelhorn leads you to the pure beauty of sound. His compositions and arrangements will immediately put you in the mind of a Terrance Blanchard scored movie. Sometimes is improv feels a bit tedious, but it’s never drawn out and inappropriate. But I’m not sure that’s just not my bias.

After this, his fifth studio record, I believe that Sean Jones’ search within will yield great music. This document is proof that he just might be on his way. I encourage you to listen.

Brandford Marsalis - Genius

2009-03-25T23:28:00.005-05:00

I can’t deny it. I love the music of Branford Marsalis. His music moves me to no end. Because I was a saxophone player, I much more familiar with the intracacies of the horn and how difficult it can be to make it sing like Marsalis does. And Marsalis is one of the great ones in the lineage of great tenor players. He was born of the same tribe of the most proficient soloist with Coltrane and Rollins. Even with his avant-garde improvisations, arrangements and compositions he can still swing as hard as any reedman from the golden era.

I don’t own Marsalis’ entire catalog, but I will suggest that I own the best of what he has offered over the years. And this new record, Metamorphosen, will stand up next to anything else he as recorded.

Metamorphosen finds Marsalis in unusual surroundings. Meaning that for the last few years he’s been basically recording in the trio format sans piano. With this recording he’s added the piano back and is no less adventurous and astute in his improvisations as he would be in the more free jazz format. Tapped to join him on this date is Joey Calderazzo on piano, Eric Revis on Bass and longtime collaborator and time keeper, drummer Jeff “Tain” Watts.

As an arranger, Marsalis always has a fresh new take on classic music. One of the stand out pieces is Thelonius Monk’s “Rhythm-a-ning”. I can’t tell you how exciting it is to hear the newness of this music.

Calderazzo’s piano is soothing and exciting. Revis’ bass playing is steady and Tain’s drumming and symbol work is as perfect and as interesting as it ever was. The playing on this record just seems to be personal. And to hear Brandford’s soprano, which to me is the hardest saxophone to play well, is just beautiful. All the tunes just turn into playful dialogue between the players.

From Marsalis’ work with Sting to his classical foray, Romances for Saxophone, he always puts in a better than average perfomance. I believe Metomorphosen will go down as one of the best records of this gifted reedman’s career.

Tempo, Tempo

2009-03-24T23:46:00.010-05:00

I stood to play my solo and Mr. Hill stopped the band. He said, “Michael, can you please play the tempo we are playing instead of the one you sleep with?” I was actually playing the solo at about a half a beat slower than the band was playing the song. This little anecdote is to illustrate that I was late then, I’m late now.

So again, I haven’t been focused on keeping my blog up to date. And again, I promise to do better. The last time I had something good to write about was almost exactly a month ago and I didn’t do it. However, blog fans, I have written a couple of new critiques and I will add them soon.

Last month, the South Dallas Cultural Center restarted the 3rd Friday night monthly jam sessions. Jammin at the Center is mainstay at the cultural center and most times a lot of fun. Now, the Jam Sessions are headed by one of my most favorite sax players, Shelly Carrol. Anytime I get to hear him play, I go. And to hear him with a two drink minimum would be a treat for you too. The jam sessions start at midnight and go until three in the morning every 3rd Friday nite. And anybody wants to play gets to play. Just bring your books and your ideas and work it out with the best jazz musicians in the city.

February began the new jam sessions for the year. Shelley was on point per usual. The kickoff for the year was to pay tribute to one of Texas’ most favorite sons, Texas Tenor David “Fathead” Newman. The SDCC pulled a coup by having Newman’s son, Dino Newman to sing and play (trap) at the jam session. Dad and Dino. I’ll spare all the details since it is basically ancient history. Enjoy the pics. I’ll be back in a couple of days.

Vicki Meek is the Director of SDCC and founder of Jammin at the Center.

