Title: Piano & A Microphone 1983
Label: NPG/Rhino/Warner Bros.
Release Date: September 21, 2018
Formats: CD, LP, Digital
In what is among the first of presumably many collections of previously unreleased material discovered in Prince’s vault after his death, Piano & a Microphone 1983 contains 34 minutes of demos and rehearsals he recorded in the early 1980s. Following on the heels of April’s release of Prince’s stirring original recording of “Nothing Compares 2 U” and the digital-only Anthology: 1995-2010 of previously released material released in August, Piano & a Microphone 1983 is a set of what sounds like single-take live demos, complete with mixing chatter, improvisations, and vocalized arrangement details. While it is certainly not a set of polished recordings, this compilation is a snapshot of one of the 20th century’s greatest artists in the midst of the creative process. Continue reading →
Ghost-Note is a project led by two Snarky Puppy members, Robert “Sput” Searight and Nate Werth, who perform with a rotating cast of top session players. Their newest album, Swagism, is the group’s sprawling and definitive artistic statement, one that is funky, jazzy, and experimental all at once. The record combines grooves that hit hard on the one, progressive jazz gestures, and spoken voicemail interludes that advance the double album’s conceptual and musical narrative.Continue reading →
While technically his third release as a leader, Kamasi Washington’s newest record, Heaven and Earth, is the second in an extra-long play format. The double album, like 2015’s The Epic, stretches well over 2 ½ hours across two CDs (the LP version is 4 discs with an additional hidden inside the centerfold, giving listeners a compelling version to purchase this one on vinyl). While Washington certainly has much to say, this album doesn’t feel long-winded. His excellent band keeps things interesting for the entire 2 hours and 24 minutes of Heaven and Earth’s sonic exploration.
Washington is a marvelous player, but his talents of composition and orchestration are what lie at the heart of this album—the music is orchestral, improvisational, and undeniably hip all at once. It’s no wonder that he and the crew of musicians he regularly works with, including his crack rhythm section of the Bruner brothers (bassist Stephen AKA “Thundercat” and drummer Ronald Jr.), are first-call musicians for sessions and production work.
It is possible to say that Washington has grown as a composer while also acknowledging that his previous full-length was released by a fully-formed artist. While The Epic spanned much musical territory, Heaven and Earth demonstrates skillful use of musical contrast within tracks as well as on a tune-to-tune basis. Washington’s music works on many levels—for instance, the album’s foreshadowing opener, “Fists of Fury,” is about righteous indignation. The track’s vintage orchestral sound would easily be at home in the title sequence of a neo-western or kung fu movie, but also features a blazing doubletime piano solo incorporating very hip jazz harmonic and rhythmic vocabulary.
“The Invincible Youth” begins with a roiling Ornette Coleman-esque introduction and then evolves into a synth-jazz odyssey, while “Testify” is a poetic slow jam that would not be out of place on a ‘70s Stevie Wonder album. “Street Fighter Mas” is a funky tune on which Washington really stretches out on his sax; “Journey,” on the other hand, is a sparsely arranged jazz hymn. “The Space Traveler’s Lullaby” perhaps best captures Washington’s maximalism—it’s a fully fleshed-out orchestral work that stretches to 10 minutes in a swirling collection of textures, colors, and harmonies that might make orchestral and cinematic composers jealous.
Even though Heaven and Earth pushes 3 hours, it’s not dull for a single second. The album’s gargantuan musical scope allows it to earn its title, as Washington takes his listeners through its many twists and turns with an unparalleled sense of taste. Certainly worth the celestial journey, this epic album that features a great deal of greatly complex music. Like a good book, Heaven and Earth can’t be digested in one sitting, but it is good enough to explore again and again.
May saw a semi-surprise release of a new album from George Clinton’s legendary Parliament, the group’s first in 38 years. The expansive, 23-song Medicaid Fraud Dogg clocks in at an hour and forty-six minutes, and every second is imminently listenable.
While the group keeps groove at the center of its music, this ain’t your parents’ Parliament. This iteration of Parliament is not staffed by the regulars that longtime listeners might expect, such as Bootsy Collins and the late Bernie Worrell (though Fred Wesley does make an appearance on trombone on “Type Two”), but by a group of young gun musicians that prominently features Clinton’s grandson, vocalist Tracey “Tra’zae” Lewis-Clinton. This line-up does not hamper the group’s groove, but it does change it.
Medicaid Fraud Dogg contains some classic P-Funk grooves on tracks like on “69” and “Insurance Man,” but much of the album is far more influenced by contemporary hip hop. In fact, it seems like this album reflects Clinton’s listening to artists who previously listened to him. “Backwoods” is a trap-inflected song that listeners would probably be more likely to hear at a club in Atlanta than on an intergalactic voyage. “Loodie Poo Da Pimp” shows Clinton’s influence filtered through Snoop Dogg, then Kendrick Lamar, then back to Clinton. The album’s best moments embrace not having to sound like Parliament but choosing to sound like Parliament. “I’m Gon Make You Sick of Me” is an old-school deep-in-the-groove Parliament track, featuring Scarface (as ‘Dr. Feelgood’) rapping, while “Antisocial Media” is a deconstructive interlude that flirts with free jazz musical textures to express postmodern angst. Both songs feature classic elements of the P-funk playbook filtered through the past 30 years.
Will Medicaid Fraud Dogg satisfy listeners who long to collect every deep cut from Parliament’s 1970s heyday? Probably not—but the album would likely be pretty boring if it were simply a regurgitation of the group’s classics. Rather, it represents a reinvention of George Clinton, an artist who is learning from those he influenced and creating some great new sounds while doing it. This album succeeds precisely because of Parliament’s flexibility and the malleability of the group’s format—Medicaid Fraud Dogg demonstrates that it is possible to teach an old Dogg (in this case, the group of musicians bearing the name Parliament) new tricks.
Veteran Chicago soul band Bumpus returned in a big way this March, with its first release since 2007. The band was a funk tour de force in the 2000s, but faced some personnel changes in the early 2010s that sidelined new recording projects. The group still has performed locally over the past few years, and the band’s new lineup and infectious live energy is effectively captured on its Way Down Deep EP.
Bumpus is perhaps most well-known for its killer, high-energy live show, with one of the region’s funkiest rhythm sections and a horn line to match. However, Way Down Deep showcases the band’s vocalists, James Johnston, Ava Fain and Tina Howell, whose layered, soulful voices drive the 6-song set. The band’s bread and butter is tightly knit guitar-driven funk tunes like the self-assured “Step Sure or Step Aside,” a challenge to “suckas” that is propelled by an active bass groove and soulful Hammond organ. The EP’s highlight is the 2-part “Way Down Deep.” Part 1 is a solid lovin’ song infused with horn hits and funky drumming, but the song’s bridge gradually morphs into the spaced-out P-Funk territory that characterizes Part 2, with phased out vocals and instruments as well as an extended What’s Going On – style saxophone solo over gradually fading backing vocals.
