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Posts Tagged ‘Roy Hargrove’

(Above: Ornette Coleman jams with the Roots. Improbably, people respond positively to the non-traditional collaboration.)

By Joel Francis

In 1958, Danny and the Juniors sang “Rock and Roll is Here to Stay.” Although the genre was only seven years removed from the its birth on the “Rocket 88” single and three years from its explosion into the mainstream with Elvis Presley, Danny White was right. Sixty years later, it is hard to imagine American culture without rock and roll.

It is also hard to imagine what the malt-shop teens and leather jacket hoods of the Eisenhower administration would have thought about auto-tune, power pop and nu-metal. Although the seeds of today’s rock were planted in the 1950s, the resulting flora has blossomed into hybrids that bear little resemblance to the original crop.

Picture how different today’s musical landscape would be if anything that varied from the pre-British Invasion strains of rock and roll were bastardized. If songs bearing the touch of John Lennon and Paul McCartney or Mick Jagger and Keith Richards were decried as impure for straying from the “true” roots of Chuck Berry and Buddy Holly.  Or if anything after the summer of punk and the rise of synthesizers was kept at arm’s length and segregated from the great Rock Cannon.

Would we expect our children to dig out old Bill Haley and Beach Boys albums if this were the case? Teach them “Fun Fun Fun” and “Maybelline” as historical exercises? Of course not. They would shrug, pay us lip service and invent their own confounding strain of music. The ties to existing music would be obvious – nothing emerges in a vacuum – but nothing we couldn’t dismiss as the impure follies of youth.

Why, then, do we place the same parameters around jazz and feign surprise with then inevitable occurs?

It seems every year a new study comes out showing the median age of jazz listeners climbs while attendance drops. The latest is a National Endowment for the Arts Survey of Public Participation in the Arts conducted through the U.S. Census Bureau. Predictably, the self-appointed Guardians of Jazz like Wall Street Journal columnist and former Kansas City resident Terry Teachout are freaking out. But all this hand-wringing is like an ordinary bicycle enthusiast fretting while the chain-driven model populates the streets. The vehicle is still very much alive, it’s just been modified and influenced by culture.

Too many jazz museums and concert curators suffer from WWWS: What would Wynton say. Would Wynton Marsails, the genre’s most prominent performer and steadfast caretaker, approve of their exhibit or event? While Marsalis is a talent trumpet player who deserves every bit of his fame and credit for bringing jazz to the masses, he is conservative and traditionalist to a fault. Museum directors and concert promoters should be following their own muse and vision, not looking to someone as restrictive as Marsalis for tacit endorsement.

The growth of jazz from Dixieland to big band to bebop is celebrated, but somewhere along the line – about 1965, shortly before John Coltrane’s death, when free jazz and fusion started to creep into the mix – a line was drawn. In shorthand, acoustic Herbie Hancock playing with Miles Davis and recording for Blue Note is “good” jazz; synthesizer-rocking Hancock’s best-selling “Head Hunters,” though, is “bad.”

If directors and promoters must get the thumbs-up from a Marsalis, could it please be Branford? Although a lesser celebrity, the tenor saxophone player and older brother of Wynton has equally distinguished jazz pedigree. He’s also allowed jazz to grow, branching into pop with Sting, serving as musical director for the Tonight Show and working with hip hop artists.

If the stodgy stylistic caretakers turned up their noses when jazz artists, the highest pedigree of musicians, started dabbling in rock and funk, they have completely ignored most jazz performers slumming with rappers in a genre oft-maligned for possessing the lowest level of musicianship.

The elitists are missing the point. At their best, jazz and hip hop are better together than chocolate and peanut better. The improvisational aspect of jazz fits the free-flowing poetry delivered by a great MC. The swing of the instruments matches the swagger of the beats. Dig the way DJ Logic’s turntable work complements Medeski, Martin and Wood’s “Combustication” album, how Mos Def and Q-Tip’s rhymes soar over Ron Carter’s live basslines, or how Roy Hargrove’s trumpet pushes and accentuates Common’s poetry.

Teachout and Wynton Marsalis’ simplified stances ignore the long history of jazz in popular culture. The enduring standard “Someday My Prince Will Come,” was plucked from Disney’s “Snow White and the Seven Dwarfs.” Although both Dave Brubeck and Louis Armstrong released albums of Disney material, it is doubtful Wynton Marsalis would record a song from a children’s cartoon.

The Chicken Little jazz forecasts don’t show that jazz is less popular or interesting today. The news they bring is even more disturbing: hard evidence that the standard-bearers of the genre are increasing ignorant to how their beloved music has grown, changed and been embraced. They’re the ones missing the party, but don’t worry – their numbers are dwindling.

(Below: More Ornette Coleman with the Roots for all the alarmists. Note how well the musicians play together despite being from the disparate worlds of jazz and hip hop. Surely this is a sign of the apocalypse.)

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(Above: Brad Mehldau performs an arrangement based on Radiohead’s “Exit Music (For A Film).”

By Joel Francis

Continuing The Daily Record’s look at the state of jazz today, here is the first of three installments shedding light on 15 jazz greats to emerge in the last 20 years. Note that these musicians are not necessarily the 15 greatest jazz artists to arrive since 1990. A brief listen to any of them, though, should more than persuade the most ardent purist that jazz is alive and well.

Roy Hargrove

Over the past 20 years, Roy Hargrove’s trumpet has proven to be one of the most versatile instruments ever. He’s equally at home conjuring Cuba on his own or summoning the spirit of African rebellion with rapper Common. Although Hargrove has yet found a way to reconcile his split personalities, he has built a strong catalog. In the Roy Hargrove Quintet, Hargrove works the more traditional mold forged by Freddie Hubbard and Clifford Brown. The RH Factor is the less-focused urban playground where Hargrove’s funky side comes out. Albums to start with: Habana, Earfood.

