Giant Step Arts Presents Music With Its Roots in the Past & Its Eyes On the Future

 

TARBABY, the collective featuring Orrin Evans (piano, voice), Eric Revis (bass), and Nasheet Waits (drums), first started gigging together in the late 1990s but did not release its first album until 2009.  Over the course of five albums, they have railed in their own subtle and not-so-subtle ways against the racism and violence that continues to plague the United States. Their albums have usually featured guests such as Oliver Lake or JD Allen (saxophone), Nicholas Payton, Ambrose Akinmusire or Josh Lawrence (trumpet). The Trio may remind some of Jason Moran's Bandwagon (Mr. Waits is a member of that group as well) but the two groups each have their own personality and direction.

"YOU THINK THIS AMERICA" is TARBABY's sixth album

and first for Jimmy Katz's Giant Step Arts.  It's also the band's first live album and first true trio album (no guests). Of the 10 songs that compose the 54-minute program, three are originals (two from Mr. Evans and one from Mr. Revis) – the rest range from two pieces by Ornette Coleman, one each from Andrew Hill, David Murray, and Sunny Murray (no relation) plus the blues standard "Nobody Knows You When You Are Down and Out" (Jimmy Cox) and the 1970s soul classic "Betcha By Golly Wow" (Linda Creed and Thom Bell, sung by The Stylistics).  The album opens with Mr. Coleman's "Dee Dee" (from the 1965 Blue Note album "At The Golden Circle, Vol. I"). It's so fascinating to hear how the music has elements of blues and reggae. The sound of the cymbals jump out of the speakers while Mr. Revis's muscular bass lines are also so melodic.

Listen below to David Murray's "Mirror of Youth". Listen how Revis and Waits set the rhythm for Evans to then come state the theme. It's a gentle piece that illustrates how melodic the pianist and how his solo logically flows out of the melody. Nothing is rushed or overheated, certainly well-played.

The inclusion of "Betcha By Golly Wow" is a bow towards the great Thom Bell and the "Sound of Philadephia".  The trio plays it straight out of love and respect.  No solos, just a gentle melody that brings back so many memories.  "Nobody Knows You..." also gets a respectful presentation but it's the blues after all so there's a touch of light humor, good bit of swing, delightful brushes work, and a dancing bass solo.  

The album closes with Sunny Murray's "Tree Tops" (from the drummer's 2016 quintet album "Aigu-Grave").  TARBABY's version is half the 9+ minute version of the original yet it definitely takes its cue from the "free swing" of Mr Murray's take.  Bassist Revis is the catalyst here and his active phrases at first build of the melody (stated by the piano) and then joins with the skittering brushwork in pushing Evans to move kin and out of the melody during his solo.

"You Think This America" may be to some a confrontational title (as is the name of the trio) – perhaps it is. People have certain preconceptions and expect that creators of all stripes stay within a certain zone. TARBABY ignores all that and makes music that means something to them as people, as Black Americans, as musicians in the 21st Century. Orrin Evans, Eric Revis, and Nasheet Waits ask nothing more than to listen with open ears and an open mind. Believe me, it's worth the time and investment.

For more information, go to https://orrinevansmusic.com/portfolio/tarbaby/.  To hear more and purchase the album, go to https://tarbaby2024.bandcamp.com/album/you-think-this-america. 

Here's the Trio on "Mirror of Youth":

Nasheet Waits (drums and compositions) is in the midst of a very busy career. He leads his own groups, is tri-leader of TARBABY (see above), and has toured and recorded with more artists than fits this page, most notably Jason Moran's Bandwagon, Ron Carter, Andrew Hill, trumpeter Avishai Cohen, the late Geri Allen, pianists Fred Hersch and John Escreet.  The son of Frederick Douglas "Freddie" Waits, he was mentored by Max Roach, studied with Michael Carvin, and, as a young man, toured in Mr. Roach's M'BOOM and with saxophonist Antonio Hart's groups.  He's only released three albums over his career (now in its fourth decade), the first, "Equality" (on Fresh Sound New Talent), in 2008, the second, "Between Nothingness and Eternity" (on the French Laborie Jazz label) in 2016, and now in 2024 "New York Love Letter (Bitter Sweet)" for Giant Step Arts). 

Waits organized an excellent Quartet for this gig, recorded live in 2021 and '22 in New York's Seneca Village section of Central Park.  Mark Turner (tenor saxophone), Steve Nelson (vibraphone), and Rashaan Carter (bass) join the drummer for this six song program that featured two songs composed by the leader, two by John Coltrane, and one each by Andrew Hill and Jason Moran. The proceedings open with Moran's bouncy and mischievous  "Snake Stance"; everybody states the theme then Turner leaps out in front powered by the thundering rhythm section and Nelson's angular vibes work. There are numerous times throughout the performance that the music and rhythms reminds this listener of the sound of Eric Dolphy's classic Blue Note 1964 Lp "Out to Lunch" – that album featured the rhythm section of Bobby Hutcherson (vibes), Richard Davis (bass), and Tony Williams (drums). Listen below to Mr. Hill's "Snake Hip Waltz" next to the Dolphy album and see if you don't agree.