Better than Anything - Nnenna Freelon

2009-02-16T10:19:00.004-06:00

Without a doubt, Tears of a Clown, as performed by Smokey Robinson and the Miracles is one of my most favorite songs ever! Its one of those timeless songs that makes me feel like I was born in the wrong space, place and time. Like, I should have been the one at the “Sock Hop” spinning the record or doing the monkey. And if you have any love, admiration or respect for Motown Records, that piano riff will always spark those emotions – bling, bling, bling, baba blingblingblingblingbling… So to hear that riff coupled with the ballad type arrangement and Nnenna Freelon’s vocal integrity makes me love that song in a new way. Unfortunately I can’t say that I feel the same way about her renditions of I Say a Little Prayer or Body and Soul. Whereas the vocals are still incredible, not all popular songs are built to be “jazzed” out. And the arrangements for these two songs left some to be desired.

Better than Anything is a compilation recording which features the best tunes from 5 of 6 discs Nnenna has recorded for Concord Records.

The title cut Better than Anything, is a driving Latin groove that never looses its movement. The thing that I love about Nnenna is that she as much and more than a lot of female vocalist never gets overtaken by the music. With or without instruments, Nnenna finds ease in taken her place as the lead in songs. She takes flight while singing over the complex yet identifiable harmonies of the mega jazz/gospel group, TAKE 6. Straighten Up & Fly Right, done acapella brings you right to a street corner in Harlem in the 40s. It’s a street corner vocal dance that would surely capture the passer-by’s attention.

The thing that is great about this record is the individuality and creativity in song choice and performance. Nnenna stretches her unlimited potential as musicians should. Most especially jazz musicians! Better than Anything is as good as anything I’ve heard so far this year. But I’ve always dug Nnenna; this just makes me want to hear more.

2009 Grammy Winners - Jazz

2009-02-09T08:36:00.004-06:00

Here is the list of 2009 Grammy winners in all the Jazz categories. I’m always more than excited to see my favorite female vocalist, Cassandra Wilson win. “Loverly” is by far, a great record!
I can’t say, unfortunately, that any of the other records hit my radar last year. But I’ll be seeking them out.

Contemporary Jazz Album: Randy in Brasil - Randy Brecker
Jazz Vocal Album: Loverly - Cassandra Wilson
Jazz Instrumental Solo: BE-BOP - Terence Blanchard,
Jazz Instrumental Album Individual or Group: The New Crystal Silence - Chick Corea and Gary Burton
Large Jazz Ensemble Album: Monday Night Live at the Village Vanguard - The Vanguard Jazz Orchestra
Latin Jazz Album: Song for Chico - Arturo O'Farrill and The Afro-Latin Jazz Orchestra

Jazz Pianist Allen Toussaint received 2009 Lifetime Achievement Honor. Toussaint composed hits including “Southern Nights,” “All These Things,” “Java,” “Whipped Cream,” “Mother-In-Law,” and “Working in a Coal Mine”. His collaborators are a diverse cross-section of music’s finest, including Elvis Costello, Paul Simon, the Band, Boz Scaggs, Patti LaBelle, and Bonnie Raitt. Mr. Toussaint joined the Rock and Roll Hall of Fame in 1998.

Also, Hank Jones, the 90-year-old jazz pianist and composer who was awarded Congress' National Medal of Arts earlier this year.

Hank Crawford Dies at age 74 on 2/2/09

2009-02-06T12:31:00.004-06:00

I cannot say I am very familiar with Crawford's work as a band-leader but I know through my routine readings of various liner notes that he was Ray Charles' big band leader for quite awhile.

The reason his death caught my attention is because when I was in my first Jazz/Stage band at OW Holmes Middle School - shout out Tiger Band - we played a song called Hank's Blues. Named for Crawford, it was the song that introduced me to that type of band format. And, it was the first song I ever tried to improvise too...

Talk about nostalgia...

Rest in Peace...you left your melody in the wind for us.

Jazz for President Obama: Enoch's (Inaugural) Meditation

2009-02-02T11:17:00.002-06:00

I was in DC when I ran across this and didn't have the change to post.