Brad Mehldau

Pianist Brad Mehldau cut his teeth working with saxophonists Joshua Redman and Wayne Shorter before striking out on his own. His lengthy concert arrangements often leave no stone unturned. Although his classical approach to playing is influenced by Bill Evans, Mehldau has no problem converting songs by Radiohead, the Beatles and Nick Drake into extended jazz workouts and placing them on footing equal to George Gershwin and Cole Porter standards. Mehldau made albums with opera singer Renee Fleming, guitarist Pat Metheny and pop producer Jon Brion without pandering on any project. Albums to start with: Back at the Vanguard, Day is Done.

Madeleine Peyroux

Singer Madeleine Peyroux’s voice sounds more than a little like Billie Holiday, but her style is closer to Joni Mitchell’s. Born in the South, raised in New York and California and seasoned in Paris, Peyroux splits the distance between jazz, folk and pop. Her interpretations of Leonard Cohen, Bob Dylan and Hank Williams numbers made her a star on Lilith Fair stages a decade ago and earned her acclaim as the “Best International Jazz Artist” by the BBC in 2007. Albums to start with: Dreamland, Half the Perfect World.

Miguel Zenón

Puerto Rican saxophonist Miguel Zenon recalls the tasteful, silky tone of Paul Desmond. In little more than five years, he’s released four albums, worked as a founding member of the SF Jazz Collective, won the Best New Artist award from JazzTimes in 2006 and named Rising Star-Alto Saxophone for three consecutive years in the Down Beat Critic’s Poll. While Zenon’s horn rests easily on the ears, his arrangements capture the spirit of his native island through insistent originals and unlikely hymns like “Great is Thy Faithfulness.” Albums to start with: Jibaro, Awake.

Maria Schneider

Maria Schneider’s compositions for her jazz orchestra have been some of the most ambitious works in the jazz canon since the heyday of the Duke Ellington Orchestra or Dave Brubeck’s late-’60s expositions. At once sweeping and evocative, Schnieder’s near-classical pieces reveal the deep influence of Gil Evans. The cinematic expanse of her work takes the listener on a journey where everyone from George Gershwin to Gustav Mahler is likely to appear. Albums to start with: Evanescence, Sky Blue.

Keep Reading: 15 Jazz Greats to Emerge in the Last 20 Years

Part Two

Part Three

Five Legends Still Adding to Their Legacies

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Above: Students at the Berklee School of Music break down the Roots’ “Water.”

By Joel Francis

The New York Times jazz and pop critic Ben Ratliff participated in a very enlightening Q and A with readers yesterday. It seems Kansas City jazz fans, like our friend at Plastic Sax, aren’t the only ones obsessed about the state of the genre.

Several people asked Ratliff why jazz didn’t have a bigger audience, what the media’s responsibility is to promote jazz to a larger audience, if there is a stigma against jazz in mainstream culture and, most bluntly, whether jazz was dead.

Similarly, several readers were concerned about the legacy of today’s jazz artists. They asked which contemporary artists have the best potential to join the pantheon of innovators like Miles and Duke, and whether the current crop of players are pioneers or regurgitators. One bold reader actually called out the elephant likely hiding behind many of these questions. “Pretty much all jazz sounds the same today,” he said.

It seems that just as baseball fans can’t wait to compare Albert Pujols to Stan Musial, jazzheads love debating the merits of John Medeski to Jimmy Smith or Joshua Redman to Sonny Rollins. They (we) are forever insecure that our moment in the sun won’t measure up to the established legacy. They are right. Just as no contemporary president will be as lauded as the Founding Fathers, and no slugging outfield can surpass Babe Ruth’s mythology, there is no way that the abilities of Jaco Pastorius or Christian McBride can exceed the monumental achievements of Charlie Mingus and Ray Brown.

But that doesn’t mean they can’t all be enjoyed. Trumpeter Roy Hargrove hasn’t redefined the instrument the way Louis Armstrong did in the Hot Five and Hot Seven, but I think his playing on D’Angelo’s “Voodoo” and Common’s “Like Water For Chocolate” is inventive and unique. There is no comparison between the works, because they can’t be compared. They exist in different worlds. And questions about “is it jazz” are as silly and insignificant as whether or not poker or Nascar are sports. It doesn’t matter.

One of the elements I enjoy most about jazz is watching how it absorbed in reinterpreted in new contexts. One can hear the free jazz influence of John Coltrane and Pharaoh Sanders in both the Stooges and the Soft Machine, but what they did with it was drastically different.

Ironically, “fans” might be the only ones worrying or arguing about these issues. Just as Hargrove had no problem working with Common and D’Angelo, I’m sure Ron Carter didn’t hesitate before recording with A Tribe Called Quest and Black Star. Artists make art, not distinctions.

To these ears, pieces like “Water” from the Roots’ album “Phrenology” or Mos Def’s “Modern Marvel” from “The New Danger” embody the spirit of jazz as much as anything Rudy Van Gelder recorded for Impulse or Blue Note.

Just as folk music survived the birth of the electric guitar (and Bob Dylan plugging in), and Sacred Harp has peacefully coexisted with gospel, jazz will survive. It will not be preserved in amber, but it is too indelible to be erased from American culture.

Although Ratliff’s answers were thoughtful and informative, he failed to pass along one key piece of advice to the Chicken Littles so worried about the future of their art: Pick up a horn and do it yourself.

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