Ambrose
Akinmusire (trumpet), Sam Harris (pianist), Harish Raghavan (bass), Justin
Brown (drums)
(Review by Chris K)
The fifth
Blue Note recording from this young (38) Californian, already feted as the
trumpet player of his generation.
What does it take to be anointed as the
leading contemporary player in the 2020s?
Expect startling technique, raw
power, modern relevance and political messages: after all he played on
Kendrick’s To Pimp a Butterfly and has torn it up with Kamasi
Washington. So, is he a “West Coast Get Down” version of his close
contemporary, New Orleans born Christian Scott? Scott is a top
player with distinctive style and agenda, but Akinmusire has extra gears. In
addition to high energy hip hop, post-bop and free experimental blasts, he also
draws oblique lines through the ethereal spaces opened up by Kenny Wheeler and
mapped out by the European School.
As long ago
as 2012, our editor-in-chief salivated “such is the beauty of his tone that tenderness abounds with each note he
plays”. This is also evident in his contribution to the excellent ECM
2018 Where the River Goes from the guitarist Wolfgang Muthspiel, where I think he simply steals the show
from the leader with playing of staggering beauty and sophistication.
His latest
album, eleven of his own varied compositions, on the tender spot of
every calloused moment is centered on the powerful and political face
of his activity, examining the modern African-American experience and
evaluating what the blues means in 2020. This is often uncompromising and
intense modern music, carried off with confidence and serious chops by a first
rate band, all making distinctive contributions. But there are many
beautiful and introspective episodes too, most notably the blues ballad Roy, a
moving tribute to the late Roy Hargrove.
Breathy and
swirling trumpet kicks off the opening track (the longest at 8
mins), Tide of Hyacinth, before a tumult of drums
and bass gives way to a helter-skelter of interlocking piano and trumpet.
Justin Brown’s tempestuous drumming is a revelation here and throughout. Even
when flat out, though, he and Raghavan on bass lock in to hold it all
together in an exhilarating but tight trajectory, with Akinmusire flying fierce
and free on top. The track peaks with a startling proclamatory vocal in Yoruba
by Cuban guest singer Jesus Diaz.
The second
track, Yessss, is much slower, starting with arco bass,
building to a masterpiece of trumpet improvisation over a complex brew, where
Sam Harris on piano combines telepathically. The high register of the trumpet
is unleashed here to sublime effect, never losing sight of musicality.
Cynical
Sideliners is a lovely 2 minute interlude featuring the
fresh voice of Genevieve Artadi with sensitive keyboard accompaniment, followed
by the more avant-garde and time-stretching Mr. Roscoe (consider the
simultaneous), named for Roscoe Mitchell of The Art Ensemble of
Chicago.
An Interlude
(that get’ more intense) does what it says on the tin - portentous plucked
bass, building with roiling drums through to a full on romp. Even at
full tilt though, tunes are evident, shining through the maelstrom. Another
standout is reset (quiet victories&celebrated defeats), with
a pure, high and heartbreaking trumpet line gliding over skittering percussion
and punctuating bass.
Akinmusire’s
compositional style is very varied here, so Blues (We measure the heart
with a fist) indulges in spaced out conversations, and
effects on trumpet and piano, before gradually growing into a
“post-modern blues”. The album closes with a thoughtful Fender
Rhodes reflection, Hooded Procession (read the names outloud).
The top track
though is Roy, and the album is worth it just for this. Reverend,
spine tingling, bluesy and above all exquisite ensemble
playing. This should be on every music syllabus everywhere!
As Archie
Shepp, no less, said earlier this year, “This is the
Cat!”
Wholeheartedly recommended: an exciting album, brimming with
ideas, building up a serious catalogue of composition and playing for the
remarkable Akinmusire.
Chris Kilsby
Released June
5 on CD and digital formats with a vinyl release to follow on August 28.
Scheduled
for the Jazz Café (London) Jan 14.
1 comment :
A most positive review. The line-up appeared at the 2012 Gateshead International Jazz Festival (Walter Smith III was also with Akinmuire at Sage Gateshead) and two years earlier (January 2010) AA was in John Escreet's band in Sage's Northern Rock Foundation Hall. The band included David Binney, Matt Brewer and Nasheet Waits!
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