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.

Soul Jazz Week: Harry Whitaker

This week JazzWrap looks at a few rare and new soul jazz albums which helped shape the genre and moved them it forward.

Harry Whitaker (piano; b. 1942)

Black Renaissance: Body, Mind and Spirit

(reissue: Luv N' Haight; originally released: 1976)

Woody Shaw (trumpet) Buster Williams (bass) Billy Hart (drums) Howard King (drums)
Mtume (percussion) Earl Bennett (percussion) David Schintter (sax) Azar Lawrence (sax)

As mentioned in the liner notes (written by DJ Giles Peterson), Harry Whitaker's Black Renaissance is the "holy grail of soul jazz records" for collectors. I originally heard the album at a neighbors house as a kid but never really paid any attention because I thought it was too out-there. Somehow I thought swirling grooves, a smokin' trumpet, funky bass and trippy vocals were not for me. Idiot.

Harry Whitaker, was born in Florida and spent time in the Detroit jazz scene before finally landing in New York. After a number of stints with successful jazz and R&B outfits (including Blood Sweat & Tears), Whitaker landed what would the gig that his most famous for with Roy Ayers Ubiquity. With Roy Ayers, Harry Whitaker was integral part of the success of the band. Whitaker also wrote and produced for Roberta Flack and produced and the soundtrack for the blaxploitation film Coffy. All this is the short pan of about five years.

Amazingly, it wouldn't be until 1976 that Whitaker would go into the studio and recorded his first album as leader. Black Renaissance consist of two very long tracks, "Black Renaissance" is a reflection of the times. It is funky and spiritual with some truly soulful playing from Whitaker. The performances from Woody Shaw, Azar Lawerence and David Schnitter are rich, dynamic and very fluid. Shaw really shows why he was a natural successor to Miles Davis.

The second track, "Magic Ritual" is a real journey into Afro-American psyche. With some wonderful interplay between Shaw, King, and Howard King, "Magic Ritual" takes on a real spiritual vibe reminiscent of the best Impulse records recording of a decade earlier. The bass solo from Buster Williams that takes this to the closing bars is simply fantastic is its emotion depth.

While Whitaker's playing is understated throughout this session its really the arrangements that you will undoubtedly focus in on. Most this session was improvised but you get a strong sense these musicians had great reading on each other which makes this all joy to listen to. Black Renaissance is not only an opening onto the Black Cultural movement of the 70s it's solid jazz album built on a lot rich ideas from a pianist and arranger with a serious and grossly under-rated reputation.

Whitaker has recorded three albums since (Thoughts Past and Present, The Sound Of Harry Whitaker, and One Who Sees All Things). All recorded in last eight years and are more straight ahead contemporary jazz albums which you should also seek out. But Black Renaissance is definitely an album monumental funk proportions that is worth it's tag as the "holy grail" of soul jazz.

Mulgrew Miller: The New And The Old Guard

Mulgrew Miller (piano; b. 1955)
Solo (Space Time Records)

A frequent session member with Woody Shaw, Betty Carter, Art Blakey, Tony Williams and more recent times with saxophonist, Kenny Garrett, Mulgrew Miller is one of the few masters of the piano of the last three decades. With Art Tatum, Pud Powell, McCoy Tyner and the great Oscar Peterson as his guide, Miller has created a body of work that is insurmountable in regards to musicianship and composition.

Mulgrew Miller has over 15 albums to his credit, many of them in and out of print. It is beyond difficult to find Miller's works at your local record (or used record store) but I assure you if you find one pick it up, you wont be disappointed. His most recent Solo (Space Time Records) is live album and a prime example of Mulgrew Miller's mastery. I have seen him over a dozen times and it is always an magically event to watch the "Big Man" come on stage and gently let loose a cavalcade of notes in astonishing fashion. Solo is evening that runs smoothly through a host of standards which Miller delivers with quite beauty and a harmonic sense of realism.

This is definitely an intimate evening and everyone listening knows it. Lovely, absolutely lovely precision work from Miller from the opening "Jordu," and the audience definitely enjoy the ballads "Carousel" and "My Old Flame". There's some heavyweight playing on the closing number, John Coltrane's "Giant Steps"--fantastic stuff and shows exactly why he is considered one of the best pianist of his generation.

