Archives for posts with tag: Jazz

Terrace Martin Presents the Pollyseeds: Sounds of Crenshaw Vol. 1 (Ropeadope, 2017)

Terrace Martin’s last album, Velvet Portraits (Ropeadope, 2016) remains one of my favourite albums from the last few years. I wasn’t expecting a follow-up this soon but it has arrived with the Sounds of Crenshaw Vol. 1. I already can’t wait for Vol. 2. 

Like Portraits, this project offers a wide range of collaborations that are distinct enough to stand up to repeated listening but similar enough to underpin a stylistic theme to the album. In Sounds of Crenshaw Vol. 1, Martin delivers a classy homage to slow jams and quiet storm while keeping jazz at its core.

“Wake Up,” in particular is a bluesy jazz ballad, apparently performed by Kamasi Washington (channelling Wayne Shorter I might add). According to Rolling Stone (link below), Martin’s sax is only credited on the cover of Janet Jackson’s “Funny How Time Flies.” Other tracks with a heavier jazz pedigree are “Believe” and “Mamma D/Liemert Park.” “Believe” sounds like an instrumental reprise of “Think of You” from Portraits. It’s a simple example of how great musicians can innovate variations on basic structures and create something entirely fresh.

Stronger R&B treatment can be found on slow jams like “Don’t Trip” and “You and Me,” the latter featuring the return of Rose Gold, who had delivered a memorable performance in “Think of You.”

Martin also serves up more electronically influenced downtempo numbers. “Your Space” features Wyann Vaughn, daughter of Wanda and Wayne Vaughn, who by association with Maurice White, is R&B royalty. In “Up Up and Away,” we hear a helium voice effect, perhaps an ode to the late Prince who used it, as only he could at the time, on Breakfast Can Wait (NPG Records, 2014).

Martin and his collaborators reveal a rich depth in the space between jazz and R&B. They are not the first to traverse these genres but they are among the best in the world right now.

The Pollyseeds Collective

Terrace Martin (saxophone), Robert Glasper (keyboards), Kamasi Washington (saxophone), Wyann Vaughan (vocals), Rose Gold (vocals), Trevor Lawrence Jr. (drums), Marlon Williams (guitar), Brandon Eugene Owens (bass), Taber Gable (piano), Jonathan Barber (drums), Curlee Martin (drums), Robert Searlight (percussion), Chachi (vocals), Preston Harris (vocals)

There may be other members of the Pollyseeds collective. The above is the most comprehensive list I could compile based on various online sources. There does not appear to be an official listing from the label.

Further Reading

Must Listen

  • This studio performance of the track, “Think of You” from the Velvet Portraits album is a master class in sublime

Book Review & Playlist: My Life With Earth, Wind, and Fire, Maurice White with Herb Powell (Harper Collins, 2015)

Maurice White was the visionary, founder, and very much the Chief Executive Officer of Earth, Wind, and Fire. I recently read his fascinating memoir, published just a year before his death in 2016. He was 74.

What you would expect from a musical autobiography is all there: Rich detail about EWF’s beginnings and the backstory of their many classic songs and albums. EWF’s fascination with things celestial, astrology, and Egyptology are illuminated. For me, White’s observations on racism in the music industry were among the most interesting. Maurice White’s hard-fought journey was presciently articulated by African-American leader Booker T. Washington. This quote opened his chapter called Black Tax:

I have learned that success is to be measured not so much by the position that one has reached in life as by the obstacles which he has overcome while trying to succeed. Out of the hard and unusual struggle through which he is compelled to pass, he gets a strength, a confidence, that one misses whose pathway is comparatively smooth by reason of birth and race.  – Booker T. Washington

Wanting to include a playlist in this post, I struggled with how to keep it concise. White’s body of work is so vast and EWF’s hits so numerous that even a sampling would be inadequate. Instead, I’ve focussed not so much on EWF’s greatness but on White’s perspective of just how that greatness came to be. The playlist is in three parts, named: Inspiration, Evolution, and Transition.