Robert Glasper's tribut to our new President...yes and if you didn't vote for him, he's your President too...

http://www.npr.org/templates/story/story.php?storyId=99565794&sc=nl&cc=sod-20090120

Scribal's on a Quest

2009-01-06T09:23:00.002-06:00

Today is Tuesday, January 06, 2009.

Today I begin my quest to find MY favorite Jazz Recording of the year.

I’m beginning today, of course, because Tuesday is new release day and this is the first Tuesday of 2009.

No, I’m searching for a classic. No, I’m not suggesting I will hear all the jazz music that is released this year. And no, I’m not suggesting that my choice or list will be the “be all that ends all”.

I realize that I have spent the last few years involved in revisionist history of the jazz. Spending most of my time collecting and recollecting the recordings of the giants of the genre – Miles, Mingus and Monk and so on;

So this year I’m on a quest - more of the young lions and older cubs.

Frederick Dewayne Hubbard – April 7, 1938 – December 29, 2008

2009-01-02T11:27:00.005-06:00

Because of the holidays, I found myself a bit busy and not having enough time to write. On December 29, 2008 we lost a legendary Jazz Trumpeter, Freddie Hubbard. He was seventy years old. And the Innovation Era of jazz has a lost another one of its stewards.

Though Hubbard’s music didn’t catch my ear as much as some others, I always respected his virtuosity. It’s impossible not to. I mean, who hasn’t listened to Red Clay until the needle wore down or the tape popped? I will admit that my interest piqued in this tune but the album included one of two of my favorite tenor players, Joe Henderson.

Of all the offspring that Jazz has spawn, the Hard Bop/Free Form movement is one that is the most difficult for most enthusiasts to grasp. I consider myself more a patron who’s enthusiastic about jazz than a true enthusiast, so over the years I have cherry picked music I liked from the era. And Freddie Hubbard tended to be involved in a couple of those tunes that I liked. As I sit here listening to Branford Marsalis’ The Beautyful Ones Are Not Yet Born, I’m reminded of Hubbard’s trumpet playing idealism where he would play long phrases like saxophone players. He changed the way trumpet players approached improvisation.

Rest In Peace Freddie Hubbard…Your contribution makes Jazz what it is!!!

Earfood

2008-12-17T01:24:00.008-06:00

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

2008-12-10T21:43:00.003-06:00

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.

The Electrifying…

2008-03-26T15:34:00.007-05:00

I don’t remember my parents being huge jazz fans growing up. I didn’t live with my father and the only thing I remember about my mother, is her casual love of music – I mean if it was on and she liked it, she would groove a bit.

When I was 6, my grandfather taught me to play Amazing Grace on the harmonica. I then saw a movie with a cat playing a saxophone, and to me, they sounded alike, the harmonica and the sax - and I knew I couldn’t play the harmonica in the school band. Thus began my love of the E flat Alto Saxophone.

There was a closet at home that was kind of a junk closet that no one went into unless some bit of nostalgia was being sought out or some more junk needed to be hidden. I noticed once that there were several boxes of record albums, and thus began the “diggin in the crates” era of my life. Around age 6 or 7, I got my first component set. It was a record player and 2 speakers. I had the equipment but not enough records to play. Around age 10, I started remembering that closet and those boxes so I began to hunt.

What a wealth of music! There was everything from the Temps, Blood, Sweat and Tears, Miles Davis, Carlos Santana, Earth, Wind and Fire, James Brown and a Saxophone player - a man intently blowing his horn on the cover that just captured my attention. “The Electrifying Eddie Harris”; I couldn’t wait to play it. I looked at the album cover all night. I read the notes, I studied the play list.

Saturday morning arrived and even before my cereal and Saturday morning cartoons, I played the first cut from this record. It was titled “Theme in Search of a Movie”. Of course being 10, the title was just weird, but the song was infatuating. I pulled out my horn and attempted to follow the melody. It was simple enough, but at that age, improvisation was a foreign concept. I learned the melody and was eager to go on to the next song. This tune, “Listen Here” was quite intimidating. It was as funky as any record I had ever heard and just beginning to play saxophone, the melody was much harder to catch and more notes in a measure than I had played before. Basically, I never learned to play it - at least not at that age.

