SAXOPHONIST DE'SEAN JONES EXPOUNDS ON WHAT INSPIRED HIS DEBUT 'KNOMADIK REVERENCE'

The saxophonist De’Sean, 27, is like many jazz musicians of this generation such as bassist Ben Williams, pianist Gerald Clayton, trumpeter Christian Scott, and vocalist Esperanza Spalding. They refuse to be typecast. They are influenced by hip-hop, gospel, rock, neo-soul, and techno, and the musicians mix those genres with jazz. Jones’s debut album Knomadik Reverence on Detroit Music Factory is an example of the fusion a growing number of  musicians in Jones’s age demographic are into. Knomadik Reverence is a hybrid of jazz, techno, and elements of rock demand that listeners be open-minded.

Jones, a native Detroiter, received invaluable on the job training from jazz greats bassist Rodney Whitaker and the trumpeter Marcus Belgrave. Jones has also worked with the Gerald Wilson Orchestra, and Underground Resistance, a techno band Jones toured internationally with. Since 2011, Jones has been building a brand wit his band Knomadik. The saxophonist took some quality time to answer questions about Knomadik Reverence, and to talk about his evolution as a musician.   

Explain the album’s title?

The title of my album is directly inspired by my spiritual beliefs, life experiences and my band Knomadik, which I formed in Chicago around 2011 while on a music outreach tour. As a musician, I've definitely had a nomadic lifestyle, traveling extensively, engaging with different cultures and styles of music the world over. After a while elements of those experiences, and perspectives tend to stick with you.

What I've realized is that we all borrow from one another in some way, and that's what I wanted my music to reflect. The life of a musician is both beautiful and extremely challenging, so when I fully committed to the lifestyle of an artist I had to have faith that things will work out in my favor.

In life, nothing is promised, and I accept that which is why I place my complete trust in God. Knomadik Reverence is just a brief summary of what I had experienced in life up to that point.     

What inspired Knomadik Reverence?

At the time, I started composing this music I was going through many changes in my adult life. I was in my early 20's, raising a family, trying to get through school, and still actively touring with Marcus Belgrave and Detroit Techno legends Underground Resistance Mike Banks and Jon Dixon. I was in desperate need of an outlet and of course, I channeled all those thoughts and emotions into my compositions.

Ultimately, what proved to be my muses were these three to five-hour trips on the Greyhound from one gig to the next. I guess it gave me the time necessary to sort through my ideas. Frankly, there was nothing else better to do on a Greyhound anyway.

If a layman pressed you about the music on this album, how would you describe the music?

I would definitely say this album possesses high energy and compositions pulling from a wide range of styles gospel jazz, hip-hop, and rock. Ultimately, I think this music is best served live because there is an element of the unexpected that also comes with this kind of musical presentation. The element of surprise is something I think many people can definitely appreciate.

You started out playing straight-ahead acoustic jazz when and why did you transition into jazz fusion?

Well, one of the great misconceptions about me early on was that I was strictly a jazz saxophonist. My first love musically came from the church, and that has always been the heaviest influence on me musically. Unfortunately as a saxophonist, that particular instrument is so unconventional within the gospel idiom that you have to find other outlets.

Ultimately, I believe there was a divine purpose for me to being, 14, and being mentored by the likes of Marcus Belgrave or Rodney Whitaker, and Roger Jones, who is a phenomenal gospel / jazz keyboard/organist and composer. 

My desire was always to be as well rounded a musician as possible. So I would never limit myself to being a specific type of player because in the end that's dishonest to all the music that has influenced me over the years.

When you really think about it, it’s hard to imagine anyone from the city of Detroit only playing one style of music when we have such a deep and rich history of Motown, gospel, rock, jazz, and techno.

Have you received any flak for not staying with straight-ahead jazz given you studied with greats like Rodney Whitaker and  Marcus Belgrave?

To be honest with you I have no idea if people disagree with my musical choices, and even if I did, I wouldn't care because the notion of sticking with one style of music is laughable. It's 2015 people!

I find it hard to believe that people even still think like that nowadays. Marcus Belgrave, Rodney Whitaker, Lawrence Williams, and even Donald Walden never pushed me to be a jazz, musician. They only pushed me to reach my full potential, which is what I am continuously striving towards. 

