Stephane Belmondo: The Same As It Never Was Before

Stephane Belmondo (trumpet)

The Same As It Never Was Before
(Sunnyside; 2011/Verve France; 2011)
Kirk Lightsey (piano)

Billy Hart (drums)

Sylvain Romano (bass)

Stephane Belmondo's ninth album (either as leader or within a duo), The Same As It Never Was Before, is somewhat a departure, a new chapter and a refreshing return to form for the veteran trumpeter.

His previous efforts have carried him through orchestral settings, contemporary jazz modes, world and soul-jazz infusions (his debut was a magnificent Stevie Wonder tribute). This has allowed him to work with a host of global musicians, including Sylvian Luc, Dee Dee Bridgewater, Yusef Lateef and Milton Nascimento. But now he has settled into a straight ahead and beautifully relaxed mode with this quartet release that should have a wider set of jazz fans taking notice.

All of these experiences, interactions and inspirations of other fellow great musicians is reflected throughout The Same As It Never Was Before. And circling himself around a few well seasoned talents has challenged Belmondo and made this outing a delight to experience. Only Sylvian Romano had worked with Belmondo up to this point.

The soulful bliss of Stevie Wonder is revisited on "You And I" which I almost didn't recognize. It's keeps the core essence of the original but Belmondo's arrangements and quartet's performance gives it a sultry and romantic feel that you immediate fall in wonder with the tune and want to hear again before you move forward with the rest of the session. "Light Upon Rita" opens with a lovely set of chords from Romano and sets a haunting yet investigative approach for the piece. Soon Lightsey, Hart and Belmondo join in and the tune becomes a fiery yet still emotionally structured movement. There are shadows of Woody Shaw, Donald Byrd and the more contemporary Roy Hargrove that emerge in Belmondo's work, and "Light Upon Rita" displays that with strength and beauty.

"Godspeed" is reminiscent of Belmondo's more world-music related work. It's brief (just over 2 minutes), but shows the diversity in Belmondo's writing and how it all fits perfectly on this release. Utilizing his trumpet as well as flute and shells, he crafts a small yet effective interlude (Jon Hassell and Stephan Micus would be proud). "Haunted By Now" is a ballad in which the group is in perfect unity. Lightsey and Belmondo's exchanges together are really heartfelt and feel like they had been kindred spirits.

The Same As It Never Was Before is a monumental piece and an adventurous journey through many ideas Belmondo has worked on in the past. But with this new quartet he has reshaped those ideas into something that surely is the perfect primer for those of you who have yet to experience his music. Well worth seeking out for even the newest of jazz fans.

Miles Davis and Hip Hop

Miles Davis (trumpet)
Doo Bop (Warners; 1991)

I said before the Miles' latter period (1985 - 1991) still needs to be re-evaluated by jazz fans and the outside listening public. Far to often it is shoved aside by the the monumental recordings that presided them (Rebirth of the Cool, Steamin', Workin', Kind Of Blue, Bitches Brew and On The Corner). But I think anyone who is going to listen to Miles' recordings has to eventually get to the point of "what's next?" "what do I listen to after the big records?"

Well, I think covering the final years of his life is a good idea. Not every record is great but they all do tell a story of what Miles was thinking and the direction he was looking towards. One such album is his final recording just before his death in 1991, Doo Bop (Warners).

Now for those who know this was a very incomplete record at best. Miles had been interested in R&B and Hip Hop for quite a few years at this point. He had actually recorded material with Prince a few years earlier. This material remains unreleased (or rumoured released on Prince's Black Album). So the idea and concept of Miles record a "street" dedicated album was really not out of the question. It was more "when" and "what" would it sound like.

I have to say 18 years later, Doo Bop sounds slightly dated but if you place yourself back in that time period, you know full well Miles was on to something. The album was recorded in few short weeks. The not all the material was even complete. In working with his collaborator/producer for the album, Easy Mo Bee, Miles felt a younger contemporary. This was someone he could drop some knowledge on as well learn more about the Hip Hop movement.

The opening "Mystery" with the infectious muted trumpet combined with muffled drum n' bass rhythm was Miles setting down a new marker for a new decade. You felt the futuristic street vibe Miles was searching for. That pounding message would carry through to "Chocolate Chip" with its slowed down mid tempo funky drummer beat and some excellent samples thrown in for good measure. A nice dance floor filler.

Miles was also influenced by vocal sounds of hip hop, so he incorporated rap into some of pieces (provided by Easy Mo Bee and J.R.. The rap pieces don't really work more because the lyrics are really weak and don't seem throughout well at all. The music itself compliments Miles very well. Miles and Easy Mo Bee do add a lot of though into the musical arrangements throughout Doo Bop. "Blow" has a "Pacific State" (song by English techno band 808 State) vibe to it that is very interested (despite the average lyrics laid on top).

Towards the end of recording sessions Miles had visited the hospital for some treatment. It would be turn out that Doo Bop would be the last record Miles Davis would record. The album was completed by Easy Mo Bee and since has received lukewarm reviews. In listening to Doo Bop again and again for this piece I realise there is a lot hear to absorb and I've been enjoying the adventure of going track by track. It's definitely an incomplete experience but its the insight into a legends way of thinking.