Part I – Inspiration

  1. “I Will Move On Up a Little Higher” – Mahalia Jackson (traditional): White begins his story in Memphis TN where he lived with his “Mama,” who loved Mahalia Jackson. “The Queen of Gospel,” as she was known, could be heard frequently in White’s boyhood home.
  2. “It Should Have Been Me” Ray Charles (Atlantic Records, 1954): In Mama’s house, the spiritual was balanced by the boogie-woogie grooves of Ray Charles and others.
  3. “Sakeena’s Vision”Art Blakey & The Jazz Messengers (Blue Note Records, 1960): Having moved to Chicago, White was exposed to more music. He described being “mesmerized” by this album from drummer Art Blakey, learning the parts by banging on schoolbooks with his drumsticks.
  4. “You’re No Good”Betty Everett (Vee-Jay Records, 1963): Now a session drummer in Chicago’s hot R&B/Soul recording scene, this was the first hit record featuring Maurice White on drums, reaching number 51 on Billboard’s Hot 100.
  5. “Sittin’ in the Park”Billy Stewart (Chess Records, 1965): White played drums on this lovely tune. Stewart was known to gesture and interact with his musicians during his recording sessions. Writes White, “Billy Stewart taught me how to the pull the best out of a rhythm section by just standing there half directing, half dancing.”
  6. “Hang on Sloopy”Ramsey Lewis Trio (Chess Records, 1965): Having joined the popular jazz pianist’s trio, White enjoyed his first major financial success, with a steady stream of work from hit records like this one.
  7. “Dance to the Music”Sly & the Family Stone (Epic, 1968): White was strongly inspired by Sly & The Family Stone, giving credit to the group for serving as a blueprint for some of the biggest R&B groups of the 70’s, including EWF.

Part II – Evolution

  1. “La La Time”The Salty Peppers (Capitol Records, 1969): Considered ‘proto-EWF,’ White recorded this with Don Whitehead and a band of session musicians from the Chicago scene. Donny Hathaway who would later become an R&B legend in his own right, was on keyboards and did the vocal arrangements.
  2. “I’d Rather Have You”Earth, Wind & Fire, Last Days and Time (Columbia, 1972): Written by Skip Scarborough who was a regular collaborator with White, this song was one of the first with the backing vocal sound that would become a signature of EWF. Jessica Cleaves is on lead vocal.
  3. “Evil”Earth, Wind & Fire, Head to the Sky (Columbia, 1973): I think this song is apt for three reasons. First, it features White on Kalimba, a traditional African instrument he was known for, even in his time with the Ramsey Lewis Trio (watch this touching tribute from Lewis recorded not long after White’s passing, where White’s kalimba performances are referenced). Second, it was the first record featuring a Minimoog, played by none other than Larry Dunn, who would be a core member of EWF for their greatest decade of recording. Finally, this album saw EWF enter a “flower power” phase and turn to a more visual expression, pushing the importance of costume in their live performances.
  4. “Devotion”Earth, Wind & Fire, Open Our Eyes (Columbia, 1974): This is the first album EWF recorded with Charles Stepney, one of White’s most influential collaborators. White notes that Stepney drew out one of Philip Bailey’s best vocal performances to date at the time of this recording, setting the tone for Bailey’s legendary contribution to the EWF sound, even to this day.
  5. “That’s the Way of the World”Earth, Wind & Fire, That’s the Way of the World (Columbia, 1975): Written by Stepney, this has become one of EWF’s most famous recordings. Also notable is that this was the first album recorded with George Massenburg as lead Engineer. Massenburg was key to the mixing of the numerous and complex layers to EWF’s arrangements.
  6. “Getaway”Earth, Wind & Fire, Spirit (Columbia, 1976): Another Stepney collaboration, White described the intro of this song as ‘blazing’ and credited it with putting heat into the EWF sound. Sadly, Stepney died before the album was released.
  7. “The Best of My Love”The Emotions, Rejoice (Columbia, 1977): Written by Al McKay and Maurice White for The Emotions, a vocal group White helped develop, it was the most successful single of White’s career, topping the R&B, Disco, and Pop charts.
  8. “September”Earth, Wind & Fire, The Best of Earth, Wind & Fire Vol. 1 (Columbia, 1978): Also written by McKay and White, this now iconic song was released on the group’s first collection. Writing about this moment in their career, White quotes CBS president Bruce Lundvall as saying EWF was the biggest band in the world.

