As trumpeter Terence Blanchard
is wont to do, he blends spoken word, rock, funk, the electrified, the experimental, the second line, the bop, blues, and hip hop on the swaggering, often staggering, Live
, his latest Blue Note release.
Bidding us to ..."find our voices..." Marcus Miller
's "Hannibal" evolves from a floating piano intro (courtesy of Fabian Almazan
) into a Zappa-like wash of horns, synths, and lots of guitar, bass 'n' drums. The music swims, the horn heralds and we're caught in the tidal waves of Blanchard's visceral statement concerning America's worship of guns and the daily violence that ensues. All the music here is in response to the seemingly-endless loop of active shooters and the livesmostly black, yet blind to color, creed, and moral codelost to the avalanche of guns in our ever-corrosive society. "Hannibal" slips into "Kaos" as it should anda hallmark of Blanchard's singular composing, where anything is possible at any possible momentmoves into double time, amplified horn, and a frenzied Charles Altura
guitar solo. Drummer Oscar Seaton
somehow makes sense of it all, muscling his way into the maelstrom. Blanchard soars like angry mothers marching, like the voices of tens of thousands shouting "Enough!"
"Unchanged" begins with Altura lulling us into a dreamy state until the rest of the bandled by Blanchard and bad-ass bassist David Ginyard
each take several hot minutes to declare themselves. "Dear Jimi" and "Can Anyone Hear Me" come on as full-fledged, guitar-driven fusion over synth walls of texture and the unstoppable rhythm section. Blanchard may not, as he comments in the one-sheet, put the band together to play protest music, but the proof, as they say, is in the very hot mix. The E-Collective and Live
are very hard and angry. Forgiving, and utterly human.
Terence Blanchard: tromba, tastiere elettriche; Fabian Almazan: pianoforte, tastiere
elettriche; Charles Altura: chitarra elettrica; David Ginyard : basso; Oscar Seaton; batteria;
Doctor Cornel West: voce nel brano n. 7.