It is a great benefit to Chicago’s music scene that Bumpus is back and bumpin’. Hopefully, Way Down Deep will usher in another decade of solid grooves and soulful songwriting.
Early March brought a strong debut album by Seattle’s Delvon Lamarr Organ Trio, featuring guitarist Jimmy James, drummer David McGraw, and of course Lamarr on B-3. This group performs standard organ trio fare, and has obviously honed its own approach by careful listening to masters of the format.
There are two sides to the organ trio format, one represented by bebop-heavy shredders like Joey Defrancesco and another more gospel-inflected soulful camp, influenced by players like Jimmy McGriff. Lamarr’s group decidedly falls into the latter, a detail that would be noticeable from a passing glance at Close But No Cigar’s tracklist. Tunes include “Little Booker T” and “Memphis,” both reminiscent of the legendary soul organist Booker T Jones’s work for the Stax label, as well as “Al Greenery,” a number that approximates the gospel sound of the titular Rev. Green. Here’s a studio performance of the title track:
Lamarr and company are very good at imitating the grooves of famous musicians, but the group has more than imitative works up its collective sleeves. Each tune on this record is drenched in hot buttered soul, as culinary-themed groovers like “Between the Mayo and the Mustard” and “Raymond Brings the Greens” would suggest. These tracks are riff-based organ jams that feature not only Lamarr’s skillful mastery of the percussive qualities of his instrument, but also skillful manipulation of two chord vamps by James and McGraw and some downright delicious soloing by James (including what sounds like a quote from David Bowie’s “The Man Who Sold The World” on the latter).
Organ trios are all about timbre, combining three instruments with myriad layers of overtones, and this group features great tones all around. It’s impossible to beat the rich sound of Lamarr’s B3 contrasting James’s biting guitar tone over McGraw’s colorful palate on the drum kit. No player appears to aim for virtuosic soloing. Rather, the group simmers its grooves, entering and exiting smoothly—the solos end but the jams go on.
The record concludes with a retro-soul rendition of Dionne Warwick’s “Walk on By” that sounds like it could have been recorded by the legendary Stax studio band itself. All in all, the Delvon Lamarr Organ Trio doesn’t make any radical changes to the organ trio format, but Close But No Cigar is a worthy entry in this always listenable genre.
Last October the world was blessed with the latest project by legendary funk bassist, vocalist, and composer Bootsy Collins. World Wide Funk contains all of the elements Collins is most known for as an artist: funky grooves, excellent playing, and a whimsical sense of humor (evidenced by the assertion on the introductory track that Bootsy was born “a long, long time ago…deep below the Ohio river—before anyone ever heard of Ohio”).
It is difficult to overstate the impact that Collins has had on generations of musicians through his work as a bassist with James Brown and Parliament-Funkadelic, as well as on his own prolific solo recordings. The sheer variety and skill of his collaborators on World Wide Funk hints at the otherwise inestimable breadth of his influence. Nearly every track on the record features a guest artist, from the shredding styles of the KFC chicken container-donning guitarist Buckethead (“Worldwide Funk” and “Illusions”) to golden-era hip hoppers Doug E. Fresh and Big Daddy Kane (“Worldwide Funk” and “Hot Saucer,” respectively) to young gun bassist Alissia Benveniste (“Bass-Rigged System” and “Thera-P”). There are also features by musicians who may be considered “usual suspects” on a collaboration-based album by a musician of Collins’s stature, such as bassists Victor Wooten and Stanley Clarke (“Bass-Rigged-System”) and guitarist Eric Gales and drummer Dennis Chambers (“Come Back Bootsy”).
As one would expect from the Star Child, the M.O. of World Wide Funk is “One Nation Under a Groove”—grooves are now, as they have always been, the meat and potatoes of Collins’s style. Whether offering virtuoso musicians opportunities to stretch out as on “Come Back Bootsy” and “Bass-Rigged System,” or providing a steady groove to rap or party over as on “Pusherman” and “Ladies Nite,” rhythm is the name of the game. Even the more sentimental songs like the ‘90s R&B-Tinged “Heaven Yes” and the Jimi Hendrix-inspired, synth-based “Salute to Bernie”—a tribute to Collins’s late bandmate Bernie Worrell (who is featured on the track)—groove hard. While guest artists occasionally veer into social themes (as on “Pusherman” and “Illusions”), they do so over immensely danceable tracks without the navel-gazing and preaching to the choir that is often the currency of social commentary in pop music. Overall, however, World Wide Funk imagines a reality in which every listener is part of one big party at which some of the sharpest musicians of the day (and in some instances, of all time) are having a jam session.
Generations of bassists have tried to emulate Bootsy Collins’s style, chops, and taste, and this album is essential listening for musicians who want to learn how to really groove. It’s also great party music. It is no accident that Collins’s bass lines are the most sampled in all of hip hop and dance music, and this album certainly provides a new batch of infectious riffs to bump. Bootsy has been the funkiest bassist around since the ‘60s and he still is. Creating lines that range from funky slapping to deep-in-the-pocket grooves, it is doubtless that Bootsy will continue to find new listeners who have an appreciation for rhythm and low end. Bootsy Collins’s classic albums still sound fresh today, and World Wide Funk is destined to join them in the future.
Released just in time for Black History Month, Blues for Memo is a new album by saxophonist David Murray and poet Saul Williams. Williams and Murray met in 2014 at the funeral of the revolutionary poet Amiri Baraka, at which Williams performed a poem and Murray (who worked with Baraka in the past) was in attendance. The chance encounter led to a collaboration between the two artists, with Williams sending Murray a collection of poems to set to music.
Like Baraka, Williams is a challenging poet. He is socially and politically engaged and consistently employs images that are a gut punch to listeners. The tracks on Blues for Memo feature Williams doing what he does best, stringing together images that address topics ranging from politics to the nature of consciousness. On “Cycles and Seasons,” Williams thrives on juxtaposition of large concepts, such as dietary tradition and health to capitalism and forced labor. “Deep in Me” takes on cosmic themes, with lyrics that consider volcanic, geologic and cosmic time in relationship to individuals’ perception of the universe.
On the track “Obe,” Murray and his outstanding band match dissonant bebop with lyrics that take on what Williams critiques as a cultural self-obsession, asking whether a variety of pursuits are “self-actualization or self-image actualization.” “Red Summer” is a gospel-inflected ballad about racially-influenced killings of African Americans, from the Mother Emanuel Baptist Church massacre to the wave of police killings of unarmed Black men and boys that sparked a national conversation about continuing systemic racism in American society.