Part III – Transition

  1. “After the Love Has Gone”Earth, Wind & Fire, I Am (Columbia, 1979): White brought in new songwriters for the I Am album. Among them was David Foster a newcomer who would make his mark not only on EWF but on pop music for decades to come. This was the first album where no other members of the band were used as songwriters. A bit of salt on that open wound was an incident when Foster, hailing from the distinctly white community of Vancouver Island, naively used the term “boys” in the Canadian context (like “buddy”) while directing the famous EWF horn section. One of the musicians immediately drew a gun in protest, prompting White to step in and give Foster a crash course on American race relations.
  2. “Let’s Groove”Earth, Wind & Fire, Raise! (ARC Columbia, 1981): The longest running #1 R&B hit at the time, this song was co-written with Wayne Vaughn. The tour for Raise! was a massive production and demonstrates EWF’s exceptional scale. Pre-production for the tour cost $700k and each date cost $60k to produce. The crew was 60 people strong, with equipment, costumes, and sets filling up 14 tractor trailers. With the explosion of MTV and the importance of the music video in promoting new music, White points out the inherent racism that excluded black acts from the medium. Rick James and EWF had some of the biggest hits of the day but were absent from MTV playlists. White described this as a “black tax” and it was pervasive through their touring, media appearances, and promotional activities.
  3. “Time Machine”Barbra Streisand, Emotion (Columbia, 1984): An odd choice, I admit, but indicative of the stature White held in the business. His songwriting talents were sought out to create a strong single for Streisand’s 23rd studio album, which went on to Platinum. Despite the dated 80s treatment, this is essentially a pretty good tune. This was also the year EWF went on a 3-year hiatus. White would also record a solo album in 1986, including a hit remake of Ben E. King’s “Stand by Me.”
  4. “Sunday Morning”Earth, Wind & Fire, Millennium (Warner Brothers, 1993): Maurice White was diagnosed with Parkinson’s disease prior to this album’s release and the tour of Millennium was the first without White. Despite his health struggles and the changing musical tastes since the group reformed in 1987, the band reached #20 on R&B charts with this Grammy nominated hit.
  5. “Hearts of Longing”Urban Knights, Urban Knights (UMG Recordings, 1995): His performing career at an end, White continued to contribute musically to EWF and produced this project with his original jazz mentor, Ramsey Lewis. This smooth jazz album featured Grover Washington Jr. on saxophone, Omar Hakim on drums, and Victor Bailey on bass.

White wrote that he wanted his music to uplift and unify humanity. Listen and you’ll see, he succeeded by any measure.

 

Related:

UK DJ/Producer Patrick Forge podcast tribute to Maurice White

 

 

Album Review: A Million Things, Rohey (Rohey, 2017)

Rohey is a soul and jazz group from Norway and A Million Things is their debut album. It is an incredible record, already a contender for album of the year.

Rohey reminds us how dynamics and broken beats can grab a hold of the listener. The eleven tracks on this album are each minted with a unique alchemy. Hard hitting tracks like “Is This All There Is?” and the opening “I Found Me” reveal a fist-pumping rebel spirit. “My Recipe,” in particular, is as deliciously badass as the sassiest incarnations of Jill Scott or Lauryn Hill.

Down tempo and softer tunes like “Now That You Are Free,” “My Dear,” and “Tell me” reveal yet another dimension of Rohey’s music: delicate and deeply soulful. “Tell me” bears strong resemblance to Robert Glasper’s work on his excellent Double Booked LP (Blue Note, 2009).

Vocalist and band namesake Rohey Taalah is a remarkably versatile talent. She has Nina Simone’s timing, Nancy Wilson’s vocal timbre, and Chaka Khan’s power.

Musically, these Norwegians stand tall among the best of today’s innovative jazz acts like Glasper, Kamasi Washington, and Badbadnotgood. I’ve also heard comparisons to Melbourne’s Hiatus Kaiyote and there is certainly a similarity in musical choices. Rohey stands apart though, with a stronger grounding in jazz and soul versus Kaiyote’s more electronic inclination.

In the calming waters of soul and jazz music, A Million Things makes a splash and suddenly, negative ions abound. Do yourself a favour and breath them in.

 

The Players: Rohey Taalah (Vocals), Kristian B. Jacobsen (bass), Ivan Blomqvist (Keys), Henrik Lodoen (drums)

 

Concert Live Stream: Incognito, Live at the Java Jazz Festival, March 5, 2017

I crossed off a bucket list item two years ago when I saw Incognito live in Detroit. It was a short set but still a thrill to see them live after decades of my unwavering fandom. Last weekend, Incognito played the renowned Java Jazz Festival from Indonesia, a performance that was streamed live and enjoyed thoroughly by yours truly…from my couch.

screen-shot-2017-03-05-at-12-13-28-pm

From Right to Left: Vanessa Haynes, Francisco Sales, Francesco Mendolia, Tony Momrelle, Francis Hylton, Imaani

Live stream concerts don’t look much different than any live recording. Indeed, one of the best Incognito shows I’m aware of is their 30th Anniversay Concert in London at the Indigo2. I’ve watched that recording but seeing a live stream does have an additional appeal – being a part of something in the now, no matter how far away.

