Russ Macklem: Introducing: The Russ Macklem Detroit Quintet

Trumpeter Russ Macklem is known in jazz circles as a strong presence on the fertile Detroit scene, but he is actually from Windsor, Ontario—a quick jaunt across the Detroit River from the Motor City. For this recording, he matches wits with some of the brightest young stars on the Detroit scene, in a live-in-the-studio session that is as honest and direct to the listener as a studio date can be.

Macklem's playing is the first order of business, considering the sparsity of his recording history to date, and his brief exposure as a live performer to national scribes. He can at times be verbose, seemingly interested more in pushing the perceived limitations of his instrument to the max than in stating the emotions of the moment. He can however, in an instant, dispel that notion and tear your heart out in a melancholic foray into a ballad such as his "Nostalgia: For a Past Life," The means are all laid out before him—how he decides to implement his immense talent is the question here on this recording, and directionally concerning his career moving forward.

"I Will Persevere" and "Theme For Detroit" highlight the hard-swinging signature of the album, with the trumpeter's Detroit mates showing their chops in an all-out, post-bop throwdown. Alto saxophonist Kasan Belgrave bears the name of his legendary pops, Marcus Belgrave, but is carving out his own niche as a fleet, forward-thinking protagonist on his own transformative journey. Pianist Jordan Anderson's work typifies his growing status as an on-the-rise national presence who is slowly but surely gaining recognition as such. Drummer Louis Jones III is a young stalwart on the Detroit scene—a prominent bandleader, composer and recording artist who stands out whenever and wherever he happens to be. His playing expresses the full spectrum of the Detroit sound perhaps better than any young artist in the jazz community in the city. His playing on this session is full, almost orchestral, subtly constructing rhythms that open space within the band without dictating direction. He listens as well as any veteran drummer in jazz, and has a keen understanding of being a part of the whole. Bassist Noah Jackson is an in-step, swinging presence with ample flexibility within the groove. Macklem seems to be most at home within the context of these two tunes—he has a great sense of swing and the blues, something refreshing to hear in today's world of modern composition. He has a deep, rich sound that at times is reminiscent of the deeper sound of the French horn or bass trumpet. There is a warmth, a comfort zone for the listener—that is, until Macklem tears off the band-aid and launches into his own comfort zone of intensity that features almost inhuman forays into the upper register of his instrument. There is true personality in his playing, a trait that will no doubt result in prominent changes in his playing as he matures—not as a musician, but as a human working his way through life and all of the changes and challenges that one encounters along the way. This may sound common or matter-of-fact, but in truth, it is all too rare that a musician exposes their personal emotional traits note by note. Whether Macklem can take this natural ability to areas of innovation and musical grace is the question, but his lack of fear in terms of vulnerability is a huge plus factor in his favor.

"Mr. Anderson" puts the focus on the young pianist and the dynamic playing of Jones. Macklem's foresight is not only in hiring the pair, but allowing them to shine on this session speaks well to his ability as a bandleader, another trait that sounds so logical but is not all that common. In traversing through a second and third listen of this album, it is the collective sum of the band in a live session that creates the honest impression of the recording as a whole.

While the personnel are first rate and the playing sensational, the compositions are the only thing holding back this album from being among the best releases of the year. However, the opening and closing " The Coyote Part One," and "The Coyote Part Two" tell us there is beauty and visual, colorful works in the present and future of Macklem's prodigious musical persona. As a player, his style is penetrating, technically brilliant, and with significant emotional depth. Knowing when and how to apply his dynamic strengths in the end will tell the story of whether or not he can rise to the upper stratosphere of jazz trumpet greats both presently and historically. The album is another spark that ignites the flame of Detroit as one of America's great jazz cities, past and present.

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