The other thing that was incredibly interesting about Harris was he used a newly developed instrument – the Varitone saxophone. The Varitone was an electric saxophone that was developed by H&A Selmer, Inc. (see my favorite things) in 1965. Sonny Stitt (What's New? Sonny Stitt Plays the Varitone Roulette 1966) and Eddie Harris were the main practitioners of the instrument, and both of them continued to make it a staple in their recordings and live shows. The Varitone was essentially a saxophone with a built-in effects box and amplifier that could emulate the sounds of other instruments while playing along with the natural sound of the saxophone. This created a doubling effect that increased the complexity and richness of the sound. I always believed that‘s why he titled the record “The Electrifying...”

Though I’ve not heard and or scrutinized any of Harris’ music beyond this record, I always hold this one up as one of the favorite jazz albums I own – yes mama and pop, finders keepers. Beyond the use of the Varitone, Harris’ tenor sound is among the most full, most brilliant of any tenor sax I’ve ever heard. Though he has recorded quite a bit, as I discovered by perusing his site, viewing the discography and listening to the snips, I don’t imagine he received the kind of shine he deserves for his style, sound and innovation.

His debut recording, Exodus to Jazz included his own jazz arrangement of the theme from the movie Exodus. A shortened version of this track, which featured his masterful playing in the upper register of the tenor saxophone, was heavily played on radio and became the first jazz record ever to be certified gold.
However, many jazz critics regarded commercial success as a sign that a jazz artist had sold out, and Harris soon stopped playing "Exodus" in concert. He moved to Columbia Records in 1964 and to Atlantic Records in 1965. At Atlantic in 1965 he released The In Sound, a bop album which won back many of his fans and critics alike.
In 1967 his album The Electrifying Eddie Harris reached second place on the R & B charts. And since my folx weren’t huge Jazz fans I imagine because the record hit the R & B charts is the reason they acquired it.

I love Eddie’s music, or at least this record. Now I’m interested in hearing lots more!

**Note to self: Add Eddie Harris to the list of artists worth “diggin in the crates” for??

Live at Smalls

2008-03-18T11:56:00.003-05:00

Still in the midst of the “all things old are new again” scrutiny phase of my record collection, I found a compilation disc on the Impulse imprint called “Jazz Underground – Live at Smalls”. I remember when I picked this disc up. I was at a used CD shop searching for new jazz music other than standards or interpretations of standards. Actually, Downbeat.com prompted me to seek this out record. I knew I had it, but hadn’t listened to it in quite awhile.
Smalls is a jazz club in downtown New York. Downbeat.com defines it like this, “Smalls has made its reputation as a spot with a more mainstream jazz orientation. Opening in 1994, Smalls became the Mecca for combos and big bands with a revolving cast of players, as well as a place for all-night jamming-the sort of jazz training ground largely missing from the scene since the '50s. It also has become a hangout for record producers seeking new artists, as well as a place for live recordings.”