Murray’s task is a difficult one—to compose an appropriate soundtrack to the complex, emotionally-charged themes that Williams adeptly addresses throughout the course of this album. Murray achieves this goal handily — even the instrumental numbers on this album are delivered with the perfect tone. For instance, the heartfelt “Blues for Memo,” a tribute to Istanbul’s jazz legend Mehmet “Memo” Ulug, is solemn and joyous simultaneously, incorporating sounds that “Memo” likely would have appreciated, including elements from blues as well as Turkish music. The latter is provided by Aytac Dogan on kanun, a middle-eastern zither.
Williams and Murray are joined by an overall outstanding cast of musicians, including Dogan, Orrin Evans (piano), Nasheet Waits (drums), Jaribu Shahid (bass), Craig Harris (trombone), Pervis Evans (Vocals), Jason Moran (Fender Rhodes), and Mingus Murray (guitar). Overall, Blues for Memo is both musically beautiful and conceptually challenging, an album best explored gradually and one which holds enough details for listeners to continually return for something as yet unheard.
Sylvester Uzoma Onyejiaka II — the Austin, Texas-born arranger, multi-instrumentalist and producer who goes by the moniker Sly5thAve — returns with an orchestral tribute to the prolific DJ, producer, rapper, and mogul Dr. Dre. Culled from a live set compiled for a charity event titled “Cali-Love,” Sly5thAve’s arrangements, which were praised by Dr. Dre himself at the concert, pay tribute to Dre’s brilliance in the producer’s chair while presenting new and interesting ideas in a set of well-worn but still funky grooves.
On The Invisible Man, Sly5thAve uses Dre’s compositions as vehicles for his own interpretations and improvisations, treating gangsta rap as jazz arrangers of yesteryear treated Tin Pan Alley songs. Sly5thAve’s jazz-inflected approach to musical borrowing is heightened by Dr. Dre’s own extensive sampling of 70s P-Funk in his original music, creating layers of intertextuality for hip hop heads and jazz cats alike while retaining (at moments heightening) the cinematic qualities of the source material. Dre’s compositions have always told vivid and imaginative stories. The Invisible Man tells similar stories, with instrumental arrangements in place of most of these songs’ most memorable lyrics, to the effect of making the album feel like the really good remake of a slightly better original movie.
This album is loaded with riffs on Dre’s signature G-Funk style, with Sly5thAve and company developing tracks like “Let Me Ride,” “California Love,” and “Ain’t Nuthin’ But a G Thang” into compelling vehicles for improvisation and orchestration. Some of the album’s most interesting moments, however, come from the band’s interpretation of tracks less associated with Dre’s signature early 90s funk-based sound and more with the tracks he built for his later proteges, like the stellar readings of Dre-produced early Eminem tracks, including “Forgot about Dre,” “Guilty Conscience,” and “My Name Is.” While their lush string sections and intricate horn arrangements definitely sound different than the original versions of these numbers, these versions are so infectiously true to their musical spirit that listeners will be tempted to dust off their memory of the classic verses that appear on these songs to rap along, starting with “Y’all know me, still the same O.G.…”
Overall, Sly5thAve stays very close to both the spirit and letter of his source material, often giving his crack band opportunities to improvise over his dramatic orchestral readings of this catalog in the same way that Dre gave Snoop Doggy Dogg room to stretch out over the original versions of these songs on The Chronic. Sure, The Invisible Man is no replacement for the original cuts, but it’s a great way to get away with playing G-Funk at a dinner party.
The newest release from the Chicago Afrobeat Project, What Goes Up, builds upon the group’s strong foundation of recordings. The already large ensemble heavily features guest artists on its latest album, including Nigerian afrobeat drummer Tony Allen (who has worked with the legendary Fela Kuti, a pioneer of the genre) as a featured artist on each of the album’s tracks.
The Chicago Afrobeat Project has always drawn heavily from funk-influenced afrobeat styles, and, as the group’s name implies, continues this basic approach on its latest album. The 14-member ensemble features great arrangements for its full horn section on cuts like “Race Hustle,” but moves somewhat outside of traditional afrobeat expectations on other cuts, as on the extended synth intro to “Cut the Infection.” The group incorporates some jazz fusion influences on the polyrhythmic cut “Must Come Down,” interpolating wah wah guitars with African rhythms more typical of the group’s style.
Unlike the work of afrobeat pioneers like Kuti, the lyrics on What Goes Up tend to be more pop-philosophical than explicitly political, with tracks like “No Bad News” vaguely addressing the importance of ancestors and the evils of corporate pollution, but without finding specific figures to either praise or criticize. “Marker 48” continues in the same vein, arguing that humans cannot continue to exploit the Earth’s resources, but without addressing who is using most of these resources, who benefits most from extraction, or what could be done to change this pattern. This group is at its best on songs like “Afro Party,” when taking more of a celebratory than a critical lyrical tone. It is difficult to level poignant political critique in any kind of music, let alone music this sharply focused on creating textures and grooves. This group puts forth great effort, but ultimately lacks the specificity necessary to compellingly address social issues in most cases.
With that said, the Chicago Afrobeat Project can groove—each track feels great, and there’s exciting rhythms and melodies to go around. This is in large part due to the strength of its members’ musicianship and their strong connections to both afrobeat music and the other genres they incorporate into their approach. For the Chicago Afrobeat Project, the audience is What Goes Up—up out of its seat and onto the dance floor.
September sees a new release by the Chopteeth Afrofunk Big Band, a Washington D.C. based Afrobeat group. This marks the second release (the first being a live LP) from the 10-year veteran band that cut its teeth on the festival and world music circuit. The 12-member ensemble balances its funky polyrhythmic grooves with outstanding solos and compelling political commentary throughout the 10-track Bone Reader, an album that is dense with lyrical and musical concepts while being straightforward enough in its message and music for the casual listener to take something meaningful away after the first listen.
Afrobeat has historically been animated by political and social justice issues, and Bone Reader follows closely in the mold set by Fela Kuti and others who pioneered this element of the genre. The band comes out swinging on the first track, “Questions of Our Day,” which opens with the lyrics “Who’s gonna take the lion’s share / Who’s gonna tip the scales, who’s gonna put them square / Who’s gonna stuff the box, who’s gonna say they can’t / Who’s gonna buy the block, who’s gonna pay the rent.” The song continues in this mold, addressing social issues in the abstract and setting the tone for some of the more specific commentary the band offers throughout the course of the album.
The following track, “Edward Snowden,” features an extended saxophone solo interpolated with audio clips of the NSA surveillance whistleblower warning of the constitutional and personal dangers of federal government snooping. It includes what is perhaps one of the most foreboding endings of any track about a political issue ever: Snowden asserting that “If I end up in chains in Guantanamo, I can live with that.”
The album’s fourth cut brings home an issue that is near and dear to the band based in the nation’s capital—the fact that Washington D.C. is inadequately represented in Congress. With the chorus exhorting “Give D.C. the vote immediately,” they point out population statistics, including the fact that Wyoming has a smaller population than the District but more Congressional representation. “Cop Show” (featuring rapper Flex Mathews) addresses police brutality and racial profiling in a compelling fashion over a funky, ever-changing groove.