If you own the album take a listen again and think about some of the hip hop, techno that even some of the soul jazz that would come (Guru's Jazzmatazz, Branford Marsalis' Buckshot LeFonque, Roy Hargrove's RH Factor, et. el) --Miles was still ahead of the game.

Bruce Barth

Bruce Barth (piano; b. 1955)

Very accomplished yet unassuming Bruce Barth has developed out a reflective post bop style that is bold as it is subtle. You really get this feeling more when you see him live. Bruce Barth is technically brilliant and highly effective with his compositions and interpretations. I have enjoyed his music for years now. Bruce Barth is one of those under-rated musicians of his generation. If someone doesn't tell you about him or you don't stumble across a live show in your city you may never know about him.

I first discovered him at a live show at the now legendary Smoke Jazz Club in New York City about seven years ago (maybe) not actually realizing years later that I actually met him once with Terence Blanchard as he was the primary piano player in Terrance's band during the early nineties (he also performed on a number soundtracks that Terence scored including Malcolm X). Bruce Barth has recorded 10 albums (and one DVD) as leader. All are quite rewarding and possibly owe a good deal to Chick Corea, Herbie Hancock and than Thelonious Monk and Duke Ellington (although Monk composition appear on quite a few albums).

In addition to working in Terrance Blanchard's band, Barth has also worked with Branford Marsalis, Wynton Marsalis, Joshua Redman, Tony Bennett, Karrin Allyson and Roy Hargrove to name a few. The years of work in Blanchard's group serve Barth well on his first few recordings including Morning Call (Enja), his second album as leader. This is highlighted by a great sextet including Leon Parker (drums), Steve Wilson (sax), Scott Wendholt (trumpet) and Larry Grenadier (bass). Morning Call is awash of Barth originals that show sophistication and beauty that I fell in love with after one listen.

Another standout album for me is the 2002 recording, Live At The Village Vanguard (MaxJazz) which is solid live recording (and the most widely available) mixed with spirited originals and elegant standards. A romantic yet smokin' live session that makes you feel like you're right there in the audience. It jumps, grooves and floats that you almost forget that its only a trio performing on the date.

Bruce Barth's latest album, Home (We'll Always Swing Music) is a live album with longtime colaborator Steve Wilson on saxophone. Home is an intimate performance and you can immediately tell that the two musicians have played with each other for years (since 1987). They are performing in front of just over 60 people at the home of a jazz supporter of the organization We'll Always Swing. Harmonically it might be two instruments but their interplay is so beautiful it sounds like one person. Barth again has written most of material for this evening including the compelling "The Ways Of The West" and rigorous "Blues Interruptus" which highlight Barth's considerable strengths as composer. There are only two standards played during this date, "All Through The Night" and "Sweet And Lovely". Both magnificently done and played with a loose combination of adventure and poetry. Home serves as an nice and long overdue follow up to Live At The Village Vanguard but I'm glad it's arrived.

I have a feeling many of you may not have heard Bruce Barth so I'm hoping I've convinced some of you that he is worth a listen. A good amount of his albums are available for download so that might be the best way to find him. He doesn't tour that often but if you should lookout for his name on the bill at your local jazz club. When he does show up--go. You won't regret it.

Leon Parker: The World Is A Drum

Leon Parker (drums, percussion; b. 1965)

With an idea of explore how far one can take rhythm within and outside jazz, Leon Parker has shown that imagination, creativity and aesthetic can erupt in the smallest and sparsest of places. Leon Parker use of percussion's and drums was different from the onset. To me he must have been influenced by the late, great legend, Billy Higgins. He did a great bit of gigging in the New York scene before getting a gig with Columbia records which saw him becoming one the most talked about musicians during the '90s heyday for jazz scene. At the time artists like Wynton and Branford Marsalis, Roy Hargrove, Christian McBride, Jeff "Tain" Waits, Charlie Hunter and others were stepping into the gap left by Miles, Monk, Dizzy and others.

While there were certainly a wealth of jazz drummers at the time ("Tain" being one of the most high profile) none seemed to be doing something different, original and rewarding like Parker. Leon Parker worked as a sideman with fellow artists such as Dewey Redman, Charlie Hunter, Dave Kikoski, Sam Newsome to name just a few. His albums seemed to combined the natural elements of modern jazz but his use or lack there of of most of his drum kit (using just the cymbals at times) gave the music a "world" or African atmosphere.

His debut album, Above & Below (Epicure) featured a jarring but funky versions of Monk's "Beshima Swing," "Epistrophy" and some very cool percussive work on Dizzy's "Caravan". Parker is also helped on his debut by some even more impressive work from Mark Turner, Joshua Redman and David Sanchez (sax), and the always enjoyable Jacky Terrasson (piano). This is an impressive and inventive debut that is unavailable at the moment but you may be lucky enough to find it at some better used record stores.

