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The Standards, Vol. 1
Christopher Burnett
Label: ARC - Artists Recording Collective
Released: 2021
Duration: 00:40:00
Views: 2,563
Tracks
Dolphin Dance; Corcovado; Boplicity; Windows;. All The Things You Are; Freedom Flight.
Personnel
Christopher Burnett
saxophone, altoCharles Gatschet
guitarClarence Smith
drumsTerri Anderson Burnett
fluteAlbum Description
Christopher Burnett Quintet
The Standards, Vol. 1
No matter how modern or abstract or unclassifiable jazz can get in the 21st century, standard tunes remain a
touchstone
for a great many players, across widely varying jazz idioms and sub-genres. When someone improvises on a
standard,
we hear how they sound, but we also hear how they hear. Where do they place the beat? Where does their
harmonic
imagination lead? What melodic secrets do they reveal? What inner aspect of their soul do they choose to lay
bare?
From Buddy Bolden onward, jazz improvisers have taken the tools and vernacular of their day, of their musical
community, and sought their own truth within that common framework.
Such was the goal of alto saxophonist Christopher Burnett on The Standards, Vol. 1. Yet the decision to record
a full
album of standards was made after much reflection. Every player faces the challenge of making a standard his
or her
own, rather than relying on past interpretations, and this was a concern. There’s also the risk of standards, in
Burnett’s
words, becoming caricatures: “In this era of information overload,” he says, “[playing standards] can become
ego vehicles
to play loads of memorized melodic permutations and other intellectually derived constructs over the
changes.”
With The Standards, Vol. 1, Burnett sought to capture a straightforward and honest encounter with the
songbook
tradition and the modern jazz canon. In this he had solid support from a working band with pianist Roger
Wilder, bassist
Bill McKemy and drummer Clarence Smith, expanded to include guitarist Charles Gatschet on four tracks, as
well as
Stanton Kessler on flugelhorn for Herbie Hancock’s enduring “Dolphin Dance.” (Wilder and Smith were both
featured on
Burnett’s 2014 ARC release Firebird.) Kessler, on two additional tracks, appears in a larger ensemble with two
flutes
(Terri Anderson Burnett, Freda Proctor), clarinet (Samantha Batchelor) and baritone saxophone (Aryana
Nemati),
Gatschet on guitar as well, as Burnett wields the arranger’s pen and summons some truly colorful reed-plus-
rhythm
section sonorities. Top engineer Bill Crain captures it all beautifully in Studio A of his BRC Audio Productions.
“I purposely wanted to have both male and female musicians, as well as representatives from all adult
generations,
lending their voices to the music and arrangements,” Burnett remarks. “I believe the balance of male and
female artistic
voices, as well as artists of various ages and experience levels, adds a realism to music of this depth. In
performance the
music will more inherently parallel real life.”
He adds: “The synergy of my quintet and simpatico with my vision as leader was achieved over a couple of
decades
working with most of the artists on this album. I’m fortunate to have some of the best performing and
teaching artists in
my working band. They are all leaders, but they embrace my project and vision without hesitation. And the
way they
support each other is mesmerizing to me, because they’re all listening intently to what is happening during
each beat of
each measure. I hear the buy-in and trust in these performances.”
*
A Kansas City native, Burnett has worn many hats in his 65 years, and this breadth of experience informs his
artistry at
every level. During a 22-year Army career he honed his musical and administration skills and also met his
wife and
musical partner, flutist Terri Anderson Burnett. In the decades following military service he cofounded the
Artists
Recording Collective (ARC) label; served as Director of Operations and Acting CEO of Kansas City’s American
Jazz
Museum; and established the nonprofit Burnett Music Foundation as well as the publication Jazz Artistry Now,
running
album reviews and other varied content on a regular basis (this writer’s work included).
“I am a genuine child of the Civil Rights era,” Burnett reflects, “born in the year of Brown v. Board. I was living
my life
parallel to the societal paradigm that inspired the creation of this golden era of the music. What a great
example it was
for me as a young Black kid growing up in a very small town in the KC metro area during the tumultuous ’60s
and ’70s. I
actually hear the paradoxical nature of our culture in this American-born music. It’s not ‘pop’ music and it’s not
intended
to be. It’s purposeful and based in Black people expressing themselves artistically and taking themselves
seriously.”
As a KC-based alto player, Burnett is of course hyper-aware of KC’s own Charlie Parker, who assimilated the
language
and logic of standard tunes like no one else. “I came up in military bands and am not musically part of that
direct lineage
from Bird,” Burnett offers, “but I do personally know musicians who are part of this royal American musical
line.” When
approaching standards, therefore, Burnett proceeds in a combined spirit of humility and open possibility.
“These
standards are truly works of art in terms of compositional sophistication and the cultural impact they continue
to have.
They also typically require a very purposeful engagement to play.” Accordingly, Burnett chose each one with
care,
following his heart all the way, saving the album’s one original, “Freedom Flight,” for the end.
