Leave your preconceptions at the door when you hit play on this one. Roy Campbell, an incendiary free jazz trumpeter? Sometimes. Wilber Morris, an adventurous, abstract bassist? Sometimes. Guillermo E. Brown, a steaming powerhouse drummer? Sometimes. It's Krunch Time is an exceptionally accessible record, given the broad talent and free jazz experience of the musicians. It challenges the stereotypes that have been imposed on these players, and it showcases the flexibility of the relative newcomer, vibraphonist Kahn Jamal.
Some of the pieces on It's Krunch Time explore time and space with curiosity and liberation. "The Opening," for example, wanders quite a bit as Campbell soars high and Jamal breaks down the barriers of harmony. Morris pulses rather regularly on this one, and Brown offers delicate accents throughout. But then it's a big leap to the hard-swinging funk of Monk's "Bemsha Swing"where Brown and Morris stick like glue in the pocket. On this tune, Jamal comps the changes while Campbell solos in straight-ahead fashion on top. (In the same vein: "Ode for Mr. DC.") The opener, "Tenderness of Spring," starts out with a delicate, lyrical bass solo and very gradually evolves into a sensitive ballad. The closer takes on "The Star Spangled Banner" with a conspicuously Hendrix-like deconstruction. (Unfortunately, Hendrix's version is much better, in my opinion.)
It's Krunch Time presents a tasteful mix of straight-ahead jazz, lyricism and adventurism, though it mostly stays in an accessible range. This disc deserves praise for its postmodern electicism, and it certainly defies any type-cast roles for its musicians. For the most part, it's a winnerthough I'd like to hear these players stretch out a bit more together.
Track Listing: Tenderness of Spring; Krunch Time; Bemsha Swing; New Groes for the New Millenium; Ode to Mr. DC; Khanducting; The Opening; Star Spangled Banner.
Personnel: Roy Campbell: trumpet; Kahn Jamal: vibes; Wilber Morris: bass; Guillermo E. Brown: drums.
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.