De'Sean  Jones

Some of your peers have used crowd funding to fund their debut albums. Why did you go the conventional route?

This industry has truly turned into a DIY business. So, with the emergence of crowd funding and various ways to produce and distribute your music independently, it only makes sense for all of us to consider that as a viable option. The only reason I went this route with a label was the opportunity presented itself. I'm very thankful to Gretchen Valade and the Mack Avenue family for even considering signing me because there are so many talented artists out there they could have easily signed and released a project with. I feel extremely fortunate to have this opportunity, and I recognize there is a responsibility on my shoulders to remain focused, continue to push music I believe in, and represent the city of Detroit.

To date, Knomadik Reverence is the most experimental album Detroit Music Factory has released. How tough was it convincing the label to make this album?

There was no convincing at all, and the initial response was extremely positive when they heard the project. I think the label and people, in general, are just eager for many different kinds of music that's exciting, and still has something of a soulful resonance to it. Hopefully, when people check the album out, they will enjoy the experience.

At 27, you are one of the youngest jazz musicians signed to the label. Do you view yourself as sort of a catalyst for Detroit jazz musicians of your generation to test-drive the label?

I do not take this opportunity or my position within this opportunity for granted. Whenever I'm on tour, I always tell people I come from a "Pride of Lions," and right now, the torch has been passed by the late great Marcus Belgrave. He was the voice of our community, and he was truly like a father to so many of the artists in the Detroit community. 

All the greats before me and my generation have laid down and incredible musical legacy and foundation for people like myself, Marcus Elliot, Ian Finkelstein, Alex White, Jon Dixon, Ollice “Olle Keys” Cooper, Angela Davis, and a host of others to come out and really take the world by storm. 

We are standing in the shadows of giants and there's a lot of work to be done, but I am proud and honored to be a part of that legacy and to be a part of the continuum of music being released from the city of Detroit.

A BRIEF INTERVIEW WITH TERELL STAFFORD ABOUT 'BROTHERLEE LOVE'

If the late jazz trumpeter Lee Morgan, a key figure of hard-bop jazz, had a grandson who played jazz trumpet, chances are he’d sound a lot like Terell Stafford. Stafford, a native Chicagoan, is in spirit a descendant of Lee Morgan. Like Morgan, Stafford playing is powerful and inspiring. BrotherLee Love Celebrating Lee is Stafford's new album. 

BrotherLee Love has seven well-known Lee Morgan compositions and two Stafford originals. The trumpeter performs with his long-standing band saxophonist Tim Warfield, pianist Bruce Barth, bassist Peter Washington, and drummer Dana Hall. How good is BrotherLee Love? If Morgan were alive and heard this album, he’d brag about it to his family and his friends. I Dig Jazz asked Stafford six questions about the album. Here is what he had to say.  

What inspired BrotherLee Love?

I have always been a fan of Lee Morgan. I presented a concert three years ago of Lee Morgan’s music, and the response to the concert was that you need to record this.  

What were some of the challenges you faced making this album?

Facing the genius of Lee Morgan, not only in his playing, but also in his compositions. The spirit he put into the music is untouchable. 

Why did you choose well-known Lee Morgan compositions such as Hocus Pocus, Mr. Kenyatta, Petty Larceny, Yes I Can Do, No You Can't, Stop Start, Carolyn, and Speedball?

I chose them because I love the melodies. They are fun to play over and over, they are extremely soulful and funky, and they contrast one another.

Can you recall the first Lee Morgan album you heard and how it affected you?

The first album was Candy, and I was inspired by his soulfulness, melodicism and energy. This was in the early 90’s.

How has Morgan's style influenced your style?

I love his soulfulness, his energy, his articulation, and the spirit in which he played the music.

Was Morgan's spirit with you during the making of this album?

Totally, his spirit is in my mind and soul every time I pick up the trumpet.