If all of this sounds alternatingly wonky and depressing, the grooves that the band plays throughout the course of the album are the spoonful of sugar that this medicine needs to go down smooth. Every cut on the record is danceable, and scorching solos—guitar on “Questions of our Day,” piano on the New Orleans-flavored “Rambeau,” and horns interspersed throughout—color the album with much-appreciated musical diversity.
Chopteeth Afrofunk Big Band can riff as well as it can pontificate, and listeners are treated to a heavy dose of both on Bone Reader.
Drummer Ronald Bruner, Jr. is a musician who readers may have heard, but haven’t necessarily “heard of.” A member of L.A.’s groundbreaking cohort of jazz fusion musicians, the West Coast Get Down, he is the brother of bassist Thundercat (Stephen Bruner) and former keyboardist for The Internet, Jameel Bruner, both of whom worked with Ronald on his new release. While his brothers may be more well-known, Ronald’s playing is a staple of Thundercat’s groundbreaking recordings, and his debut album, Triumph, indicates that his solo output will be strong in its own right.
As one would expect from the commercial success of members of the West Coast Get Down, the music on Ronald Bruner, Jr.’s new album is simultaneously pop-oriented and musically virtuosic. This is perhaps jazz-fusion in its truest sense, drawing elements from R&B, hip hop and contemporary jazz into a musically interesting setting that is still heavy on radio-friendly grooves.
Recorded during the sessions that spawned fellow West Coast Get Down member Kamasi Washington’s The Epic,Triumph is an album that showcases two kinds of musicianship, often on the same track. One of these kinds of musicianship finds its expression in pop-oriented R&B and the second allows the stellar musicians in Bruner’s band to showcase their chops. Songs like “True Story” and “She’ll Never Change” are straight-ahead neo-soul tracks, and aside from the drum break that opens the former and the more active than usual playing on the latter, they could easily be mistaken for new cuts from mainstream R&B artists. Other numbers, like “Geome Deome” and “Open the Gate,” continue in the jazz fusion idiom outlined by virtuosic jazzers. These cuts (the former features the late, great George Duke on keys) hearken to the Al Di Meola Return to Forever days, with distorted guitar wailing over a bed of electric piano and start-and-stop drum grooves that are half Questlove, half Lenny White (who gets a shoutout on the album’s final song).
A stylistic chameleon, Bruner moves between styles within songs, morphing from locking in on the club jam “To You” to putting the trap set in the trap beat “For You” on the same track. This is followed by the album closer “Chick’s Web,” a virtuosic jazz fusion track with a title that alludes to the great big band leader while blazing new trails for fusion drumming. This cut ends with a collection of shoutouts to everyone from family members to West Coast Get Down musicians (in some cases these are one in the same) to heavy-hitter jazz musicians that Bruner has been influenced by and worked with, including Stanley Clarke and Kenny Garrett.
Drummers need to hear this record because Bruner excels at pretty much any idiom a jazz fusion, funk, or R&B drummer might want to play. Bruner’s strength is in his diversity—Triumph is a jazz album that a pop fan can enjoy and an R&B record that has enough musical interest to keep a jazz head coming back for more. However, Triumph doesn’t fall into the “too diverse to be cohesive” trap that many similarly chameleonic albums do. This is a testament to how much Ronald Bruner, Jr. has to say as a musician and how well-refined his style is. This aptly titled LP is indeed a victory for Bruner and his band.
The members of Snarky Puppy have attained quintessential listening status for many in jam band, jazz-fusion, and groove-rock circles. Members of this group and musicians closely associated with them tend to have a distinctive “sound,” one which draws heavily from jammy fusion and incorporates elements of world music. Strange Circles, the debut release from Snarky Puppy bassist Michael League’s new side project Bokanté falls comfortably into the world music mold.
League swaps his bass for a baritone guitar on Strange Circles, and is joined by two Snarky Puppy band mates, Chris McQueen and Bob Lanzetti. The group also includes percussionists Jamey Haddad, André Ferrari, and steel guitarist Roosevelt Collier. Vocalist/songwriter Malika Tirolien rounds out the group, delivering original songs she and League co-wrote. Tirolien, a native of the Caribbean island Guadeloupe, sings a veritable chorus of thickly arranged multi-track vocals in Creole and French throughout the album.
Even though most of the album prep was completed remotely, this band’s playing is fluid. This may be due to the musicians’ skill or the tight arrangements, but at any rate it is a testament to what real pros can do in collaboration. The percussionists create powerful layers of rhythm throughout the record and the guitar quartet complements this with complex harmonies, making guitar interplay a highlight of this album. Collier’s steel guitar playing is especially worth listening carefully to — he takes a number of compelling solos, on cuts like ¨Jou Ké Ouvé” and ¨O La,” where his pedal steel almost sounds like the many vocal layers that permeate the album. The other guitarists mostly stick to riffing, but the song “Vayan” features dueling guitar solos, on a cut that sounds like an Afrobeat reading of Led Zeppelin.
One thing that the careful listener quickly learns about with Strange Circles is that the band’s approach to creating musical interest depends on two things: scaffolding layers of vocals and instruments and Collier’s steel guitar entering at dramatic moments. This is a winning formula, but it is systematic nonetheless — listeners will likely be quick to learn the build-breakdown-build approach that permeates most of the songs on this album. Collier ends up being the star of the show on most tracks, in part due to the timing of his entrances and in part due to his lyricism. It would be easy to draw comparisons between his fluidity on steel and blues/rock/world fusion guitarist Derek Trucks’s lyrical slide guitar. A few songs do break with the build-breakdown-build form, however: “Apathie Mortelle” burns slow, with excellent ambience playing by the guitarists, relying on chorus-drenched chords and controlled feedback to play off of the intricate layers of voice and percussion. The album’s closer, “Héritier,” is an acoustic and synth-driven ballad that stills the energy of some of the disc’s more frenetic moments.
I wish that English lyric translations were available for those listening to the digital versions of this album, particularly given the Creole dialect that many the lyrics on this album are composed in. As a monolingual English speaker reviewing the digital copy of this album, it was difficult for me to difficult to understand and thus comment on the poetry or lyrical themes. But that aside, Strange Circles is full of compelling music that is certainly worth a listen for fans of genre-bending grooves.
This month sees a new release from Vermont-based saxophonist, composer, and music educator Brian McCarthy that’s scheduled to drop a week before Juneteenth. The Better Angels of Our Nature features McCarthy and his nonet reimagining songs from the Civil War and composing original songs inspired by the conflict. The project, with its title garnered from Abraham Lincoln’s first inaugural address, is both an academic and artistic endeavor. McCarthy explores music from a dark period of American history in an effort to chart new thematic and musical territory. This project was funded in part by a Vermont Arts Council Creation Grant and combines McCarthy’s personal interest in history with his masterful interpretation of both familiar and new music.