The show was impeccable of course: energetic funk, deep soul, astounding jazz musicianship, great songs. One of the greatest treats of seeing Incognito live is witnessing virtuoso performances by each and every member of the band. Matt Cooper on keyboards is positively possessed by the music and has a natural touch that brings so much of leader Jean-Paul ‘Bluey’ Maunick’s compositions to life. The horn section, though only three strong, has a presence that you might expect from twice as many players. Guitar, Bass, Drums, and Percussion are equally featured and well served. The George Duke tribute after “Colibri” in particular features generous solos from Francis Hylton (bass guitar), Francesco Mendolia (drums), and João Caetano (percussion).

screen-shot-2017-03-05-at-12-35-50-pm

During a brief instrument swap, Bluey takes vocals with Matt Cooper moving to drums while drummer Francesco Mendolia covers bass guitar for Francis Hyslop (not pictured), who took over keyboards

Another feature of the live experience was the unexpected swapping of instruments among band members. Bluey took to vocals with some whimsical rapping, Keyboardist Matt Cooper got behind the drum kit, Drummer Francesco Mendolia played bass guitar like it was his first instrument, and long-time vocalist Vanessa Haynes stepped into percussion. The music was just as tight and proved yet again that Incognito demands an exceptionally high standard of well rounded talent from its members.

screen-shot-2017-03-05-at-12-11-25-pm

Incognito vocalists from Right to Left: Vanessa Haynes, Tony Momrelle, Imaani

Finally, the vocalists shined as they always do. In particular, Vanessa Haynes who has been with the band for over 20 years, showcased her power on “Just Say Nothing” from the latest record, In Search of Better Days (Shanechie Ent. Corp., 2016) and “Everyday” from 1995’s 100 and Rising (Mercury Records). Imaani did more than justice to “Deep Waters,” originally sung by Maysa who wasn’t on this tour. And Tony Momrelle delivered his signature performances of Stevie Wonder’s “As” and Incognito’s latest chart hit, “Hats.”

Bearing witness in real time to a show like this is the next best thing to being there. A distant second, admittedly but not without a hint of magic.

Setlist

  • Expresso Madureira
  • Goodbye to Yesterday feat. Tony Momrelle
  • I Love What You Do For Me feat. Vanessa Haynes
  • Smiling Faces feat. Imaani
  • As feat. Tony Momrelle
  • Just Say Nothing feat. Vanessa Haynes
  • Still a Friend of Mine feat. Imaani & Tony Momrelle
  • instrument swap interlude (Bluey rap)
  • Colibri feat. Vanessa Haynes + A Brazilian Love Affair feat. Francis Hylton, Matt Cooper, João Caetano, and Francesco Mendolia
  • Deep Waters feat. Imaani
  • Hats feat. Tony Momrelle
  • Everyday feat. Vanessa Haynes
  • Don’t You Worry ‘Bout a Thing feat. Vanessa Haynes
  • Nights Over Egypt feat. Vanessa Haynes & Imaani

The Players

Jean-Paul ‘Bluey’ Maunick; Matt Cooper, Keyboards; Vanessa Haynes, Vocals; Tony Momrelle, Vocals; Imaani, Vocals; Francesco Mendolia, Drums; João Caetano, Percussion; Francisco Sales, Guitar; Francis Hylton, Bass; Sid Gauld, Trumpet; Alistair White, Trombone; Jim Hunt, Saxophone.

Media: 

Note, the March 5 concert is reviewed above but the stream was interrupted during the second last song. The March 4 recording is complete.

Roslin Orphanage: The band adopted this cause while in Indonesia for this tour. If you would like to learn more and support the cause, follow the link to the orphanage’s website.

Album Review: The Odd Tape, Oddisee  (Mello Music Group, May 2016)

oddtapeThe term beatmaker has been used to describe Amir Mohamed el Khalifa (a.k.a. Oddisee). Rapper and producer equally suit this prolific Washington D.C. artist. Whatever his classification, Oddisee has distinguished himself and his brainy brand of hip-hop through a mastery of beats, melody, and verse.

The Odd Tape is an instrumental release from last year and will soon be followed by his new album, The Iceberg (Mello Music Group, 2017).

The Odd Tape has 12 tracks showcasing the strong musicality that underpins Oddisee’s rap records. It’s not surprising el Khalifa cites Tribe Called Quest and De La Soul as influences, both pioneers in the use of melody within hop-hop. In fact, Oddisee seems very much modelled on the late J Dilla, perhaps the beatmaker for all time.

The Odd Tape features not only impeccable beats but also a mix of electronic and jazz instrumentation. On high rotation for me are the tracks “Brea” and “On the Table.” Some tracks are not unlike Terrace Martin’s excellent album, Velvet Portraits (Ropeadope, 2016). “Right Side of the Bed,” the only track with saxophone, is one of them.

The Iceberg drops on February 24, 2017. The first single, “Things,” is already making heads nod.