My imagination runs wild with what I think Smalls performers and patronage would look like or what a night would be. I imagine young cats in bohemian type garb, carrying instruments and sheet music and playing with nerd like intensity. The front part of the audience being intense patrons of the music and the back, intense patrons of the scene – you know the yuppie set. And by midnite, the music would weed out the pretenders.
Jazz is intensely complicated music. I won’t ever pretend to have the “breadth of knowledge”, jazz education in school notwithstanding, to be a serious scholar of the music. I know what I like, what I don’t like, what’s easily understood and what would be considered highly complicated. But not knowing doesn’t stop me from wanting to know. And knowing what Smalls has become to the serious scholars and virtuosos, it, of course, piqued my interest.
If I listen to a CD when I’m home, I generally read the liner notes as I am listening. I can tell which is better, the notes or the music, by how much I retain from the reading. While I can walk and chew gum at the same time, retaining notes and listening to awesome jazz is more a challenge. The liner notes for this recording were a little difficult to read – meaning I think the music is phenomenal.
I have a huge interest in experimental jazz or experimental music in general. However it is always difficult for me to listen to and understand most of the music from the Free Jazz period artists such as Ornette Coleman. Okay, so if you’ve read other parts of my blog, you notice that I mention saxophone players first and mostly…well I’m partial. I think I don’t have enough imagination to hear the music without the accompanying pianist or guitarist. I have, at times, found much joy from listening to Branford Marsalis in Trio form with a bass and a drummer. His improvisations sans piano or guitar tend to be more palatable for me…and much easier to follow. I mention this because I thought this record would follow some of the same experimental lines. It does not. It falls quite short.
The first track on this document is a slow ballad titled “Kentucky Girl” by the Omer Avital Group. It features Avital on bass, an alto saxophone, 3 tenor saxophones and drums. If this group’s line-up can’t be seen as a definition of experimental, want else can?
The song title gives you an inkling of what this song may sound like. I immediately thought of Ray Charles’ Country & Western meets the big sax sounds traditionally associated with the Texas Tenors. Avital opens the track strumming his bass and if it were a banjo, and continues with a “banjo as bass” feel through out the tune. It is an interesting mix of Jazz and Country & Western music. I don’t know how much more this should be explored, but I did enjoy it.
The next tune by the Charles Owens Quartet is a standard swing piece that tends to be interesting only in places.
One of the most intriguing parts of this recording is the throwback to the Big Band era and these young cats that have the bravado to “take it there”. “Hexophony” is a tune penned by Jason Lindner and his Big Band made up of the usual suspects of the Smalls Family. This tune sounds like it came straight from the movie, ”The Mambo Kings” and landed right onto the set of the “I Love Lucy” TV show. Lindner also checks in with another big band piece, “Phat”, which, sonically, has the right title.
Loving this record would be saying too much for me. I found it to be at least interesting but nothing extraordinary. I assumed that it would be a record that would take chances and swing harder. After the first tune, it just kinda falls flat. It has heart but no beat. Being that I have never been to Smalls, I can’t speak to the type of musicianship or innovation that goes on there, but hearing this record kinda sounds like being at a high school jazz band competition. I imagine that the record company or at least I hope this was the case, only allowed a safe recording in the hopes of getting some sales. Several of the musicians featured here have release their own records for Impulse and other labels. If innovation is the backbone of smalls, I hope that their records reflect that kind of commitment.

Sights & Sounds

2008-03-11T15:00:00.005-05:00

When I was a kid, my cousin Robert, a music-head also, and probably where I got some of my love and all of my education for funk - the wall behind his stereo was filled with album covers. He was not the only cousin that had album cover covered walls, but his I remember and those had the most effect. Apparently it was a throwback to seventies pop-culture and design, I guess. There were all the Parliament/Funkadelic Record Covers, Tom Browne, George Duke, etc.

One of the first times a traditional old school jazz album cover caught my attention, is part of the reason I started listening to the music. Today, I don’t really remember what record it was but what I do remember is how much the cover-art struck me. And the more interesting the cover of artists I didn’t know, the more interested I was in wanting to hear their music.

In my first apartment, I was searching for decorating ideas. I hated the way it looked because it was so plain. I wanted artwork, but didn’t have the kind of ends it would take to purchase what I liked because, tuition, well you know…

One nite, I was listening to Wynton Marsalis’ “Soul Gestures in Southern Blue – ‘Thick in the South’” I believe, and I was looking at the album cover which contains a collage by Romare Bearden. Now, I mentioned my tuition woes earlier, so framed prints by Bearden where certainly out of the question – I mean if I wanted to eat. Somewhere between classic solos by Marsalis, I had a bright idea.