A project this ambitious demands an ensemble capable of sensitivity and innovation. McCarthy, a great saxophonist and composer, is joined by pianist Justin Kauflin, tenor saxophonist Stantawn Kendrick, trombonist Cameron MacManus (three former members of trumpeter Clark Terry’s band), trumpeter Bill Mobley, bari player Andrew Gutauskas, saxophonist Daniel Ian Smith, drummer Zac Harmon, and bassist Matt Aronoff. These masterful musicians allow the musical and historical themes implicit in these songs to unfold, their playing simultaneously beautiful and challenging.
Setting up musical and thematic tension among these Civil War-associated tunes is key to McCarthy’s approach to this material. He directly juxtaposes the Confederate anthem “The Bonnie Blue Flag” with the “Battle Hymn of the Republic,” situates a bluesy attempt to reclaim “Dixie” next to a reading of the spiritual “Oh Freedom.” Even the original compositions on this album evince a kind of tension—the multi-part title track reads as a character study of Lincoln, contrasting his roles as lawyer, President, and person.
One of the standout features of this album is that there are no standout players. This is a narrative jazz record and each note played by each musician serves McCarthy’s impressionistic reading of the Civil War by exploring its music, an approach that suggests both schism and unity (it is likely no accident, for instance, that some of the Union tunes included on this album were parodied by southerners during the war). It may be too much to try to draw contemporary comparisons to the seemingly intractable divisions in contemporary American social and political life, but McCarthy’s interpretation of seemingly arcane music allows him to deal with some conceptually significant undercurrents in American culture.
The final Friday of April saw a new and compelling release by the acclaimed New Orleans trombonist, singer, and bandleader Troy Andrews (aka Trombone Shorty). This is the band’s fourth album, and their first on the heralded Blue Note label.
Trombone Shorty and his band blend elements from pop, R&B, funk, and jazz, and the group leans heavily on its roots in the New Orleans versions of these styles on Parking Lot Symphony. Stylistic diversity is the name of the game on this album, among both the songs that gesture more towards pop styles and those incorporating hardcore jazz and funk grooves. “Parking Lot Symphony” and “Dirty Water” both hearken to 90s R&B, and are driven by drum machines and infectious hooks. The band included two quite faithful covers of songs by New Orleans legends in this set: The Meters’ “Ain’t No Use” and the Allen Toussaint-penned “Here Come the Girls.” Many originals follow the sterling legacy of New Orleans music as well—“Tripped Out Slim” is a funk barn-burner, and the album is bookended by a set of brass band dirges, titled “Leveau Dirge No. 1” and “Leveau Dirge Finale.”
As might be expected from an album that ambitiously incorporates pop sensibilities and funk-jazz roots, this record has a few swings and misses like “Familiar,” a club jam about barely recognizing someone (even this song, though, has a killer Rhodes and brass solo section). However, this rare misstep is tempered by the band’s overwhelming sense of earnestness on the rest of the album. For instance, “No Good Time,” has its heart firmly planted on its sleeve. Shorty croons the folksy wisdom that “nobody never learned nothing from no good time” on the melancholy brass-driven ballad. While the set may not be entirely cohesive, it is chock full of great grooves played by a killer band. Parking Lot Symphony is a well-executed effort from a group of steadily grooving musicians.
This month sees a new release from the eclectic bass virtuoso Stephen Bruner, known by his stage name, Thundercat. Bruner has performed with artists across a variety of genres, and is perhaps best known for his collaboration with rapper Kendrick Lamar on the latter’s 2015 masterpiece To Pimp a Butterfly. Thundercat has an ear for a variety of musical styles, and his wide-ranging musical approach is readily apparent on Drunk.
This 23-track album feels like a series of musical vignettes—only one of these cracks the 4-minute mark and the vast majority of them are shorter than 3 minutes long. However, this brevity allows each composition to be a highly detailed miniature, with carefully layered sounds and carefully composed tunes being the album’s highlight. Each track leaves the listener craving more without feeling complete, almost as though each song were a brief study in compositional technique. If Thundercat’s resume is full of versatility, so is his dossier of compositions. This album is heavy on guest appearances, with Thundercat working with everyone from yacht-rockers Michael McDonald and Kenny Loggins (“Show You the Way”), to socially-conscious rapper Kendrick Lamar (“Walk on By,” which can be heard below), to massive pop star and musical chameleon Pharrell Williams (“The Turn Down”). On these “feat” tracks, Thundercat and company craft arrangements that bring out the best of his collaborators’ musical ideas while simultaneously pushing these otherwise well-established artists towards Thundercat’s own neo-soul jazz fusion.
The material on this album ranges from virtuosic (“Uh Uh”) to just plain weird, incorporating sung meows (“A Fan’s Mail (Tron Song Suite II)”) and lyrics about playing Mortal Kombat when relegated to friend status by a potential romantic partner (“Friend Zone”) into his musically and technically sophisticated music. This approach begs comparison to the bizarre combination of humor and virtuosity that was the hallmark of artists like Frank Zappa and Captain Beefheart. While it is easy to imagine that listeners who are here for the marquee collaborations may be put off by the more technically involved or thematically strange music, these equal parts of Thundercat’s approach to composing and playing fit comfortably side-by-side. This is the kind of record that will challenge listeners by pushing them out of their musical comfort zones by an artist who is comfortable across a wide variety of musical idioms.
Drunk is nothing if not ambitious, but ambitious records are usually a bit uneven. It is hard to find a single unifying thread that runs throughout the album, but that ultimately doesn’t prove detrimental to the project as a whole. Drunk isn’t a novel, but a visit to a musical theme park, where listeners are encouraged to take a spin on each of the rides.
Inauguration day saw a new release from the prolific jazz saxophonist Noah Preminger, aptly entitled Meditations on Freedom. Many Americans have felt confused, afraid, and uncertain in the past few months and Preminger’s newest release channels these sentiments into meditative and provocative music. Composing original tunes and bringing several carefully chosen covers into the studio within weeks of the 2016 U.S. elections, Preminger and company recorded primarily from sketches, eschewing elaborate and polished arrangements for sounds that could touch the still raw nerves of his listeners. The unvarnished sense of the present on this record is heightened by the fact that each of these tracks was recorded live and released with no edits, lending the album the kind of immediacy that a listener may experience at a live set while allowing the musicians to act and react rather than scrubbing the record clean of potentially broken or missed notes. This technique gives this set of tunes a sense of urgency, one that is made even more stark by Preminger’s ensemble choice of a quartet that features no chording instrument, relying solely on melodic counterpoint for harmony. Featuring Preminger on saxophone, Jason Palmer on trumpet, Kim Cass on bass, and Ian Froman on drums, the group’s minimalistic approach ensures that every note counts, as it must with this ensemble and this material.
