Lawrence Udeigwe (vocal, piano, keyboards, compositions, lyrics
and arrangements); Steph Clement, Wayne Tucker (trumpet, arrangements); Josh
Green (drums, arrangements); Rade Bema (bass)
If there is one key thing that is presented and reinforced to the listener in composer/ pianist/vocalist/educator Lawrence Udeigwe’s (pronounced oo-dee-gway) fascinating recent release, Four Lemmas, it is the idea that this original unique eight-segment suite is not “derived” from any formulaic approach, but rather that music and math can have a fundamental influence in “presenting a proof of identity.” By the way, A Lemma, is a mathematical term defined as “a statement which supports a larger concept.”
Prologue
opens with an Afro-percussion base, a textural and exotic melody, and Udeigwe’s
spoken poetry and vocalizing. The accompanying musicians float around the artist’s
spoken and sung description of the subsequent Four Lemmas. Lemma 1:
“Orthogonality offers a hard funk rhythm bed with the leader singing and
stating his lines over it in a manner reminiscent to my ear of Gil
Scott-Heron’s sing-spoke style. The two horns, Steph Clement and Wayne Tucker,
deliver swirling, electronically enhanced lines in conjunction with Rade Bema’s
bass and Josh Green’s drum behind Udeigwe’s presentation. This is a driving and
somewhat intense track with a profound message. Corollary I to Lemma
1 is I Don’t Care. Here the energized vibe and rhythm bed is almost Reggae/Carib.
Udeigwe’s singing is backed by response group vocals. One trumpet (uncredited)
soars in an expressive ride. This is a terrific and infectious track. Lemma II
- Sparse Matrix, is another rhythmically bouncy effort with the leader
speaking and singing in a manner reminiscent of Bobby McFerrin and backed with vocal
and ensemble responses. Corollary II, LU Principle is a lighter,
laid-back statement with Udeigwe’s voice singing over keys and sustained and
responding horns. This is a highly approachable and inviting cut.
Throughout
the album, Udeigwe’s tenor voice is most enjoyable. There’s great light and
underlying joy in his delivery. His spoken word follows and is expressive and quite
congruent with his vocalizing. As a composer and lyricist, his music and poetry
dovetail nicely and are not overbearing or faux intellectual, especially
given the premise of the recording. The arrangements, a group effort, are solid
and the backing team of trumpets and rhythm all shine.
Lemma
III – Local Maximum is an expressive driver
with Rade Bema’s bass and Josh Green’s drums pounding away first. Udeigwe sings
over that intense bottom, chanting lines. His speaking here over a
free-improvising trumpet is the more interesting part of the track. Corollary
III: Pose FM, in chanting call and response form, is another upbeat winner.
The presentation here is again Carib. Lemma
IV: Stable Equilibrium closes the
session Afrobeat hip. Udeigwe offers the melody in his higher register before
launching into spoken word. Rade Bema’s bass pumps thing up to an intense
level.
Four
Lemmas is a very distinctive concept album from a
fine artist and explorer. It warrants involved listening, especially to
Udeigwe’s poetry. There is much interplay between melody, word and rhythm like
the integral parts of a musical equation or geometric figure. Also, there are marvelously expressive cultural textures
across the date – African, Afro Beat, Caribbean, funk, etc. All these play a
significant part in embellishing Udeigwe’s overall fascinating message. I’d
believe that Pythagoras, if he were around, would thoroughly enjoy it. Nick Mondello
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