His next two albums, Belief (Columbia, 1996) and Awakening (Columbia, 1998) grow on the concepts from the debut but incorporate more percussion and world music themes. Belief starts is with a really cool Caribbean themed "Ray Of Light" that set a nice groove for the album. It has a nice balance of bop and world influences that take the album one step ahead from Above & Below. You can really start to hear Parker coming into his own as a leader and composer on Belief. Awakening while starting off funky levels out with another Caribbean drum tinged "It Is What It Is" and slide you into the lovely, spiritual journey of "Mother Earth". Awakening might take a few listens as it seems Parker might have been given a great deal of freedom in this recording. The emotion and ideas come alive and well worth the experience.

It would take until 2001 for Leon Parker to record another album, The Simple Life (M) which was emulates Parker's diverse talents by being recorded in various settings (live, studio, and even on the street). It includes some wonderful by Monk again as well as a few reimagined originals from the Belief album. Leon Parker's music has a rhythm and tone that is spiritual, haunting and beauty all within the short period of listening to just one album. He is a real talent that I hope starts to record more frequently. Check out the great live work with Jacky Terrasson's band.

 

Gerald Clayton: Two-Shade

Gerald Clayton (piano; b. 1984)

Two-Shade (EmArcy)

Gerald Clayton is a well experienced pianist with an excellent grasp of tradition. He has worked under and with some of the best musicians of recent years including Kenny Barron, Benny Green, Mulgrew Miller and his father and uncle John and Jeff Clayton (bass and sax respectfully). For me Clayton's style is more reminiscent of Benny Green in that he can be exciting and playful but with the agility to create a passionate and highly emotional atmosphere with his ballad work.

Gerald Clayton served in Roy Hargrove's band for the trumpeters most recent recordings (Earford and Emergence). This is were I first heard him and was struck at how mature his playing sounded. On Two-Shade (EmArcy), his debut as leader, he shows no signs of fear. One of the earliest tracks on disc, "Trapped In A Dream," demonstrates his musicianship and writing with rich reward. He can play it big as well; with his trio stretching out on the slightly funky groove of "Two Heads One Pillow." My favourite track, "Peace Of The Moment," is a ballad that exhibits a melodic beauty and inventiveness that many of his contemporaries cannot even construct.

The majority of the album are Clayton originals excluding two tracks (Cole Porter and Dizzy Gillespie standards) and they are truly noteworthy. His trio consisting of Joe Sanders (bass) and Justin Brown (drums) also show great command and fellowship within Clayton writings. Clayton develops a voice quickly with Two-Shade and its a wonderful journey to travel on with him and his band.

Two-Shade is a marvelous debut that is not only enjoyable and memorable, it has made a statement that Gerald Clayton is a dynamic performer and composer and may reach the next level faster than we might think. Highly recommended.

Dizzy Gillespie: Why He's Important

John Birks "Dizzy" Gillespie (trumpet; b. 1917 - d. 1993)

Diz's legacy and contribution is felt with almost every musician that performs jazz. Diz, along with Charlie Parker, single-handedly created bebop. But Diz is also responsible for his perfect integration of Latin influences upon jazz. He was the quintessential band leader - always ready to teach and pass on his knowledge to younger musicians. So much so that you can hear the influence on many of Miles Davis early recordings.

Born in South Carolina, Diz taught himself trumpet and trombone in his teens. He paid his dues performing early in bands led by Cab Calloway, Earl Hines, Woody Herman and Teddy Hill. Shortly after, he formed the legendary partnership with Charlie Parker in the 40s and recorded a string of classic albums including one of my all-time favourite jazz albums, Jazz At Massey Hall (Debut Records). During this time he would also introduce audiences to latin percussion during his live performances as heard famously on "A Night In Tunisia". Many of Diz's early recordings are now standards that even the non-jazz fans would recognize at first listen including "Salt Peanuts" "Manteca" and the aforementioned "A Night In Tunisia".

A proficient and vibrant player, Diz always had fun on stage in front his audience. Dizzy Gillespie was a technical genius when it came to his music. Unlike many of his contemporaries, he wrote and practiced every note. This, along with his showmanship, are the reasons why he is so important to the growth and explosion of bebop. Live shows were probably the best way to experience the legend.

Some of you may have seen photos of Dizzy with what looks like a upturned trumpet. Most jazz fans known the story, but I'm writing this for those who don't know. One night before a club performance, a dancer triped on it and mangled it. The trumpet still worked and Diz decided to play it anyway. This iconic image is the way most people picture Diz to this day.

There are quite a few individual albums that I could recommend but if you really just want to condense things down you should go head first into Dizzy Diamonds (Verve). Dizzy Diamonds is a three disc set that is broken into "Big Bands", "Small Groups" and "Afro-Cuban". It pretty much covers all you, the new listener, would need.

For those of you who want to seek out more, I would highly suggest digging into some individual albums such as Diz & Bird, The Modern Sextet, Diz & Stan Getz, Sonny Side Up, Birks Works, The Copenhagen Concert and Jazz At Massey Hall for more well rounded experience. Dizzy's legacy lifes on in trumpet players like Roy Hargrove, Wynton Marsalis and Nicholas Payton but none of them will exude the excitement that he did for his craft--one that makes jazz a truly unique art form.