As the musical and technical choices set this album’s mood, Preminger’s selection of material provides the bulk of the political and social commentary. It is, of course, hard to convey specific social or political statements through instrumental jazz, an abstract medium generally unsuited to convey semantic meaning except through association or allusion. Many artists try to solve this problem with sweeping titles that appear to convey something that the sound therein cannot. Preminger’s solution to this problem is to intersperse his original tunes (complete with provocative titles like “We Have a Dream,” “Women’s March,” and “The 99 Percent”) with renditions of familiar socially-conscious numbers.
Perhaps the most interesting thing about the way this group approaches its material is that Preminger and his quartet play the most familiar tunes in the set in a way that makes them seem to unravel as they progress. It would be easy (perhaps even lazy) to note that the quartet’s treatment of these tunes sees them dissipate as it seems that civil society is doing. What actually appears to be happening on these tracks, however, is more sophisticated: what makes these renditions especially salient is not that they actually fall apart, but that they clearly have the potential to. We can hear signature melodies on each of these songs before they morph into nearly unrecognizable improvisation over unfamiliar changes. They usually return to the familiar bits, but in a way that requires the listener to check the liner notes to make sure it’s still the same song.
The first two tracks are covers of songs that address racism in the United States head on: Bob Dylan’s “Only a Pawn in Their Game” (which can be heard below) and Bruce Hornsby’s “Just the Way it Is.” The band performs musical operations on these otherwise familiar tunes—we can recognize the songs in a way but they seem a bit off, almost as though they are being heard underwater. Dylan’s meandering vocal melody appears while the chords under it move in unexpected ways; the signature piano intro on the Hornsby tune is played by the horns before the quartet departs in a different direction than Hornsby could likely have imagined. It appears that Preminger meditates on freedom by pondering the perilous position of hard-won liberties—a house of cards that, like these songs, could easily fall apart with one wrong move. This thesis is supported by the tenuous feeling throughout the record—even the original tunes are not readily hummable, but melodically evanescent. The album feels transient, listening to it an absorbing meditation which is gone as soon as the final seconds tick off of the last track.
With Meditations on Freedom, Preminger and company have released an immediate artistic statement that packs quite a punch in a time that may be optimistically characterized as uncertain. Any flaws that may be found in the album’s one-and-done production style mirror the flaws that Preminger and company appear to highlight in democracy itself, full of promise but ultimately ambiguous in result. There are no shout choruses, no moments of divine Charlie Parker transcendence, but instead a preponderance of more muted soul-searching.
It is critical to note that this record does not end on a bright note—a fairly sunny reading of George Harrison’s “Give Me Love” is followed by an original, “Broken Treaties,” that reads as a lament for all of the hard fought battles that may have now been lost. Preminger’s music will likely not inspire revolution; rather it seems to grieve a failed one. Even the album’s gorgeous version of Sam Cooke’s “A Change is Gonna Come” is tinged with loss—sure, a change is gonna come, but will it be a good one? It is difficult to interpret many of these numbers as seeing the glass half-full, and that may be precisely the point.
The most challenging part of Meditations on Freedom is its clearly articulated and profound sense of loss. Preminger and company’s skill at articulating this in a musically cogent way is what ultimately makes this album both so good and such a downer.
Rapper/actor/activist Common returns with his 11th full length album, Black America Again, a strong political and social document about race in 21st century America. He has always had something serious to say, but Common digs even deeper on this record, citing his sources and bringing penetrating social commentary to a musical soundscape as powerful as his political messages.
Social issues have always figured prominently in the Grammy and Oscar-winning musician’s work. Race takes center stage on the title track, a cut that reveals the triumphs and tragedies of African American history but suggests that the issue of interpretation is central to how this history is applied to present struggles. The track features sermonettes between verses, and a hook that features the great Stevie Wonder singing “We are rewriting the Black American story.” Common continues these themes on “Letter to the Free,” a song that addresses the long and brutal history of violence and discrimination against Black people in the United States. “Letter to the Free” presents the argument advanced in Michelle Alexander’s seminal text The New Jim Crow that mass incarceration is the latest incarnation of systemic racism in America.
Common isn’t just spitballing, either. He knows the facts about these issues, asserting the academic and cultural fabric that makes up his critical perspective on “The Day That Women Took Over,” featuring BJ the Chicago Kid. The rapper proclaims that “Michelle Alexander wrote the new Constitution / Beyonce made the music for the revolution.” The song is an ode to Black womanhood, released prior to the presidential election. While the cultural points he makes about the game-changing contributions of Black women cannot be ignored, this song now feels more aspirational than it did prior to November 8. One could easily imagine a situation in which this track could serve as the soundtrack for a victory lap by the first female US president. Rather, it now seems more a reminder that the political fight for equality still rages, despite the fact that the cultural one may appear to be over.
In addition to getting political, social, and historical, Common gets very personal on Black America Again, with “Little Chicago Boy,” a song that narrates the life of his late father, the professional basketball player Lonnie Lynn. Gospel singer Tasha Cobbs is featured on this track, singing a stanza of the hymn “Father, I Stretch My Hands to Thee.”
Most of this album is harder-edged than the jazz and soul-inflected rap that Common is known for, with sparser tracks, more contemporary textures and aggressive sampling (especially of spoken word) than fans of the rapper’s earlier work may expect. The standout feature is the presence of the Black church on this record, something that listeners who have heard 2016’s other seminal rap releases—Kanye West’s The Life of Pablo and Chance the Rapper’s Coloring Book—will recognize as a crucial part of the hip hop landscape. What differentiates Common’s treatment from these others is that gospel music is less an integral part of the music—he employs sacred song and sermon to drive home his broader points on specific songs, rather than building his sound around these genres.
There are some gestures to the pop music market on this otherwise brainy artistic and social statement. Foremost among these is the duet track with longtime collaborator John Legend, a ballad with an ear to the pop market that Legend cornered with his piano-driven style. This song, “Rain,” will inevitably be a radio hit: it is vague enough to be about a number of things, but melodic enough to catch the ears of listeners who aren’t hardcore rap fans. In fact, it feels more like a John Legend song than a Common one. Accompanied only by Legend’s piano, Common gets just one verse, a formula far more resonant with the singer-feat. rapper model than rapper-feat. singer one. There are other songs that aren’t explicitly political. “Love Song” and “Red Wine” fall more into the club slow-jam category than something one may expect on a political mixtape, but even the latter reads as a celebration of Black American royalty and the rapper’s status within it.
Hopefully, Black America Again will usher in an era of similarly specific and poignant social and political commentary from both Common and other rappers in his vein. Election years are normally brimming with political releases, and this is by far one of the strongest of the bunch. Common’s politics are clear, certain, and compelling—his musical orchestrations of them uncompromising. Conscious listeners will need more releases like this in the years to come, and it seems like Common is primed to deliver them.
