Christian Scott: A New Revolution To Be Heard

Christian Scott (trumpet; b. 1983)

A few weeks ago I stumbled across the music of New Orleans trumpeter Christian Scott. I had heard the name around the scene but up until that point I had given it much attention, thinking it was mostly hype. Well funny how time flies and thoughts change. I have spent allot of time absorbing the music of Christian Scott and I have to say this is one cat you should really check out.

There is a sense of aggression, thoughtfulness and protest throughout his music. Christian Scott is definitely challenging the order of things. I believe I said I hadn't seen and heard this much brouhaha since Roy Hargrove came on the scene, and I still think I'm right. But Scott does deliver the goods. He has a desire to fuck with our preconceived notions of how jazz should be (from an American perspective). The european jazz artists are already blowing jazz apart and reconstructing it. Christian Scott is looking at it from a rock/alternative perspective. His material is dense, packed with distorted guitar work and pulsating drum lines.

The ghost of Miles Davis does linger for those who are wondering, but then you think "What would Miles be doing now anyway?" (Remember he had worked with Prince on some brief studio work before his death).

Rewind That (Concord), Christian Scott's debut, is a well-crafted and smoothly executed session highlighted by the striking originals "Say It," "Rejection," "Suicide" and the Donald Harrison penned "Paradise Found". This is a dark and ambitious album without any real upbeat movements. Although you could consider Scott's reinterpretation of the Miles Davis classic "So What" as a funky 21st look into what was done and what can be done when listening to your mentors.

The follow up, Anthem (Concord) continues the forward thinking approach and appropriate usage of rock-tinged guitar as needed. Passages like "Anthem," "Dialect" and "Katrina's Eyes" show a deeper perception and sense of anger that could parallel some of Miles' mid-fusion era material. There is still a beautiful quality to this playing that holds the language of the tunes together. It's like riding through a riot a 2 miles an hour and now wants to touch your car. Anthem is heavy stuff but then "The 9" and "Like That" remind you that Christian Scott and his band can find the groove and subtle ballad side of the proceedings to ease the listener along the journey. Anthem turns out to be a strong follow up with some very heady themes.

Some would see his third album Live At Newport (Concord) as nothing but filler until the next studio album but this would be a major misstep on any one's thought. Live At Newport is a CD/DVD that demonstrates both visually and audibly what an awesome performer Christian Scott has become in just short of a decade. And to witness his band including pianist Aaron Parks, bassist, Joe Sanders, guitarist, Matt Stevens ripping through chord changes with an emotional verve that might be reserved for more rock oriented acts is truly amazing. Keeping his band together appears to be one of the main focuses of Christian Scott ethos.

This is a band that is in supreme control and the interplay is meticulous. The work done by saxophonist, Walter Smith III is fantastic, especially on "Litany Against Fear" along with Parks again on piano. This is a fresh concert date finds the group in prime form. Along with a few originals there are two Matthew Stevens tunes, "Rumor" and "The Crawler" that for me were startling and refreshing. Live At Newport also revisits of "Anthem" and "Rewind That" with higher than expected results when experienced live (especially on the DVD). Live At Newport is still challenging stuff but worth every minute of it.

Yesterday you said Tomorrow (Concord) appears to be the culmination of a journey. The fusion of rock idioms and jazz rhythms into a solid, well balanced jazz album that demands the attention it is receiving. Yesterday you said Tomorrow starts out emotionally deep with some terrific interplay between Scott, drummer, Jamire Williams and guitarist, Matthew Stevens on "K.K.P.D." I've never been a fan of Radiohead or Thom Yorke but somehow the groups cover of "The Eraser" actually works (who would of thought of that?). Tracks like "Isadora" (originally on Live At Newport) and "Jenacide" are gritty, complex and challenging. It all comes to a perfect conclusion by giving the listener more thing to think about on the abortion themed "The Roe Effect".

While every artist uses their environment as the basis for their work, few American jazz musicians transform their thoughts into logical, thought provoking and even sometimes unnerving soundscapes that cause the listener to stand back and truly take stock of what is going on in music. Jazz continues to grow and Christian Scott appears to be determined to see it grow in all directions except backwards.

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.

One For All: Continuing The Tradition

One For All (group; formed 1997)

Incorrigible (JLP)

Eric Alexander (sax)

Jim Rotondi (trumpet)

David Hazeltine (piano)

Joe Farnsworth (drums)

John Weber (bass)

Steve Davis (trombone)

For more than a decade, One For All have been one of the most exciting and swingin' hard bop groups on the jazz scene. The sextet have consistently been compared to the great Art Blakey and The Jazz Messengers--a bold comparison but probably pretty accurate. Each member of this band is also a renowned solo artist so when they do record together it is always special.

One For All have been a permanent fixture in the New York jazz scene with frequently individual live performances (mostly at Smoke Jazz Club) in addition to their yearly performances as One For All at the famous Uptown venue. The group have just released their 15 album, Incorrigible (Jazz Legacy Productions) and it continues the groups string of straight-ahead hard bop with the same phenomenal results.

Incorrigible begins with the standard "Bewitched, Bothered and Bewildered" but things really get jumping on the second piece "Petite Angel" penned by pianist David Hazeltine and featuring some lovely solo work from saxophonist, Eric Alexander and trombonist, Steve Davis. Upbeat with a slightly mid tempo groove "Petite Angel" is a signature example of how ease it is to fall in love this amazing sextet.

One of the most important and delightful things I have enjoyed all my years of listening to One For All is the fact that each member of the band writes material for the albums. So the listener tends to get a good overview of the depth this band possesses. There is no difference on Incorrigible. The loving tribute to the great trumpeter, Freddie Hubbard entitled "voice", written by trumpeter Jim Rotondi is sublime, touching and emotionally perfect.

The title track written by Eric Alexander is another standout moment as this is where the group begin to really to smokin' and you feel the power of their musicianship. Steve Davis (trombone) has been one of my favourtie musicians of the last ten years. He is definitely taking up the mantle of Curtis Fuller and J..J. Johnson with great ease. The track "Spirit Waltz" which originally featured on his 2001 album, Systems Blue (Criss Cross) is revisited here with the same vigour as its predecessor. In addition to always pitch perfect modality of Davis, drummer Joe Farnsworth helps drive this piece along with some nice timing accompanied by the rest of the groups precision work. For me "Spirit Waltz" is the second standout moment on Incorrigible.

The album rounds out with Rotondi and Davis numbers, "Back To Back" and "So Soon" respectively, where former is an upbeat latin-tinged soul-filler. The closer, "So Soon" reinforces the group ethos with each member practically highlighted throughout. It has an almost classic Blue Note Records quality to it. The perfect way to end the session.

One For All are that rare breed in jazz circles--a consistent group that has stuck together for years and continues to challenge each other and you can hear the fun they have playing together. This is a band that enjoys being in the studio as well on stage and every single record every record captures this magnificently. One For All continue to carry the straight ahead tradition of hard bop and of the small batch of new records so far this year, Incorrigible is by far in my top five.