CHARLES MCPHERSON STICKS TO HIS BOP PEDIGREE ON 'THE JOURNEY' & MUST HAVES BY TERELL STAFFORD, JD ALLEN

On the frontline with alto saxophonist Charles McPherson on his new album “The Journey,” is Keith Oxman. McPherson is a lifelong bebopper and Oxman is a swing savvy tenor player with a sharp eye for the mechanics of improvisation. They decided to collaborate while participants in a jazz clinic in Denver, Colorado. “The Journey” is the offspring of that collaboration. It's a joyful jazz album tailor-made for folks with discerning bop and post-bop ears. Pianist Chip Stephens, bassist Ken Walker, and drummer Todd Reid are the lynchpins. Some posit that McPherson is a Charlie Parker copycat. Indeed, Parker had a big influence on McPherson. However, McPherson hand built his own sound way back. It’s a gorgeous sound and immediately recognizable. That’s what make cuts such as “Elena” and “I Should Care” so unforgettable. Besides that, at 75, McPherson still has the hunger of a young lion. If in doubt, spend some time with “The Decathexis From Youth” and “Au Privave”.

Not often do you hear about a Lee Morgan tribute album. When you learn there’s one in the making, it’s reasonable to have high expectations for it. Terell Stafford -- a magnificent jazz trumpeter with history with the Clayton Brothers, the Jazz at Lincoln Center Orchestra, McCoy Tyner, Steve Turre and Bobby Watson -- dropped a Lee Morgan tribute album on Capri Records last week. “BrotherLee Love" is the title. “Hocus Pocus,” “Mr. Kenyatta,” “Carolyn,” “Speedball,” and.“Petty Larceny” are some well-known Morgan compositions that Stafford plays on "BrotherLee Love,".an extremely hot jazz album that’ll burn up your eardrums if you aren’t careful with it. Stafford finest moments are on the ballads “Candy” and “Carolyn”. The album works primarily because Stafford avoids emulating Morgan’s style, and due to the exceptional playing of pianist Bruce Barth, the cornerstone of this date.

Tenor saxophonist JD Allen loves working in the trio setting. During his recording career, he’s become masterful at it. On Detroit’s jazz scene back in the 80’s, Allen cut his teeth, in the early 90’s he moved to New York, and there he built an international reputation. To date, Allen has made ten albums, dropping an album per years since 2008. Allen’s new baby is “Graffiti” made available nationwide recently by Savant Records. The nine songs on “Graffiti” Allen wrote. Compositionally, he has a God-given proclivity for getting to the point. Allen isn’t a swing-driven tenor player by nature. Surprisingly, there’s more swinging on “Graffiti” than on many of his previous jewels. Allen plays with his trusted, longtime running-buddies bassist Gregg August and drummer Rudy Royston. They are skilled at being in the moment. Royston is the quintessential trio drummer, and he's the album’s MVP.

PAMELA WISE EXPLAINS WHAT INSPIRED 'KINDRED SPIRITS'

Jazz pianist Pamela Wise is a Detroiter, music educator, mentor, a proponent of Afro-Cuban jazz, and a gifted pianist with history and all types of musical spirits coursing through her  fingers. Kindred Spirits is her new recording. Eight years has passed since her last studio recording Pamela’s Club. That’s a long time to keep her fan base waiting. However, 10 minutes into Kindred Spirits you’ll feel it was worth the wait. The album is phenomenal and cuts such as Hometown, Danis’s Bounce, and Ancestors will stay in your system for weeks. There’s swing, poetry, and even chunks of African-American history worked in. Last week, I Dig Jazz asked Wise some questions about the inspiration behind Kindred Spirits. Here’s how Wise broke it down.

Your last album, Pamela’s Club, was released eight years ago. Why did you wait so long to make Kindred Spirits?

I wanted to take my time to think about what my next project would be. In addition, most jazz listeners are at least 10 years behind in terms of listening to any new music, let alone new releases. So, I wasn't really thinking about how long it had been since my last release.

What is the overall message you wanted to convey?

The message of Kindred Spirits is basically getting back to unity in the community and addressing some of the needs and concerns of our people.  Some of the tracks such as Farewell To The Welfare, Can't Use A Sellout, and What We Need are from the concept of Wendell, Marcus Belgrave and Phil Ranelin's Tribe band and record label. Kindred Spirits continues that trend, conveying the 70's vibe of poetry, jazz, funky beats that reflect the political climate of that time. The track Hometown is a song about Detroit bankruptcy, corruption, etc.