 

Related Listening:

A List of Withouts – My favourite track from Oddisee’s last album The Good Fight (Mello Music Group, 2015)

367 – from last month’s posthumous J Dilla release, Jay Dee’s Ma Dukes Collection (Yancey Media Group, 2016)

Album Review: Silver, Fourplay (Concord Music Group, November 2015)

Fourplay_SilverFourplay has been writing and recording contemporary jazz for twenty-five years. The aptly named new album, Silver, celebrates this anniversary with ten new tracks penned by various members of the band, including leader Bob James.

Fourplay has often been classified as smooth jazz. Their music is easy-going, melodic, and simply arranged. A quartet of masters on their instruments, Fourplay needs no other accoutrements. Silver features the solo guitar work of Chuck Loeb on most tracks. “Quicksilver,” in particular, is a pacey number with a great hook and lush vocalizations reminiscent of Pat Metheny.

The album has a range of up and downtempo numbers. “Mine” is an example of the latter, offering a simple melody carried by James’ piano. “Horace” is a more straight-ahead jazz arrangement, an ode to jazz pianist Horace Silver.

It’s ironic that a milestone anniversary like the 25th has traditionally been marked by silver, one of our most tarnishable metals. Fourplay’s Silver glistens all the same.

The Players: Bob James (Keyboards), Harvey Mason (Drums), Chuck Loeb (Guitar), Nathan East (Bass Guitar)

Related Posts

Album Review: Vol. 2, The Cookers Quintet (Do Right Music, 2015)

tcq2 The Cookers Quintet are making original jazz music today that not only evokes masters like Hank Mobley and Art Blakey but also makes a real and contemporary contribution to the hard bop sub genre of jazz.

I’ve welcomed in several prior posts the evolution of jazz that is going on at Blue Note records with acts like Jose James, Robert Glasper, and Kandace Springs. What they all have in common is how they push at Jazz’ boundaries and blend with other genres like R&B and hip-hop. The Cookers, on the other hand, don’t seek to evolve jazz but rather refresh some corners of it.

IMG_2263

The Cookers Quintet, TD Toronto Jazz Festival

I took in a free set at the Toronto Downtown Jazz Festival a couple of weeks ago and the band made hay out of an afternoon gig in a suburban shopping plaza. Despite the uninspiring surroundings, the faux piazza came alive and children, yes, children, were bopping and bouncing to original compositions like “The Crumpler,” “The New Deal,” and even a cover of the standard, “Moanin’.”

There are many straight-ahead jazz musicians doing what the Cookers Quintet are doing: playing standards and original compositions using jazz stylings of the 50s and 60s. What sets The Cookers apart is the high proportion of original compositions in their repertoire and the musicianship that allows them to pull it off without sounding derivative.

Saxophonist Ryan Oliver’s composition, “The Crumpler,” has phrasing and an arrangement reminiscent of Herbie Hancock’s Watermelon Man but, like many jazz compositions even in the golden era of jazz, the similarity is incidental, short-lived, and leaves no question that this is original work. That’s just one example of a deep well of original music starting with their Vol. 1 album (For Right Music, 2014) and continuing into this release. Bassist Alex Coleman also composed some wonderful tunes in “The Sheriff” off this album and “Obligatory Blues” from Vol. 1.

Kudos to record label Do Right Music for fostering this act and others in its stable like The Soul Jazz Orchestra and Dawn Pemberton. Good music doesn’t need to be “on trend” or tailored to a demographic. Done right, it just cooks.

 

The Players: Ryan Oliver (tenor sax), Tim Hamel (trumpet), Richard Whiteman (piano), Alex Coleman (bass), Joel Haynes (drums).

 

Album Review: The Epic, Kamasi Washington (Brainfeeder, May 2015)

kwKamasi Washington is a jazz saxophonist that joins the vanguard of musicians bridging jazz with contemporary music from the many genres in its orbit. Listening to his album, The Epic, I wonder if Washington is this generation’s Herbie Hancock – someone who pushes the boundaries of jazz but does so from a place of legitimacy.

You might say the same of Robert Glasper and jazz innovators before him like Guru and Ronny Jordan. But there is something different about Washington’s brand of innovation. Perhaps it is his pedigree, having played with legends like Wayne Shorter, Herbie Hancock, Harvey MasonKenny Burrell, and George Duke.

The Epic is an incredibly immersive listening experience. I would liken it to a concept album by a band like Pink Floyd or an opus like Miles Davis’ Bitches Brew. It’s not the ethereality or electronic treatment that inspires this comparison. Rather, it is the ambition, the grandioseness of this album. It is truly the epic jazz album of the year, if not this decade.

