TRUMPETER TERENCE BLANCHARD REVIVES THE MALCOLM X JAZZ SUITE AT THE PARADISE JAZZ SERIES

Trumpeter Terence Blanchard

In 1993, the jazz trumpeter Terence Blanchard recorded the landmark album “The Malcolm X Jazz Suite,” breaking new ground by mixing jazz with poignant moments from Malcolm X's life, used in filmmaker Spike Lee’s landmark film X. This album was one of many major projects Blanchard would make during his Hall of Fame-worthy career. He has composed music for Lee’s best-known movies. Blanchard’s opus, “A Tale of God’s Will (A Requiem for Katrina),” is considered a classic, and he has also written acclaimed operas such as “Champion” and “Fire Shut Up In My Bones.” Although the "Malcolm X Jazz Suite" was released 32 years ago, each time Blanchard chose to perform it, the suite always sounded as if it were fresh from the showroom floor. That’s how Blanchard’s current iteration of the suite came off Friday evening at the Paradise Jazz Series at Detroit’s Orchestra Hall. Blanchard performed with his time-tested band, The E-Collective—a swing-conscious outfit—and the Turtle Island String Quartet, a group known for fusing classical with other genres. They didn’t perform all the suite’s movements. Instead, they opened the concert with “Flow” and “Wondering,” cuts from Blanchard’s 2004 album “Flow,” before playing “Opening” and “Melody for Laura,” the opening movements of the suite. The playing throughout was exceptional, particularly the soloing of pianist Taylor Eigsti and violinist Gabriel Terracciano. Having two bands on stage at the same time could’ve been a lot to consume at once, but the two bands blended wonderfully, and Blanchard was in top form, swinging at posted speed. He’s one of those seasoned trumpet players comfortable in the upper register. But aside from the individual playing, the movement captured Malcolm X’s spirit and the pivotal personages and moments in his life. Unfortunately, for a night dedicated to one of America’s most sincere, eloquent, and passionate leaders, Blanchard didn’t talk about Malcolm’s legacy. He did mention what heavy responsibility he felt when Lee asked him to write music for X. The music was, however, so marvelously executed. The two bands in sync, Blanchard was right to let the music do all the talking.