Louis Jones III: Motions

Drummer and composer Louis Jones III is an artist steeped deeply in the Detroit jazz tradition. A Motor City native, Jones is a prominent figure on the scene there, applying his talents across a variety of genres. That versatility is ever-present in his jazz playing but, to be clear about this, he is a jazz drummer first while being a gatherer of musical innovation from multiple sources.

Motions is his most complete recording project and a formidable one at that. While the music is generally presented in a standard jazz quintet format, the album's roster includes 10 musicians in addition to Jones, which can be a concern. Many young musicians in the dawn of their recording careers will try to include every friend and musical alliance they have drawn, while attempting to display the entirety of what they have to offer in 60 minutes of music on a single album. In Jones' case, what he has done is offer the main characters of the latest wave of jazz brilliance to arrive in Detroit, and share their sounds with the world music community. Familiarity with the local scene there, whether by taking residence or visiting the city will attest to this. How Jones responded as a bandleader in front of all of this talent would inevitably decide the quality of this recording. As it turns out, he responded well.

The opener, "Stuck," and "Alt Facts" clearly offer up Jones' time experimenting with beats, while featuring trumpeter Kris Johnson, himself a major force in Detroit, as a musician and mentor. The title track bears some of that vibe as well, with Jones asserting his original sound behind the kit, featuring intricate polyrhythms and cuttingly agile cymbal work. Saxophonist Kasan Belgrave captures the spirit of the tune with short melodic bursts and birdsong—like rapid-fire runs. "Sunlight" is an appropriately titled change-up, with a jumpy melody that accommodates light-as-air solos from pianist Brendon Davis and flutist Belgrave. For his part, Belgrave, the son of Detroit legend Marcus Belgrave, sounds natural on flute—a rare quality for saxophonists not named Dolphy.

While all 12 tracks play well, what puts Motions over the top are four tracks that personify the Detroit sound of hard-swinging, East-Coast-connecting post bop that has strong ties to the blues. "Trials," "The Wicked," "Peek-a-Boo" and "Do Not Touch," bring out the best of the aforementioned 'new wave' of young, maturing talent in this city of historic jazz tradition and innovation. Each tune is a canvas of spontaneous inevitability, grounded strongly in the hands of Jones and pianist Jordan Anderson. In terms of individual contributions, Anderson may be the highlight of this four-tune swing, with his quicksilver runs and hammer-like left hand harmony, which conjures up visions of a young McCoy Tyner. Trumpeter Trunino Lowe is a rising star on the national scene, and adds exciting, melody-rich insertions with a bold, dense and beautiful trumpet sound. Bassist Michael Abbo offers a deft touch, an advanced understanding of harmonic intention and a natural sense of swing. "Do Not Touch" again brings Anderson to the forefront, soloing over top of the band's grinding funk groove, which builds and releases tension. These four tunes launch Motions from a respectable effort towards the realm of excellence.

Perhaps the most satisfying aspect of this recording is the fact that it sounds exactly like the band would come across live in an intimate space. "WYFD" drives this point home, again swinging like there is no tomorrow. Belgrave comes through with a scintillating solo with Lowe trailing with one of his own. While Jones is known for his cross-genre abilities, this capper features the drummer swinging in overdrive, never overplaying. His fine touch, rhythmic insight and ability to push the accelerator to the floor when needed sets him apart as a jazz drummer, much like a late, great Detroiter bearing the same last name.

While Detroit can rival Philadelphia, New Orleans, Chicago and New York in terms of the jazz talent that has risen from its fertile ground, it can also seem as a remote outpost in comparison—and wrongly so. While the Detroit Jazz Festival and the programs that emanate from it sheds light on the scene in southeast Michigan, stars such as Jones, Anderson, Belgrave and Lowe can easily be overlooked by the jazz press and thus, the jazz public. Any one of these young musicians can buck that trend and find themselves on a label that assures they receive radio and internet plays. Motions is an independent release deserving label attention and the national exposure it can lead to.

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