Phil Ranelin's What We Need  speaks to the issues of community needs including knowledge, true education, love for ourselves and our brothers and sisters; Harrison's Can't Use A Sellout, even though written in the 70's is certainly right on time. (I am sitting here LMAO just thinking about it). My good friend and poet master Pastor Mbiyu Chui highlights the accomplishments and teachings of our great leader Marcus Garvey.

Ode To Black Mothers speaks about the positive images and appreciation we should have about our women. Word Masters speaks to our highly intellectual abilities to communicate. Vocalist Ashaki Zeigler performs the lyrics of Vanessa Rubin’s Speak No Evil by Wayne Shorter, which states we should treat each other a little better. The drum and percussion work of Mahindi, Akunda, Greg and Uche on the track Ancestors is dedicated to those who have gone before us. In the African tradition, we pour libations and to those we say Ashe’ and Amen. 

What were some of the challenges you faced making such a multi-layered album?

Actually, it was no problem as a creative artist. I am a product of the late 60's and 70's. I grew up listening to everything and was also inspired by artists from that time period who performed and recorded more than one style of music such as Kool & The Gang, Earth Wind & Fire, the O Jays and many more. As far as marketing, I think variety is good because there is something for everyone.  I also thought I would have a hard time with marketing, specifically because of its Afro-Centric content, but it is black art and anyone who embraces our culture will like it.

Some damn good Detroit jazz musicians such as John Douglas, Ralphe Armstrong, Djallo Djakate, and your husband Wendell Harrison are on the album. Will you talk about your affinity for Detroiters?

It goes without saying that I have an affinity for artists that live in Detroit. First of all, I have created a sound over the years with these artists.  Detroit has its own groove and sound that is identifiable and I wanted to capture that sound. Everyone wants to get someone who is internationally known, but I will let you in on a secret: Wendell and Ralphe are known all over the world. 

They just happen to live in Detroit. I have been working with percussionists Djallo Djakate, Mahindi, Akunda and Greg Freeman for a very long time and we have developed a sound with the Detroit Afro-Cuban style. John Douglas and Damon Warmack were students of mine long ago during a Summer Youth Arts program and we have been working together since. 

Vocalists Ashaki Zeigler and Ping Spells are some friends that I have been working with for a very long time, so I knew we wouldn't have any problem doing this project. Wayne State grads bassist Mike Palazoola and guitarist Jacob Schwandt are setting the pace for the next generation of jazz players from Detroit that have been on the scene for the last couple of years working in the trenches with Wendell, myself and others.The project would have been different without the above-mentioned artists because the result of having played with these musicians for a number of years. You develop a musical relationship and language with one another.

Pamela Wise

What is your take on the state of jazz in Detroit?

I think the state of Jazz and the whole concept of music in Detroit is under recognized. I am executive director of a non-profit arts organization founded by Wendell and Harold McKinney called Rebirth Inc.. We obtain grant funding to perform Jazz concerts at schools, community centers in the Detroit Metropolitan area. I find in visiting the schools, the children really like jazz, but many have not been exposed to it. Experiencing jazz performed live by professional artists gives our youths insight and generates enthusiasm. More of a collaborative effort is needed between our school administrators and arts organizations to make jazz music and other art forms available to our children, resulting in building an appreciation and future audience for the arts in general. Participation in art activities also helps to foster lasting relationships between youths and caring adults.

How has Detroit's jazz scene changed in the last decade?

I have noticed more young lions on the scene that have a passion for jazz, which is great!  These young lions will seek out master musicians such as Wendell and the late Marcus Belgrave to further learn outside of school. Kudos go to organizations such as Rebirth, Arts League of Michigan-Virgil Carr Center, and Detroit Jazz Fest/Mack Avenue to name a few. These organizations are a team of dedicated music educators that venture where no other man has gone before to teach our children. Often, they are faced going into a school that has no music curriculum or any interested students.I have noticed a decline in jazz venues, which limits the ability for young artists to grow. It's a tough game for club owners as they struggle to keep their doors open and a tough game for the artists who struggles to make a living at their craft.