The Epic’s ambience is established through a combination of Washington’s improvisation, a steady and pervasive baseline from Miles Mosley’s acoustic bass, and 20-person choir that evokes a blend of 60’s spiritual jazz and sci-fi cinematic scores. This sound emerges as Washington’s signature while being subdued enough to support, not displace, the profound range and depth of performances and compositions on the album.

With nearly 3 hours of music, the musicians are well showcased. I can’t recall the last time I heard so many generous and wonderful trombone solos, as played by Ryan Porter on tracks like “Leroy and Lanisha” and “Re-Run Home.” Igmar Thomas’ trumpet is another capable foil to Washington’s tenor sax. Stephen Bruner (a.k.a. Thundercat) brings his unique electric bass sound to “Askim,” interplaying fantastically with the majestic choir conducted by Miguel Atwood-Ferguson. Atwood-Ferguson, incidentally, worked on another recent spiritual jazz revival of sorts, my personal pick for 2014 album of the year, Church, by Mark de Clive Lowe.

Washington himself is a remarkable talent on the saxophone. His range is broad, from hard blowing dissonance reminiscent of Pharoah Sanders to the easy swing of a popular saxophonist like Grover Washington Jr. Kamasi Washington is comfortable and capable at both extremes and this album sees him traverse the expanse.

The Epic’s more conventional arrangements include “Cherokee,” a lovely tune sung by Patrice Quinn in the best tradition of lounge jazz and a version of Debussy’s “Clair de Lune,” arranged in 3/4 time while maintaining the composition’s lilting beauty.

To me, this album’s appeal is peculiar because I find it simultaneously exhilarating and comforting. I’m excited by its newness – but also comforted that we have a new and credible steward to lead jazz forward. With The Epic, Kamasi Washington sets forth.

 

The Players: Kamasi Washington – Tenor Saxophone; Thundercat – Electric Bass; Miles Mosley – Acoustic Bass; Ronald Bruner Jr. – Drums; Tony Austin – Drums; Leon Mobley – Percussion; Cameron Graves – Piano; Brandon Coleman – Keyboards; Ryan Porter – Trombone; Igmar Thomas – Trumpet; Patrice Quinn – Lead Vocal; Dwight Tribble – Lead Vocal

Album Review: Life Between the Notes, Bluey (Shanachie, April 2015)

5430Listening to Jean-Paul ‘Bluey’ Maunick’s sophomore solo album reveals new depths in a seemingly endless well of musical genius. Like his solo debut, Leap of Faith (Shanachie, 2013), Life Between the Notes features Bluey’s greatest strength, his songwriting, but also illuminates new corners of his talent.

The thoroughly enjoyable title track and others like “Been there Before” and “Trippin’ on this Feelin'” are filled with groove and melody we have come to expect from this master songwriter with remarkable pedigree in jazz, funk, soul, and R&B.

What’s even more exciting than a new crop of songs from Bluey is his entree into jazz vocals that reveal the crooner within. “Sunships on the Shores of Mars” and “Columbus Avenue” have a coolness and ease with jazz vocals that we have come to expect from the likes of Gregory Porter. Bluey joins the club. One can’t help but wonder if Bluey took notes from previous collaborator and jazz vocal legend Al Jarreau himself. Jarreau and Maunick worked together on Mario Biondi’s album, Sun (Columbia, 2013) and hints of Jarreau’s style can be heard on these two tracks.

As with Bluey’s Incognito albums and Leap of Faith, Life Between the Notes is consistent and brings something new on each listen. It’s a fitting addition to an already legendary oeuvre.

 

 

Book Review: Possibilities, Herbie Hancock with Lisa Dickey (Viking, 2014)

ct-herbie-hancock-possibilities-jpg-20141106Reading Herbie Hancock’s memoir is akin to reading the modern history of jazz. His career touched numerous branches of jazz and was responsible for sprouting some entirely new ones. From his mentorship with Donald Byrd, to being a sideman for Miles Davis, to becoming a band leader and trail blazer, reading Herbie’s history gives you a fair reading of the genre itself.

The book covers his life story, from his upbringing, discovery of music and performance, and the music he has made with great artists over five decades. Possibilities is an apt title because the book, and Hancock’s journey, can be characterized with a series of turning points that Hancock had the courage to embrace. It also resonates with his Buddhist philosophy, which receives generous attention in the book. Hancock handles this personal aspect of his story maturely, simply relating how it affected his outlook on life and ultimately his music. Similarly, his confessions and reflections on drug addiction are offered in appropriate contexts, without becoming unseemly.

