In May of 2021, tenor saxophonist and composer James Brandon Lewis released "Jesup Wagon" on Tao Forms (AUM Fidelity). The music on the album told the inspirational story of George Washington Carver (1864-1943), agricultural scientist, inventor, and community organizer (the Southern farming communities). The recording introduced the world to the Red Lily Quintet. Composed of Lewis, Kirk Knuffke (cornet), Chris Hoffman (cello), William Parker (bass), and Chad Taylor (drums, percussion), the ensemble contains multitudes, playing with creativity, invention fire, and wit. The album made a slew of "Best of" lists later that year and deservedly so.
Lewis and the RLQ is back, this time album inspired by the saxophonist's grandmother. "
For Mahalia, With Love" (Tao Forms) is a nine-song program of spirituals made famous by Ms. Jackson (1911-1972) during the four+ decades she toured the United States and the world. Many people point to the influence of Gospel music on the blues and "soul" music but certainly Black spirituals have influenced a multitude of artists from Louis Armstrong to Duke Ellington to John Coltrane to Archie Shepp to the wonderful albums of Hank Jones and Charlie Haden (there are plenty more). Lewis and company lean more to the Coltrane type of "testifying" but unlike the 1965 classic "
A Love Supreme", there is only one original work on "
For Mahalia"–the program opens with "
Sparrow", which includes the melody "
His Eye Is On The Sparrow" (composed in 1905 by Charles H. Gabriel and Civilla D. Martin) and the leader's "
Even the Sparrow".
 |
| Smithsonian/Museum of African History |
This music covers a wide swath of territory. From the fiery saxophone shouts on "
Calvary" to the swinging final minutes of "
Go Down Moses" to the hard-edged driving force of "
Wade In The Water" to the joyous power of "
Swing Low", this is music that celebrates Ms. Jackson's legacy and builds upon the lessons learned, the lives lost, and the freedoms gained (and now in jeopardy) over the last 400 years. The music also builds off the messages in the music adapted from the teachings Blacks learned in their churches, the prayers of hope and freedom that flowed into and out of the music. Check out the sly grooves of "
Elijah Rock", the splendid bass solo that opens the piece, the long rubato tenor/trumpet call-and-response, and the mid-song drop into tempo; if that does not makes you want to shout "Hallelujah" for its sweet blend of African, Swing, and Caribbean rhythms, I do not know what will
The Red Lily Quintet is an excellent ensemble and the music James Brandon Lewis creates and/or arranges for them gives each person room to move, to influence the direction, to add to the harmonies, to engage in the call-and-response, and more. The saxophonist's interactions with Knuffke soar, shout praise, and dance on many of the pieces. Parker and Taylor are...well....they are a rhythm section par excellence in that one creates the foundation and the other the flow plus the fire. There are times when Hoffman's cello gets covered but he's there, sometimes playing counterpoint to the melody, other times counterpoint to the bass lines.
All told, "For Mahalia, With Love" is a great collection of songs for many and varied reasons, not the least of which is the the ensemble's powerful playing and the excellent settings created by James Brandon Lewis. Do dip your feet into this mighty stream!
For more information, go to
https://jblewis.com/about. To purchase the recording, go to
https://jamesbrandonlewis.bandcamp.com/album/for-mahalia-with-love. For a limited time, if you purchase the compact disk or vinyl versions of the album, you receive a second disk features Lewis leading the
Lutoslawski Quartet in his chamber music piece "
These Are Soulful Days", recorded live at its premiere performance in November 2021 at the Jazztopad Festival in Wroclaw, Poland.
Revive your spirits with "Swing Low":
 |
| Photo: Brian Harkin/NYT |
Tenor saxophonist
Mark Turner has been collecting critical acclaim since he moved to New York City in the early 1990s. One might say he has a "cool" tone" but you could also argue he's very much his own man. In late 2019, Turner recorded "
Return From the Stars" for ECM with a quartet featuring
Jason Palmer (trumpet), long-time collaborator
Joe Martin (acoustic bass), and the young, dynamic, drummer
Jonathan Pinson. That group was invited by photographer and label owner
Jimmy Katz (Giant Step Arts) to take part in his label's new series. Titled "
Modern Masters and New Horizons", the series is curated by Palmer and drummer Nasheet Waits and will include contributions from artists such as vibraphonist
Chien Chien Lu, saxophonists
Neta Ranaan and
Ben Solomon, drummer
Eric McPherson and others.
The first release in the series "
Live at The Village Vanguard" and features the
Mark Turner Quartet, the same ensemble on the ECM album. Recorded over two nights in June of 2022, the 11-song, 2+ hours, program features material from the earlier studio recording, new pieces written specifically for this ensemble as well as older Turner originals. What Katz the producer is get out of the artist's way and lets the band do what they do best–play. Listen to "
Return from the Stars" below to hear how tight the band is, how much they listen to each other, and how this music flows. "
Brother, Sister", first recorded in 2014 for ECM with a different quartet (save for Martin), opens with a long, poetic, powerful, solo tenor sax statement––the band comes in seemingly on tiptoes but pay attention to Pinson on the offbeat and Martin's swinging counterpoint. Palmer gets a shorter unaccompanied solo before the the band reenters. Now the trumpet and sax play long tones while Martin solos. Notice how the textures change as the music moves forward.
The newest piece on the album, "
Wasteland", is a fascinating ballad that also opens with an unaccompanied tenor sax solo––this time, one hears a plaintive cry, a sense of deep sorrow or, even, loss of hope that leads to a full group elegy. There are long bass notes, Pinson on his toms, a melody line for the sax and trumpet that starts in unison, moves away, and back but in counterpoint now. When you listen to the song in total, you realize that not only is it an elegy but also serves as a vehicle for the drummer to create short solos in response to and seeming rejection of sorrow.
 |
| Photo: Jimmy & Dena Katz |
"
It's Not Alright With Me" is, at 18:36, the longest track on the album. The playfulness of the melody brings images of the Clifford Brown/Max Roach Quintet. While the rhythms prances and struts, the band takes its time to move through the melody section. Martin gets the first solo and it's a tour-de-force, quite melodic yet percussive, careering forward at breakneck speed. Turner's solo starts slowly but he rides the waves created by Pinson to create a masterful, hard-edged, dramatic solo.
The oldest Turner song on the program, "Lennie Groove", is from the leader's second album, 1998's "In This World". The piece has a nervous, almost jittery, melody line which does fall into a delightfully swinging "groove".
"Live at The Village Vanguard" is yet another high water mark in Mark Turner's three decade career. To me, the best to listen to this album is to sit back, put on headphones, pretend you're at one of the tables at the Vanguard, and let the music play. There's so much music to listen to so take your time and let them play!
Posts