The two Waits' originals include the lovely, ultra-slow, "Moon Child" and the high energy "The Hard Way AW". The former places Nelson's vibes over the gentle brushes work and resonant bass notes. Nobody is in a hurry so the song unfolds like a flower in the early morning sun. Turner's tenor enters about 2/3rds of the way through with a more energetic but also handsome solo.   The latter track, on the other hand, bursts out of the gates at a breakneck pace, Turner spinning out the melody and then roaring off atop the frenetic drums and throbbing then walking bass lines.  At nearly 12 minutes, it's the longest track on the album so one hears a number of dynamic changes. Nelson's rippling vibes solo– sans accompaniment – is a treat. The band gets seriously raucous as Turner and Waits converse with each other; then, the drummer plays a delightful solo, full of rhythmic twists and turns. The music then slows down into an impressionistic ballad that is 180 degrees removed from 7:30 of the songs.

The program closes with the two John Coltrane compositions. First up is "Liberia".  Opening in a rubato setting, Waits making odd noises on the cymbals (listen closely and you hear children playing near the bandstand) yet slowly and steadily the piece comes into focus.  Turner introduces the melody, the band kicks in and the music jumps forward. First recorded in 1964 for the Atlantic Lp "Coltrane's Sound", the band gets to stretch their improvisatory wings for nearly 11 minutes.  "Central Park West" (from the same Coltrane album) is the last track (although the Bandcamp version has a different sequence) – this is one of the saxophone master's more popular songs for artists to record because of its airiness, suspended chords, and gentle rhythms. It's a true pleasure to hear Carter and Waits interact, the deep bass notes bouncing off the drum patterns. The solos by Nelson and Turner are impressive while the park sounds makes the listener feel as if they are in the crowd.

"New York Love Letter (Bitter Sweet)" is quite wonderful, covering a wide swath of musical territory in its 51-minute span. The sound of the recording is superb and everyone plays with respect, intelligence, fire, and creativity.  It's truly a joy to pay attention to Nasheet Waits when he plays as his approach to each song is so creative, making even the most recognizable tunes sound fresh and new!

To learn more, go to www.nasheetwaits.com/.  To hear more and to purchase the album, go to  https://nasheetwaits.bandcamp.com/album/new-york-love-letter-bittersweet. 

Listen to the Andrew Hill's "Snake Hip Waltz":

LIKEMIND Collective, Part 1 - Music by Orrin Evans and Tarbaby

The first Orrin Evans CD I purchased - "Captain Black" -  was, actually, his second as a leader for Gerry Teekens' Criss Cross Records.  Ed Krech, owner of Integrity 'N' Music in Wethersfield, CT, turned my attention to the label and this artist in particular.  Evans was 23 at the time of the release (early 1999) but played with the authority of a seasoned veteran (which, I soon discovered, he was.)

"...It Was Beauty" is Evans's 20th (!) CD as a leader and first for the Criss Cross label since February 2005.  Featuring his partner from Tarbaby, bassist Eric Revis, and drummer Donald Edwards, who is featured on Evans' last CD for PosiTone Records, "Flip The Script", Evans opens up the concept for this program by featuring guest bassists on 4 of the 10 tracks.  Ben Wolfe, who also is featured on the PosiTone release, joins the trio for 2 tracks ("African Song" and "Commitment") while Hartford, CT. native Luques Curtis and Alex Claffy appear on one each ("Dorm Life" and "My Tribute" respectively.)  Anyone who follows Orrin Evans knows he has a far-ranging mind and no fear as well as an eclectic taste in material - that's why his recordings are so interesting.  Bill McHenry's "African Song" has the feel of a John Coltrane piece, open-ended with the 2 bassists moving independently of each other. Wolfe also enlivens "Commitment", a song that has several changes in tempo and direction - when both bassists start "walking", the drummer steps right in to keep the pace fluid.  Edwards' dancing "second-line" drums sets the funky pace for a Trio joyful "jump blues" reading of Ornette Coleman's "Blues Connotation."  This is the 4th time Evans has recorded "Dorm Life" for a Criss Cross release and, of course, the 4th different reading.  Curtis's bass locks in with Revis's, allowing Edwards to really drive the piece.  The various changes of pace are, on first listen, are as much fun for the listener as they must have been for the musicians.  Wolfe composed (but does not appear on) "Hats Off To Rebay", a bluesy meditation dedicated to Revis but featuring splendid brush work from Edwards.