I think the best way to write about this book is to offer a playlist of the recordings that Hancock himself cites throughout the book. Of course, there are too many to offer a comprehensive list. Instead, I’ve filtered my selections for those that I found reflected the most important turning points in developing his remarkable career.

1. Body & Soul, Coleman Hawkins, Body & Soul (Bluebird, 1939) – Hancock’s first professional gig was in 1960 with Coleman Hawkins and this song is recalled in the book as one of the pieces he had to first perform with a professional jazz player.

2. The Injuns, Donald Byrd, Byrd in Hand (Revolver, 1959) – I didn’t know until reading this memoir that Donald Byrd mentored Herbie Hancock as he was coming up in the music business. Byrd took Hancock on as a member of his band and this song was one of the first Herbie played with the band. I was especially intrigued by this connection because Byrd and Hancock happen to be two of my top three favourite musicians of all time.

3. Shangri-La, Donald Byrd, Royal Flush (Blue Note, 1961) – Hancock’s recording debut was on Byrd’s 1961 release, Royal Flush. This was a key event in Hancock’s career because it led to his own recording contract with Blue Note and more importantly, thanks to Byrd’s counsel and urging, culminated in Hancock retaining the publishing rights to his compositions.

4. Watermelon Man, Herbie Hancock, Takin’ Off (Blue Note, 1962) – Hancock’s first record. This would become a major commercial success, paving the way for financial independence thanks to his publishing rights. His income from this record would support more experimental work later in the decade.

5. Burning Spear, Eric Dolphy, Iron Man (Charly Records, 1963) – Playing as a sideman to saxophonist Eric Dolphy was Hancock’s first exposure to free jazz. It was Dolphy’s breaking of the rules of music that helped Hancock see the possibilities in music when new directions were taken. I believe this is one of the most important influences on Hancock’s approach to music, probably second only to Miles Davis himself.

6. Seven Steps to Heaven, Miles Davis, Seven Steps to Heaven (Sony, 1963) – Hancock’s notoriety from Watermelon Man and his reputation as a singular talent lead the great Miles Davis to invite Hancock to join his now legendary quintet. This album was the first of Miles’ records that Hancock appeared on.

7. Maiden Voyage, Herbie Hancock, Maiden Voyage (Blue Note, 1965) – Now a sought after composer, Hancock took on commercial work, writing jingles on the side. A fragment of a jingle for a men’s cologne evolved into this, one of Hancock’s most recognizable compositions. It was unique in its spiralling structure and Hancock discusses his discovery of this form in detail in the book.

8. Blow Up (Main Title), Herbie Hancock, Blow-Up Original Soundtrack (Rhino, 1966) – Hancock’s first commission to do a film soundtrack. It had a sound that was influenced by the pop music of the day. The book contains an amusing story of how Hancock hosted a decoy recording session in Canada to navigate European content rules imposed by the film’s backers.

9. My Ship, Miles Davis, Miles Ahead (Sony, 1957) – Gil Evans’ work on this Miles Davis album strongly influenced Herbie’s first incarnation as a band leader.

10. Speak Like A Child, Herbie Hancock, Speak Like A Child (Blue Note, 1968) – Hancock’s first band was a sextet inspired by the fullness and smoothness of sound on Miles Ahead. He chose 3 horns (Sax, Trombone, and Trumpet). The rhythm section included Miles Davis Quintet bandmate, Ron Carter on Bass. Speak Like a Child was the sextet’s first recording.

11. Stuff, Miles Davis, Miles in the Sky (Sony, 1968) – Another key turning point was Hancock’s discovery of electric instruments. Hancock relates his first encounter with a Fender Rhodes electric piano while in Davis’ quintet. Without a piano to play at a venue they were booked at, Herbie asked his band leader what he was supposed to play. Miles pointed to the Rhodes sitting in the corner of the room and said, “play that.” This track is off the first recording of Miles’ that used the electric piano.

12. Fat Mama, Herbie Hancock, Fat Albert Rotunda (Rhino, 1969) – Having known Bill Cosby for some years before, Hancock was invited by Cosby to write music for TV special, which would later be adapted and become Fat Albert and the Cosby Kids. This was also one of the earlier instances of funk elements in Hancock’s music.

13. Quasar, Herbie Hancock, Crossings (Warner Bros., 1970) – Now in his Mwandishi period, Hancock had embraced Afro-centric culture and was working more in the jazz/funk fusion mileiux with greater degrees of musical experimentation.  Hancock himself describes Mwandishi as an “R&D band.” This track off of their Crossings album showcases a new technology Hancock had adopted when he met synthesizer pioneer, Pat Gleeson. The Moog Modular synthesizer first appears in Hancock’s recorded work on this album.

