Album Review: Rising Son, Takuya Kuroda (Blue Note, 2014)

41wOFtEqAGLTakuya Kuroda is a jazz trumpeter whose debut on Blue Note Records marks a detour from the more straight-ahead jazz style of his previous recordings. Rising Son (Blue Note Records, 2014), although certainly a jazz record, puts beats before melody. This makes the album sound like a fusion project, borrowing hip-hop and R&B rhythms to lay beneath jazz instrumentation.

But Rising Son is distinct in that it stops short of an all-out crossover. It is still grounded in improvisational jazz and the arrangements are as sparse as a jazz purist would demand. Vocals appear on only one track, an imaginative take on Roy Ayers’ “Everybody Loves the Sunshine.” The uniqueness of this record comes back to the beats.

Now this just might be where Jose James, D’Angelo, and Roy Hargrove come in. Rising Son was produced by jazz vocalist and fellow Blue Note artist, Jose James. Kuroda previously arranged horns on James’ album, No Beginning, No End (Blue Note, 2012)The opening track on that album, “It’s all over your body,” is a sonic salute to D’Angelo’s Voodoo album (Virgin Records, 1998). Jazz trumpeter Roy Hargrove collaborated with D’Angelo on Voodoo. Kuroda’s muted style is reminiscent of Hargrove’s. “Spanish Joint” is a particularly apt comparison. It’s not a big leap, then, to surmise that Voodoo’s sound is the inspiration for James and Kuroda’s treatment on Rising Son.

The beats on Rising Son are well-chosen for each track.  The title track settles into a groove very quickly and is accented by synthesized effects. “Afro Blues” uses an afrobeat rhythm, suiting the punchy and dissonant horns that kick off the main melody. On the other hand, “Sometime, Somewhere, Somehow” could have done with a lighter treatment. It’s a gorgeous, mellow tune with an elegant arrangement for keyboard, trumpet, and trombone. But beneath it is an oddly chosen four-on-the-floor beat, too slow to be interesting and too heavy handed to let this track float on its own, as it should.

Kuroda’s distinct horn styling and rhythm choices will give Rising Son a broader appeal than other releases from jazz instrumentalists. This is also very simply a fine jazz album because of the performances, compositions, and yes, the beats.

Related

  • Reading: Jose James, No Beginning, No End
  • Listening: “Spanish Joint” feat. Roy Hargrove, D’Angelo, Voodoo 
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