I took the covers of all 3 volumes and had them copied and enlarged at a printer. Then I went and purchased 3 frames and hung the covers, matted and framed on the wall above my sofa. Turned out GREAT!!

At that point, I really got a new appreciation for jazz album covers as art. So while hanging out online today, I decided to add some new artwork to the blog. Once every couple of weeks I’ll add a favorite cover to my page.

Enjoy!

Bass Man Walk Downtown

2008-02-27T15:50:00.000-06:00

Lately, I have had zero to no interest in finding new music. I know there are many new artists I have run across on the wonderful World Wide Web, but I’m not interested. I recently went thru a period of buying/acquiring, re-acquiring fists full of recordings, completing catalogs of my favorite artists – you know, just to have. I would listen to them once or twice and then shelve them. So, now, I have all these un-scrutinized recordings. The other day while sitting around in the midst of the collection, I found myself digging around in and wanting to listen too some of the past acquisitions.
Enter Lonnie Plaxico.

I first became aware of bassist Plaxico some years back thru his work with Cassandra Wilson, who happens to be my favorite singer – and one of whose catalog I was completing. It was Wilson’s ‘Blue Light ‘til Dawn’ recording that really captured my attention. There was something very haunting about the way his bass sounded on the opening cut – ‘You Don’t Know What Love Is’. It was this beautiful tone that seemed to strike at you every time he strummed a note. His strumming matched the mood of the song perfectly. Some years later, I ran across his MySpace page, which hipped me to his work as a composer/bandleader.

On his MySpace page, he was hawking the title tune called ‘Melange’ from, what I understand, his fifth document as a bandleader, ‘Melange’. What caught me from the beginning was the metering and phrasing of the keyboards and horn players. I began to think of the music as being part of the “avant-garde” period of jazz. The rhythms, patterns and the time signatures change throughout most of the songs. And I absolutely love the way the music continues to move. A four and a half minute piece will play like a ten minute fugue. The music is frantic but it never losses its direction, focus or sound. The music is challenging in the sense that if forces you to pay attention to the constant movement, however it stays very fluid.

The ballad ‘Darkness’ reminded me of what a good composer would write following the blueprint set by Miles’ Modal Jazz period, down to the muted lead trumpet. I guess it’s both accolades to Plaxico that he has the virtuosity to stand up to a Miles joint and Miles too, because imitation is flattery.

Track 4, ‘Short Take’ – The B Section grooves feel good, but some of the trumpet improv work leaves something to be desired. However the saxophone solos in these sections fit in nicely. Very cool!

The tribute to Miles plays like the rest of the album, a very solid blending of bebop and fusion.

Plaxico’s playing is flawless. As the original Liner notes states, “as a bassist, he switches from acoustic to electric bass as needed, without sacrificing either tone or speed.” And also, unlike a Stanley Clarke record, although Lonnie is a bass man, he doesn’t spend much if anytime featuring his bass work. In ‘Paella’, he does show his deftness in a soli section with his tenor man, by playing the opening run with him.

In short, this is a very cool document. All the be-bop to avant-garde to modal to fusion enthusiasts alike will enjoy the variety and virtuosity of this recording.

It is highly recommended and I’m certainly glad that I unearthed this from my collection.

HeadHunters

2008-02-15T12:09:00.001-06:00

While digging in my crates, I ran across a recording from a wicked clan from my college days, the Digable Planets. Their debut record, Reachin – A New Refutation of Time & Space, brought back many memories of a time of emerging Black pride in Hip Hop, restless experimentation and interpolation of jazz infused with Hip Hop Beats by groups like A Tribe Called Quest and De La Soul . These groups and their sonic experimentation gave music heads who love Jazz and Hip Hop another kind of Fusion to love.

Two of the bes joints on "Reachin" contain samples from Herbie Hancock's - "HeadHunters" document.

As I remember over the years while reading different reviews about ‘Headhunters’ and Herbie Hancock, I believe it is one of, if not the best selling Jazz album of all time. This wouldn’t shock me at all.