14. Toys, Herbie Hancock, Speak Like a Child (Blue Note, 1968) – Mwandishi’s bassist was Buster Williams and Hancock relates a story in the book where Williams performance of this particular track in 1972 was so focussed that Herbie asked him how he managed to play it so well on that particular day. Williams’ response was that he chanted before the performance in his practice of Buddhism. A philosophy and practice that Hancock adopted from that point forward, Buddhism can’t be overlooked in how it has shaped his personal and professional life.

15. Yes We Can, Can, The Pointer Sisters, The Pointer Sisters (UMG, 1973) – Having spent a few years with Mwandishi in “far out” experimentations, Hancock was searching for a change and was inspired by an unlikely encounter with the Pointer Sisters in 1973. Noting how much of a crowd-pleaser this tune was, Hancock made a sharp turn into funk.

16. Chamaeleon, Herbie Hancock, Head Hunters (Sony, 1973) – Another iconic Hancock composition, Chamaeleon was the first song written and recorded by his next band, The Headhunters. Bernie Maupin was on reeds, Paul Jackson on electric bass, Bill Summers on percussion, Harvey Mason on drums, and Herbie on synthesizers and clavinet. The clavinet allowed Hancock to play guitar lines on the keyboards and meant he didn’t need a guitarist in the band.

17. Doin’ It, Herbie Hancock, Secrets (Columbia, 1976) – His interest in electric instruments continuing to build, Hancock took on a young sound engineer, Brian Bell, for this record. Bell would become an integral part of Hancock’s creative process for years to come. His ingenuity and innovation is showcased heavily in the book. The passage where Bell describes how he managed patch cords in the first synthesizers (that had no memory banks) evokes thoughts of other technology pioneers like Hewlett & Packard or Jobs & Wozniak.

18. Don’t Hold it In, Herbie Hancock, Monster (Sony, 1980) – Now fully invested in making music with computers and electronics, this album was the first in a series where microcomputers, including the Apple II+ and several of Bell’s improvised equipment were featured. Another technological influence was Keith Lofstrom, who developed an automated patch bay for this period in Hancock’s work with early synthesizers.

19. Buffalo Gals, Malcolm McLaren, Duck Rock (Virgin, 1983) – A sea change was hitting popular music in the 1980’s with the emergence of new wave and the post punk British invasion. Hancock first heard this track through some associates who were exposing him to what young people were listening to. The scratching on this record was a direct influence on what would become Hancock’s biggest pop hit of the 80’s.

20. Rockit, Herbie Hancock, Future Shock (Sony, 1983) – Teaming up with producers Bill Laswell and Michael Beinhorn, as well as pioneer turntablist DXT, Hancock released this song accompanied by Godley & Creme music video that hit number 1 on Billboard’s US Dance chart. Rockit also won best R&B Instrumental Performance at the Grammy’s in 1983.

21. Una Noche con Francis, Herbie Hancock, Round Midnight (Original Motion Picture Sountrack) (Sony, 1986) – Returning to more straight-ahead jazz, but still with an innovative spin, Hancock produced the soundtrack to this film, featuring Dexter Gordon in the lead role. He won the Oscar for best soundtrack for this work.

22. Manhattan (Island of Lights and Love), Herbie Hancock, The New Standard (Verve, 1996) – Composed with his sister, Jean Hancock, who had died tragically in a plane crash years before, Hancock included this song on his 1996 release, the The New Standard. Manhattan won the Grammy for Best Instrumental Composition that year.

23. Tony Williams, Herbie Hancock, Future 2 Future (Columbia 2001) – In this current stage of his career, Hancock states in the book that he seeks projects that bring something new to his experience and that have a purpose. This track is a tribute to Tony Williams, the talented drummer and Herbie’s bandmate in Miles’ quintet. Williams’ talent is mentioned at length in the book and this tribute featuring spoken word by Elenni Davis-Knight, is an excellent example of Hancock’s aim to be innovative and purposeful.

24. Both Sides Now, Herbie Hancock, River: The Joni Letters (Verve, 2007) – A truly great talent never wanes and Hancock was on top again with this album, a deliberate tribute to an artist he respects greatly, Joni Mitchell. This record won Album of the Year at the 2007 Grammy Awards.

Although I’ve tried to distill what resonated most with me, I would recommend a full reading of Possibilities to personalize your own appreciation of Hancock’s life and career. Like the genre he helped shape, this book offers so much insight that each reader will develop a slightly different view of Hancock’s life and music. In this, Hancock and his writing partner Lisa Dickey have achieved what Hancock has done time and time again in his career: create something that adds to our experience of music but do so in a way that is not uniform among those who listen.