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Soul And The Abstract Proof: Searching For Soul And Its Meaning In Jazz
ByFor some people, soul and jazz are separate entities, never to merge in sound. The music of Motown or Ray Charles' records are often held up as prime examples of soul for the masses, and jazz doesn't even get brought into the equation...or does it? Standing In The Shadows Of Motown (Lions Gate, 2003) told the untold story of the oft-uncredited backing musicians who brought Motown's music to life and the large majority of them were actually jazz musicians who took a different path. While the story of these musicians might not be familiar to jazz fans, a large percentage of them probably know of Ray Charles' jazz connections with artists like Hank Crawford, David "Fathead" Newman and many others. Music fans and critics would probably categorize all of this as a jazz influence seeping into soul music, but what about the opposite. How do you define jazz with a soul influence? While I certainly don't claim to fully know the answer to that question, and anybody who does probably has a bridge to sell you, I can say that it's like determining whether or not your car needs new brakesyou know it when you hear it! With that in mind, this edition of Old, New, Borrowed and Blue will focus on soul in jazz.
Old

When I first heard this song on Mingus Ah Um (Columbia, 1959), I felt like I was going to jump out of my skin. I've read of Nat Hentoff's initial encounter that pulled him into jazz when he first heard Artie Shaw's "Nightmare"and, though it would take me several years to get fully sucked into this music after this incident, my reaction to this Mingus song was on a similar "gut" level. The sheer passion in this music and the balance between looseness and ensemble brilliance was something I had never encountered before. As a percussionist, my initial focus was on Dannie Richmond's drumming, but after I made a few sloppy attempts to play along with the song, I just sat and listened. In subsequent years, I had the pleasure of hearing the piece performed as part of the large-scale production of Mingus' Epitaph at Jazz At Lincoln Center and I encountered Woody Herman's stellar big band take on the song, but neither of these encounters proved to match the soul quotient of the original.
New

On this particular weekend, Gerald Clayton had his trio in tow and they were at Litchfield in support of his fantastic Two-Shade (ArtistShare, 2009). The trio's set took them through hip originals from the albumlike the instantly enjoyable and humorous "Two Heads One Pillow"but the high point of the set came with Clayton's new spin on an old favorite. Before beginning "Con Alma," Clayton joked that the translation of the song title was "with Alma," but a good part of the crowd seemed to know that "alma" actually meant "soul." Clayton managed to take this classic from the Dizzy Gillespie book and transform it into a piece characterized by rhythmic joie de vivre, rhapsodic intentions and a wide dramatic arc, while maintaining the soulful essence and melodic intentions embedded deep within this composition. I went to Litchfield knowing little about Clayton's own music, but I left as a devoted fan of his work.
Borrowed

Brown and Bellson originally met at one of Pearl Bailey's shows at the Apollo Theatre, but the idea of a collaboration didn't come up until Brown mentioned it at a later encounter in 1968. Less than a year later, they crossed paths again and the initial idea began to take shape. Despite the fact that Bellson was no slouch with a pen, Oliver Nelson ended up being drafted to write the arrangements. Nelsonbest known to jazz fans for his classic, Blues And The Abstract Truth (Verve, 1961)gets to the heart of soul and the abstract proof of its connection to jazz on this album.
The big band on the record features some top drawer jazz talent like saxophonist Ernie Watts, trombonist Jimmy Cleveland, bassist Ray Brown and Bellson on drums. Brown's main man on saxophoneMaceo Parkerwas part of the date as well, and the repertoire was as eclectic as could be. The program consisted of Brown hits like "It's A Man's, Man's, Man's World" and "Papa's Got a Brand New Bag," standards ("It's Magic"), re-worked country fare ("Your Cheatin' Heart"), blues ("Every Day I Have The Blues"), a Bellson original ("I Need Your Key (To Turn Me On)") and some other interesting choices, but these three different artists met on common ground to bring a unified sound to the music. While one or two trackslike the over-funked up take on "September Song"might come off as contrived to some listeners, the majority of the music finds hits the right tone. This under-appreciated classic was reissued in 2004 and Brown's quote on the back of the CD really strikes a chord about the connections between soul and jazz in his music:
"When people talk about soul music, they only talk about gospel and r&b coming together. That's accurate about a lot of soul, but if you are going to talk about mine, you have to remember the jazz in it. That's what made my music so different and allowed it to grow."
One only needs to listen to the version of "It's A Man's, Man's, Man's World" on this albumwhich begins with a riff that bears some resemblance to the "Better Git It In Your Soul" lickto observe how soul and jazz became one.
Blue

Golson's "Park Avenue Petite" gave Mitchell a chance to show off his sound on a classy ballad with noir-ish sensibilities and "The Head" is a good example of a tune that let Mitchell cut loose and cook over a hard swinging rhythm section, but the title track is, appropriately enough, the best example of soul-meets-jazz. The sextet became a quartetwith Heath and trombonist Curtis Fuller sitting outand Mitchell used the opportunity to gel with his blues-capable rhythm section. Understated soul, as filtered through the 12-bar blues, is at the core of this performance and pianist Wynton Kelly is a key ingredient in the mix. Whether simply comping with some soulful tremolo licks or soloing with his inimitable blues inflections, Kelly makes this one cook despite a tempo that is merely moderate. Bassist Sam Jones contributes some enjoyable solo work on this one and Philly Joe Jones locks in well with his fellow rhythm section mates. The James Brown album might have had soul on top, but "Blue Soul" has it underneath the surface, hiding deep within Mitchell's trumpet work, Kelly's piano and the Jones-men's rhythm work.
Stay tuned for more Old, New Borrowed and Blue.
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Old, New, Borrowed and Blue
Dan Bilawsky
United States
duke ellington
Ray Charles
Hank Crawford
David "Fathead" Newman
Charles Mingus
Dannie Richmond
Woody Herman
Anat Cohen
Avery Sharpe
Arturo O'Farrill
Gerald Clayton
John Clayton
Jeff Clayton
Dizzy Gillespie
James Brown
Maceo Parker
Pee Wee Ellis
Louie Bellson
Oliver Nelson
Pearl Bailey
ernie watts
Jimmy Cleveland
Ray Brown
Miles Davis
Dave Brubeck
orrin keepnews
Blue Mitchell
benny golson
Jimmy Heath
Curtis Fuller
Wynton Kelly
Sam Jones
Philly Joe Jones
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