The leadoff “Dolphin Dance” is from Hancock’s perennial Maiden Voyage of 1965, and for Burnett the tune is
something
akin to “what Charlie Parker did to blues changes in relation to most standards of that era. It’s harmonically
complex,
moves through several keys, and is through-composed rather than common AABA song form. As a musician,
you have to
know what you’re dealing with. It is unapologetically serious modern jazz concert music. I discovered Maiden
Voyage in
1972, when I was in high school and working at our local music store. The album is a great representation of
the
paradox of the ’60s in my opinion. The theme is the sea, with music written by a 24-year-old genius who was
attempting
to ‘capture the graceful beauty of playful dolphins.’ On one hand society was saying Black people were
inferior, but at
the same time, Herbie was afforded this wide artistic freedom that was so optimistic. By the time I discovered
this music,
our society was becoming a bit more open among people in my generation in the KC area.”
“Corcovado,” by Brazil’s legendary “Tom” Jobim, was ubiquitous for Burnett growing up, but the version that
caught his
ear was the 1962 treatment by Cannonball Adderley and Sergio Mendes, heard while he was studying at the
Armed
Forces School of Music in 1977. “I loved that entire record and have bought it many times over the years,” he
recalls.
“Another sax student and I were into transcribing alto players like Cannonball, Sonny Stitt, Bird, Sonny
Fortune and Lee
Konitz. I love bossa nova by Jobim, João Bosco and Ivan Lins because their work melds the art and craft of
composition.”
Cleo Henry’s “Boplicity” is from Miles Davis’ groundbreaking Birth of the Cool and stamped by the sound of
the Davis-Gil
Evans partnership. “I remember hearing Miles Davis as a very young boy in the terminal at Rhein-Main Air
Base [now
defunct] in Frankfurt, Germany,” Burnett recalls. “This was during the Cold War. We five kids and our mom
were an Air
Force family traveling on unaccompanied military orders to join my father, a serviceman assigned at Toul-
Rosières Air
Base [also defunct] in France. I believe the Davis-Evans sound was significant to the Third Stream movement
that
deliberately melded classical and jazz sensibilities. ‘Boplicity’ is very interesting melodically and harmonically,
and it
requires a degree of maturity beyond the notes. If I didn’t have Roger Wilder’s support as my pianist, I would
likely not
have programmed it.”
“Windows,” the first of two songs to feature Burnett’s arranging for expanded ensemble, is by Chick Corea,
like Hancock
one of many piano greats to come out of Miles Davis’ bands. “I first heard my favorite rendition of ‘Windows’
on Inner
Space around late 1974 or spring of 1975. Much later I heard the version with Stan Getz on Sweet Rain. I
began
composing and studying orchestration in the late ’70s in the military music program, and by 1983 I’d been on
the
arranging staff of several military bands. I wanted to know what it was like to be a composer outside of the
military, so I
wrote to Chick and he answered me with an encouraging reply. Many years later at the jazz museum in KC I
finally met
Chick in person when we hosted him and Gary Burton with the Harlem String Quartet in 2012. I introduced
myself, told
him about the letter and he said, ‘Yeah, you were the Army composer, right?’ I was stunned that he
remembered me by
name. That told me that there is truly another level of brilliance in his music.”
Charlie Parker was one of the first that Burnett heard play Jerome Kern’s “All The Things You Are” (ATTYA);
the others
were Paul Desmond and Jackie McLean. “This composition was a rite of passage in the eyes of the older cats I
knew,”
says Burnett. “Marcus Hampton, the nephew of Slide Hampton and cousin of Lionel Hampton, was my
barracks mate
when I first went to the Army band in Germany, and he took me to my first jazz jam sessions in Munich on
weekends
when we weren’t working. I played on mostly blues and modal tunes because I was still learning. I remember
hearing
those cats playing ATTYA and knew I couldn’t sit in on that because I couldn’t remember the changes well
enough.
Hamp taught me how to read changes and use my ear. I never played ATTYA with him back then, but 40
years later he
moved to the KC area and we reconnected — rarely does something like that happen among military
colleagues.”
“Freedom Flight” is a newer composition of Burnett’s, with an airy melodic motion that gives it a standard-like
feeling.
“Everything I write is for someone special to me or a milestone event that motivates me in life,” Burnett
explains.
“‘Freedom Flight’ is for our son, Seth. He is a fighter pilot in the US Air Force and flies the F-35 jet. He started
as a
weapons systems officer in the two-seat jets, then moved to the pilot seat after subsequent training. All of the
CbQ
musicians liked this tune when I brought it in to read during our residency at Black Dolphin in KC. They
enjoyed the
unique chord progression and melody, and that’s what I’m after — I enjoy when something I compose
connects with
people. Like the standards do.”
David R. Adler
Review
- The Standards, Vol. 1 by Kyle Simpler
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Freedom Flight (single)
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About Christopher Burnett
Instrument: Saxophone, alto
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