Artist: Delfeayo Marsalis and the Uptown Jazz Orchestra
Label: Troubadour Jass Records
Formats: CD, MP3
Release date: September 16, 2016
September’s new release by trombonist Delfeayo Marsalis is a strong, if jumbled, album full of social commentary, strong arrangements, and all-around great playing from the trombonist’s sturdy and compelling band.
While the album’s title, Make America Great Again!, is lifted straight from the headlines of the 2016 presidential race and suggests that Marsalis is shooting for penetrating political discourse (although a cynic might say this is a clever way to plug the album through serendipitous Google or Amazon hits), much of this release is simply a study in good jazz band writing. There certainly are gestures at social commentary, including an excellent arrangement of “The Star Spangled Banner” as the record’s opening cut. The title track offers a fairly obvious critique of the even more simplistic Trump campaign slogan, pointing out the conspicuous problems with the “Make America Great Again” rallying cry, given the country’s (to be charitable) checkered past. This cut features the voice talents of the great actor Wendell Pierce (The Wire, Treme); unfortunately, the spoken word he delivers offers very little insight into the problems really at the heart of the resurgence of far right-wing politics in America. Overall, it seems like Marsalis, an artist who specializes in a particularly historically-conscious approach to jazz, is simply preaching to the choir on this one.
This album’s real high points are those where the band plays its swinging heart out. Marsalis and company dig deep into New Orleans trad-jazz on “Second Line,” comb West African music, rap, and jazz on “Back to Africa,” call back to the height of dance bands on “Symphony in Riffs,” play what sounds like the Basie chart for “All of Me,” and they even include a backbeat arrangement of Aaron Copland’s “Fanfare for the Common Man,” complete with solo breaks. The Uptown Jazz Orchestra is a stylistic juggernaut, the album a veritable history book of American music. This compelling stylistic variety is largely due to the strength of the arrangements (by Kris Berg, Phil Sims, and Marsalis), but the absolute taste and skill of the players is not to be understated, either.
Marsalis and company’s music, rather than their political commentary, have the possibility to make American music great (again?). Without a doubt, this is the most stylistically diverse jazz album we will hear in 2016, a great alternative to the trite narratives we have heard from all sides of the political spectrum this year. I recommend turning off the news and putting on this record.
Guitarist Joshua Breakstone and his cello quartet (featuring bassist Lisle Atkinson, cellist Mike Richmond, and drummer Andy Watson) pay tribute to pianists on the group’s latest release, 88. In the liner notes to the record, Breakstone notes that, as a guitarist, he has always considered pianists “family,” because both instruments share the duties of being both accompanists and soloists.
While there isn’t really anything new here for fans of small combos or jazz guitar, Breakstone and his trio do what they do best: delivering compelling small-combo jazz, using a set of great tunes as vehicles for their improvisations. This approach leads to a set of halfway familiar tunes, such as a Latin rendering “Lolita” (from the Kubrick film of the same name), Tad Dameron’s “If You Could See Me Now,” and the lesser-known standard “Soul Eyes,” composed by Mal Waldron. The playing on this record is stellar, from Richmond’s fiery cello solo on “v to the band’s sturdy navigation of the potentially slippery Lennie Tristano tune “Lennie’s Pennies.” The only original on the album, Breakstone’s “88,” seems familiar as well, straight in the post-bop style pioneered by many of the musicians who Breakstone and company pay tribute to on this record.
Overall, there isn’t anything groundbreaking here, but Breakstone’s quartet plays compelling tunes with aplomb. This is certainly worth a few listens, and for jazz cellists, guitarists and pianists, some serious study.
Robert Glasper is arguably one of the most eclectic musicians in the business, perhaps in spite of (or maybe because of) the fact that he is generally considered to be a jazz musician. The opening track of the Robert Glasper Experiment’s newest release, Artscience, announces that the group intends to venture into the broad realm of musical styles and sounds that may fall into the category of “Black music.” As the soundscape gradually morphs from fast post-bop to a slow-burn hip hop groove, a sample of Glasper’s voice plays, declaring “The reality is, my people have given the world so many styles of music, so many different styles…we want to explore them all.”
The group’s newest release, Artscience, is difficult to call a jazz record at all, drawing from the precedent set on previous Black Radio releases. However, these earlier records largely owed their crossover appeal to high-profile guest stars like Snoop Dogg and Norah Jones, while Glasper’s band served as a supporting ensemble, performing at peak when laying down funky neo-soul grooves for artists like Jill Scott and Anthony Hamilton. On Artscience, the group retains this crossover appeal while keeping the production self-contained. This record is full of electronically-oriented R&B with dance floor and slow jam ambitions.
“Day to Day” is a funky and robotic neo-disco dance cut that could easily have been culled from a Daft Punk record, complete with string swoops and autotuned vocal harmonies. Much of this record recalls the synth heavy, ‘80s-influenced sounds that artists like Blood Orange are rocketing to the top of the charts. While some of Glasper’s signature acoustic piano and Rhodes sounds are present, there are also synthesizers and production effects all over this album. Most of these tracks are structured like pop songs with slight modifications. For instance, “No One Like You” follows the verse-chorus-verse-chorus format, but it features an extended outro with solos by saxophonist by Casey Benjamin, Glasper, and a drum break by Mark Colenburg. It is as though the group takes the extended dance break sections found on Michael Jackson and Prince records and fills them up with killer jazz solos, serving the album’s pop ambitions while reminding the audience that these are monster players. The disc’s most memorable track, “Let’s Fall in Love,” borrows its title from a jazz standard, but is a slow jam full of breakbeats and atmospheric synthesizers.
Listeners looking for guest stars like those featured on the Robert Glasper Experiment’s previous albums or for the kind of solid jazz playing found on the Glasper’s acoustic records will be surprised, but pleasantly so, by the strength of the group’s R&B songs on Artscience. While this is not the seminal entry in Glasper’s catalog, it is certainly a solid one.