My first experience with ‘Headhunters’ was the song ‘The Chameleon’. My middle school jazz band teacher introduced us to the song as a contest piece. It was the Maynard Ferguson big band version. Fortunately, my teacher was from the old, creative school and didn’t believe in playing pieces as written. There was always added flavoring that highlighted the strengths in the band. He also used the song to teach about the art of the groove. There is no bass line like the one from ‘The Chameleon’! It’s infectious and funky!

The long form musical composition is a lost art form in music - even Jazz. I blame TV and the “instant generation”. Seems the attention spans have gotten short over the years…and continue to get shorter. I bring up this point because the opening piece of this document clocks in at 15:41 seconds. The beauty of the length is it never gets boring and as the grooves change, you feel there is no end to the song. In fact, the song doesn’t end traditionally; it just fades away and sounds as if there was more going on.

Hancock and Reed man Bennie Maupin went to great lengths at texturing this document - matching the sounds of the synths with the horns. The texture and layering of Herbie’s ‘Headhunters’ is to Fusion Jazz what Miles’ ‘Kind of Blue’ has been to Modal Jazz – the standard. There’s not one Jazz Fusion document released afterwards that didn’t use the recording as a blueprint.

The reason the record came to remembrance from listening to "Reachin", was its sampling of ‘Watermelon Man’, which to me, is an ode to lazy day on the beach on some West Indian island. The groove that is this record seems to warm me up like a hot sunny day laying in the shade sipping mad amounts of rum punch - every sip in rhythm.

Percussionist Bill Summers used every trick in his bag to insure a tropical feeling came over the record. For examples of ‘Headhunters’ being the blueprint to Fusion, check for Bill Summers’ ‘Call It What You Want’, record featuring an oft sampled tune, including by the Digable Planets, ‘Summer Fun’.

Herbie himself remarked that, “after ‘Headhunters’ and ‘Thrust’, the Quintet kind of lost their fire”. Subsequent recordings, never reached the level of the first two. I guess that is the peril of creating a classic standard as the debut. I guess this might be another “similarity”, loosely speaking, to his mentor Miles.

For me, musically and sonically, ‘Headhunters’ is one of my most favorite records. When I listen to the tunes, I’m always amazed at how the pure groove keeps me interested and never takes a background. From the bass line on the Chameleon to Vein Meters’ slow infectiousness, there’s not a time when I don’t stop to enjoy this sound.

Jazz

2008-02-12T09:15:00.000-06:00

Jazz is different things to different people. It has birthed many styles within the genre and from those styles all other forms of Western music have developed. For me, when Jazz is played at its highest levels, it invokes certain spiritual sensabilities. Jazz is a dialogue; Jazz is stylish; Jazz is intellectual; Jazz is ghetto; Jazz is inspiration; Jazz is walking in the rain with someone you love; Jazz is every shade of blue; Jazz is a storyteller; Jazz is a healer...

I am a purist of sorts. My listening tastes tend to lean toward the likes of Miles, Monk and Mingus - not necessarily in this order, I just dig the alliterative, rhymthic value of the names together - I'm always swingin! But my first jazz musical hero was David Sanborn. When jazz, true to its nature, was searching for new directions, he along with Ronnie Laws and the great Grover Washington, Jr. with his infamous ‘Mr. Magic’ captured my attention and my love for the music and its history. Even Miles stepped into the contemporary arena. If you’ve never heard ‘Tutu’ or ‘Amandla’ then you need to hit the record store immediately.

While I choose to listen mostly to swing, I’m not beyond listening to and enjoying some contemporar-ians with what I call traditionalist vibes. My love for Sanborn et al. encouraged me to search for their predecesors. There, I discovered a new love for Herbie Hancock and Chick Corea fresh out of their stints with Miles and discovering what synthisizers could do for Jazz sonically.

Here is where I'll write about the music I love. Dialogue with the people who too love the music. And share...That is what Jazz was meant to do.