This is one pianist who knows how to do "slow" as one hears on the Trio reading of Hoagy Carmichael's "Rockin' Chair", a tune which Evans as a solo piece in 1998.  The deliberate pace of the song allows the melody to emerge easily - Revis plays few notes while Edwards caresses the drum kit with his brushes.  The CD closes with Evans in duo with the young Philadelphia bassist Alex Claffy on a slow and heartfelt reading of Andre Crouch's "My Tribute."   The ballads rarely stray from the melody yet never sound hackneyed or trite. Make sure to pay attention to the work of the rhythm section - they shy away from convention but neither sound superfluous nor radical.

"...It Was Beauty" is good music from beginning to end; creative, interactive, urgent, un-rushed and highly original, Orrin Evans illustrates how he has matured without surrendering his sense of adventure.  For more information, go to www.orrinevansmusic.com.

Add Nasheet Waits (drums) to Orrin Evans and Eric Revis - you've got quite a sound.The trio first recorded together for Evans' 2001 Criss Cross release titled "Blessed Ones" and came together in 2008 to record under their first CD as Tarbaby.   Their self-titled debut CD, released on Evans' Imani label, featured saxophonist Stacey Dillard as part of the group plus guests JD Allen (tenor saxophone) and vocalist T.C. III. What was noticeable from the start is that the band had no fear, blurring the lines of modern genres to get at a greater truth.  Their second CD, "The End Of Fear" (PosiTone), kept Allen and added the musical voices of Nicolas Payton (trumpet) and Oliver Lake (alto saxophone). The music and presentation had more of a political edge, more "in-your-face" than laid-back and compliant.

The Trio signed with Hipnotic Records and their initial release for the label is "The Ballad of Sam Langford." Langford (1883-1956), a Black boxer who hailed from Nova Scotia and settled in Massachusetts, was known as "the Boston Tar Baby" - he fought at a time when few Black boxers were allowed in the ring to fight Caucasian pugilists and was not well known outside of boxing circles. (If you are curious, do go to coxscorner.tripod.com/langford.html for more information.) The CD opens with "Title Bout (Opening Round") and closes with "Title Bout (Final Round"), both group improvisations, the only references to boxing.  Oliver Lake is back, appearing on 6 tracks and young trumpet star Ambrose Akinmusire appears on 7 cuts. The blend of saxophone and trumpet spar on the opening track over a rubato background, Waits' rampaging drums pushing the other musicians forward.  Lake, now 70 years old, is in fine fettle throughout. His combination of short phrases and long tones on his composition "Aztec" leads the band into a freer interaction (but not chaos.) Evans "When" is a slow ballad in which the melody is introduced by the alto sax and trumpet. As the piece unfolds, the short solos (Evans and Lake) display an emotional gravitas that turns the title into a question that one may feel is resolved in the gentle fade.

3 tracks into the program and you know this is music that respects the traditions of Black American Music, those of experimentation, of social commentary, of gathering disparate voices and giving them their say.  The insistent "swing" of Revis and Waits is at the core of Evans' "MBBS", giving Evans, Lake and Akinmusire the foundation to explore and interact.  "Rolling Vamp" is a funky piece from Lake built off a repeating bass line and propulsive drums - the melody line hearkens back to the work of the mid-1960s "classic" Miles Davis Quintet.  The soloists respond to the drummer's egging them on which only adds to the intensity level.  The piece slowly comes back down until it's just the wonderful bass line.

Akinmusire shines on Waits' "Korean Bounce", engaging in a lively give-and-take with the drummer while Evans and Revis provide support and counterpoint. The trumpeter contributes the lovely ballad "Asiam", a piece for trumpet and piano. One is drawn in to his breathy sounds, to the gospel inflections of the piano accompaniment and to how time seems to stand still as you listen.

The pianist's son Matthew joins the trio on finger piano (kalimba) for Revis's atmospheric "August" - Waits plays recorder as he keeps the beat on bass drum, high-hat and occasional cymbal splashes.  The bassist quietly yet insistently supplies both the structure and rhythm for the song.

Over the course of 3 CDs, Tarbaby has shown that their music has few, if any, boundaries; one would imagine this music is even more explosive, more interactive and far-ranging in a concert or club setting. Even as the final notes fade, one is drawn back to this inventive and enlightening music. "The Ballad of Sam Langford" makes you think, makes you sweat and, if you love creative Black Music, makes you smile. You can discover more about the Trio by going to any and all of the band-member's individual websites at www.ericrevis.com, www.nasheetwaits.com or www.orrinevansmusic.com.  Like minds, indeed!

Soon to follow is the group's "Fanon", a musical tribute to the French-Algerian psychiatrist/revolutionary writer Frantz Fanon, whose best-known work "The Wretched of the Earth" was published the year he passed away (1961).  Tarbaby's project features the Trio with Oliver Lake and guitarist Marc Ducret - you can see and hear excerpts by going to www.youtube.com/watch?v=fP3nstudK6E.