I have only been only been able to find Solo as a digital download so if anyone knows where I could get a physical copy I would love to know. Mulgrew Miller is one those completely under appreciated pianist that deserves wider recognition. I believe Solo is one of those records that can prove it to anyone.

The Library: The New/Old Experience

The New York Public Library

With the weekend upon us I thought I would mention a great new experience which really is the old experience from our childhood.

With the rise of the Internet and downloading (legal and illegal) and the demise of the record store, it's become really hard for music lovers to find and enjoy music. Now I'm not a fan of illegally downloading music but I know a lot of people who are. So I wanted to talk about my new discovery from some of those records that people new to jazz might still be a little hesitant to buy or even download. My new experience is really and old experience--The Public Library. Yeah, I know...who wouldn't thought that!?!

So I've been going to the public library that's near my home for about 4 months now. I have to say its been great. Now you would be surprised by what the library actually as far as music is concerned. Now the library won't have the Woody Shaw boxed set but they will have Miles Davis Kind Of Blue and Dave Brubeck Time Out and a number of other big name classic jazz albums. You may also be surprised because you may even find brand new releases if you lucky.

One afternoon I stopped in at the library just to see what music they had and I stumbled upon some nice jazz albums (most of which I already owned) but it got me thinking. This is the perfect opportunity for those of you who are starting a jazz collection or you just want learn some more about jazz without having to purchase or download them. Plus it gives you an opportunity to support your community by joining the library and finding books for yourself as well the family and some music.

I personally found the entire Led Zeppelin catalog at the library and uploaded it to my iPod. Now I already owned two Zeppelin albums and a compilation. I've always wanted to pick up the boxed set that came out a few years ago but just didn't have the money. This turned out to be a great way to satisfy my need and I'm very happy for it.Now believe me, the selection is extremely limited but you can stumble into a lot suprising stuff.
Blossom Dearie, whom I will write about in a few more entries, is one of the best and under-rated female vocalist ever. I found a couple of her CDs that are pretty hard to find and that made my day.

The whole experience of rediscovering the library has been incredibly eye opening. I highly suggest that everyone wherever you are across the world, if you have a library please, please, please try to check it out and ask for where the music department is. You might be pleasantly surprised by what you find.

Kenny Garrett: Bebop Into The Future

Kenny Garrett (sax; b. 1960)

Detroit born Kenny Garrett learned a lot as one of Miles Davis' session and touring band members during Miles' final years (1987 - 1991). He has also played with Woody Shaw (a major influence), Freddie Hubbard, Geri Allen and Art Blakey to name a few. His style has always been compared to Sonny Rollins, Sonny Stitt and definitely John Coltrane. But while the influences are there, Kenny Garrett has managed to create his own path and voice over the course of 15 albums. Garrett has shown himself to not only be a solid performer but a versatile one as well. He incorporates raw soulful grooves into his repertoire regularly, which makes many of his albums quite adventurous as well as refreshing.

There is a very solid block ('92 - '96) in which Garrett was prolific, thought-provoking and in clear grasp of his what he wanted to deliver to the public. For anyone, the albums Black Hope, Threshold, Triology and Pursuance (all on Warner Brothers) are all worth seeking out. For me these are 4 star albums of the highest order.

My personal favourite, Triology (Warner Brothers, 1995) is a fantastic record performed by a young artist that showed a myriad of ideas. The strength of his performance as well as his trio featuring Kiyoshi Kitagawa, Charnett Moffett (bass), & Brian Blade (drums) made Triology a worn out CD in my house for almost two years. The album included a nice mixture of standards and originals, all played with fresh verve and distinctive virtuosity. Standards like "Night And Day" & "Giant Steps" glide well against Garrett's own "Wayne's Thang" and "Oriental Towaway Zone" with true honour and respect to the foundations of jazz. The main thing for me has always been that some of the standards are very challenging to perform as a trio (without piano or trumpet) especially Coltrane's "Giant Steps," and towards the end of the album Dave Brubeck's "In Your Own Sweet Way," but Garrett's trio pull this off with great ease and beauty.

Triology, among the aforementioned albums, is perfect for any music lover (jazz fan or not). Hope you dig them.