While De La Soul’s heyday was arguably in the 1990s, the group remains a strong presence in hip hop, despite the fact that the last time it released new music was in 2004. This is largely because De La’s jazz-influenced sound set the template for Kendrick Lamar and others who borrow samples and approaches from jazz music and in part because their classic records age like fine wine, still sounding fresh some 20 years later. The group’s most recent release prior to this August was 2014’s Smell the D.A.I.S.Y., a digital download full of re-recordings of classic tracks (along with a complimentary download of the entire back catalog for email subscribers!), a gesture that now feels like a primer for this year’s new release. and the Anonymous Nobody… is a kickstarter-funded, genre-bending record that may leave old fans scratching their heads—the album seems to be both a victory lap and a comeback record. Following is the group’s short documentary about the making of the album:
De La Soul probably didn’t need to release a new record in 2016—or any year for that matter—and the foremost question in many readers’ minds may be whether there is anything really new here, or whether and the Anonymous Nobody… is just a rehash of the group’s ‘90s sound that has a few more gray hairs. While there are certainly elements of the group’s signature sound (as on the jazz-influenced “Royalty Capes”), the album seems primarily to revolve around the group’s rotating cast of guest stars, a roster that includes Jill Scott, Snoop Dogg, David Byrne, Usher, 2 Chainz, and Damon Albarn. What the supporting personnel have in common with De La is that many listeners may wax nostalgic about their music—this is the “I remember when…” crowd. While this is not necessarily a liability, it sets the stage for a wash of sounds and approaches that, ultimately, we’ve heard before. For instance, the track featuring David Byrne, “Snoopies,” draws heavily from Byrne’s bag of electro-pop sensibilities. Similarly, “Greyhounds,” a somewhat antiquated girl-corrupted-by-the-big-city story, leans stylistically on Usher’s well-established R&B fusion. At other moments, this record just gets weird—De La Soul was always on the eccentric end of the hip hop spectrum, but when Justin Hawkins of the Darkness leads a Queen-esque overdubbed vocal and guitar orchestra, it may get lost on the listener that this is an album by the legendary rap group. In short, the guest stars often overshadow the core group.
While working with a live band proves an asset, meandering effortlessly from rock to neo-soul, ultimately the intensity of the record, both lyrically and musically, lags at times. And the Anonymous Nobody… plays like many records with a large cast of extras do—providing a great first listen with diminishing returns. This is both a testament to De La Soul’s versatility and an indication that the group of vets is open to trying something new, with experimentation sometimes leading to mixed results.
One of the busiest guitarists in Chicago, Mike Wheeler has an impressive resume, having played with such luminaries as Demetria Taylor, Nellie Travis, and Big James and the Chicago Playboys. Serving as leader on his sophomore Delmark release, Turn Up!!, Wheeler leads his band through a sizzling 13 song set, full of tight arrangements and satisfying grooves.
Most of the material on Turn Up!! is straight-ahead blues. Numbers such as “Sweet Girl” showcase the band’s hard-earned solid groove, doubtless acquired over countless evenings working with similar funky blues numbers. However, this release isn’t an entirely tourist-in-the-city-for-the-weekend affair. “Brand New Cadillac,” for instance, is built around heavy layered guitar riffs that wouldn’t have been out of place during Black Sabbath’s early days, with a stylish guitar solo to match.
While Wheeler is a solid singer and songwriter, the real stars of this record are the band’s chops and grooves. The band dips into funky R&B on “Yeah!,” with bassist Larry Williams and Wheeler dropping in with solid and funky solos. The band also excels at the slow burn, as on “Nothing Lasts Forever.” Their cover of Little Milton’s “That’s What Love Will Make You Do” grooves hard, with solo breaks for Wheeler and Williams, who plays slap-bass bebop that lays deep in the funk groove. “Sad State of the World” provides another opportunity for soloing, as the nearly 8 minute long tune, heavily orchestrated in the style of The Band, gives Wheeler an opportunity to burn, even if—like many gestures at social commentary from musicians who don’t do it all the time—the lyrics are maudlin at best.
Overall, Turn Up!! Is a solid musical statement from a group of Chicago heavyweights. Blues fans must check this out, and blues guitarists will want to cop some of Wheeler’s tasteful and flawlessly executed licks.
Perhaps as well known for its surprise release as for its actual music, the latest release by Dev Hynes aka Blood Orange (he has formerly recorded as Lightspeed Champion and as a member of the band Test Icicles) represents the work of an artist who is politically conscious and musically eclectic. Filtering social issues through a personal lens on his third album under this name, Blood Orange delivers one of the most compelling, socially-grounded artistic statements of the year.
On first blush, Freetown Sound may appear to simply be a set of solid contemporary R&B that hearkens to the past. Blood Orange has incorporated the synthesizers, drum machines, and lush textures of ’80s pop, and Hynes channels both Prince (“E.V.P.”) and Michael Jackson (“But You”) on this release—in fact, upon a close examination of the album’s cover, there is a poster of Jackson hanging on the wall. However, to simply assert that Blood Orange is trading in retro pop would be to largely miss the point of this record. The sprawling 17 tracks (which still manage to somehow clock in at under an hour) address a variety of timely issues, including a spoken word tribute that doubles as a feminist reading of Missy Elliott by poet Ashlee Haze (“By Ourselves”), to tracks that directly address systemic racism, from “Hands Up”— a song that directly references the protests after Michael Brown’s death at the hands of police—to a sample from Ta-Nehisi Coates describing the burden of growing up a Black boy, having to carefully consider each detail of his daily wardrobe on “Love Ya.” The inclusion of Coates is apt, as Freetown Sound is a document as simultaneously personal and compelling (while far less explicit about what the problems are or what should be done about them) as Coates’s landmark book, Between the World and Me. The sense of intimacy on this record is not just one that is intimately connected to timely issues, however. Tracks like “St. Augustine” have a touch of spirituality, hinting at something much more private. While some might criticize much of Freetown Sound for its lack of specificity, it may be useful to think of these songs as somewhat of a Rorschach test for listeners, much like the titular saint’s Confessions.
While several months remain before critics begin to compile their lists of best releases of the year, Freetown Sound is undoubtedly a contender. From the alternately stark and lush textures Hynes employs to his knack for making big social personal, this release deserves a listen and is likely worth the hype.
If he is not already, vibraphonist Warren Wolf will soon become a household name for jazz fans. His third full-length release, Convergence, showcases Wolf’s development thus far and makes a strong case that he belongs on the A-list of jazz performers and composers. His all-star ensemble helps give Wolf a boost in starpower while also reminding listeners that he can easily hang musically with the long-time big boys of jazz. This supporting cast has countless records among them: Christian McBride (bass), Brad Mehldau (piano), Jeff “Tain” Watts (drums), and guitarist John Scofield on two tunes. Not only does Wolf hold his own with these longtime heavies, but he also steps up to the plate as a solid bandleader—the album includes six of Wolf’s own excellent compositions and five covers, ranging from delicate readings of Hoagy Carmichael and Chopin (“Stardust/The Minute Waltz”) to a soulful Stevie Wonder tune (“She Knocks Me off My Feet”).
The disc opens with Wolf’s original “Soul Sister,” a 4:54 burner featuring Scofield bending strings and using his most articulate phrasing, and Wolf comes in swinging, transitioning from bluesy motifs to hard-driving bop lines. Wolf’s composition doesn’t just lie in the typical soul/bop currency of contemporary jazz—for instance, the track “Cell Phone” is based upon a ringtone that Wolf heard while traveling at the airport, leading to an off-kilter sense of time and melody that animates the quirky tune. Wolf knows his history, too—his recording of Bobby Hutcherson’s “Montara” is a fitting tribute to the pioneering vibraphonist.
All in all, Convergence may be just that for Wolf’s career—the cast and set of influences he has assembled on this album reflect artistic and musical maturation. This is a must-hear release for jazz fans.