You and Wendell have been putting out your own music independently for decades. How difficult is it nowadays to continue that?

Tools such as cdbaby are very helpful in putting music by independent artists in the market place and will assist in digital distribution.  It is a little easier nowadays than it was before. The use of social media is also helpful. However, there are things that you have to watch out for because just the other day I viewed a site where someone was selling my music without permission.Wendell and Phil Ranelin have worked relentlessly for over 30 years to build contacts all around the world that started with Tribe Records. To this day, those relationships continue. Kindred Spirits will be released in Japan in July and prospects in the UK linger.  However, the effort to build new contacts must be concentrated on as well as recording new artists to keep the conversations between our partners fresh and new.

TENOR HOOD, NOTHING BUT SOUL ARE RECENT RELEASES FROM IVO PERELMAN & TIFFANY AUSTIN

It is rare for tenor saxophonist Ivo Perelman to go a long stretch without releasing an album. From 2010 to 2013, for example, Perelman put out a whopping 20 albums. In 2014, he took a break because of health issues, but this year he made up for lost time by putting out three albums simultaneously "Callas", "Counterpoint," and "Tenor Hood". Each is free-jazz jewels. If your budget only allow you to purchase one, I’d go with Tenor Hood. Perelman teamed with drummer Whit Dickey. Both musicians are alumni of pianist Matthew Shipp’s band. For this studio date, Perelman channeled the ghosts of his ancestors Ben Webster, John Coltrane, Hank Mobley, and Sonny Rollins who is still alive and blowing. Perelman and Dickey made the compositions off-the-cuff, and the titles are the aforementioned saxophonist’s surnames. Jazz purists heavily into the various branches of bop may want to take a sick day because Perelman made "Tenor Hood" it seems for free-jazz purists. Perelman and Dickey wailed like hell while the ghosts of Webster, Coltrane, and Mobley cheered them on.

Californian Tiffany Austin is an authentic go-getter. The vocalist earned a degree in creative writing, sang professionally in Japan for five years, returned stateside earned a Juris Doctorate at the University of California Berkeley’s Boalt School of Law, and became a vocalist of note on the West Coast. Austin passed on a potentially lucrative career in law to sing. Man, Austin can really sing. Get this, she started Con Alma Music and released her debut "Nothing But Soul" June 2^nd. The album is mostly an homage to Hoagy Carmichael. Six of the nine songs on it are his. "Nothing But Soul" won’t have to grow on you. You’ll be hooked after the initial listen. The boldest numbers on the album are "I Get Along Without You," and "Georgia". On the former, Austin sent three members of her band -- saxophonist Howard Wiley, bassist Ron Belcher, and drummer Sly Randolph -- on a Starbucks run while she performed a duet with pianist Glen Pearson. Austin’s version of "Georgia" would make Ray Charles blush if he were still alive.

MARCUS BELGRAVE'S LIFE CELEBRATED

Marcus Belgrave

Trumpeter Marcus Belgrave was known as a music educator, a mentor, and a jazz giant. Saturday, afternoon his family, friends, former students and jazz musicians from Detroit and across the nation packed Greater Grace Temple on Detroit’s Westside to celebrate his life.

   

Belgrave, 78, died of congestive heart failure May 24^th at Glacier Hill, a continuing care facility in Ann Arbor, Mi. For years, Belgrave battle chronic obstructive pulmonary disease yet never allowed it to hinder his passion for teaching and performing jazz globally.

  

He was a native of Pennsylvania. Five decades ago, he established roots in Detroit. Largely, a self-taught musician, his extended musical education took place is bands run by Ray Charles, Charles Mingus, and one on one sessions with the great trumpeter Clifford Brown.

   

Weeks could be spent running down Belgrave’s accomplishments as a bandleader and music educator. His discography includes gems like “Gemini,” “Live at Kerrytown Concert House,” “Working Together,” and Marcus Charlie & Joan Once Again…”.

   

Belgrave's funeral was more of a celebratory jazz festival. After people lined up to express their condolences to the Belgrave family, the celebration began with a processional dirge fronted by the Gabriel Brass Band, followed by a lot of good jazz music interspersed with remarks about Belgrave’s infectious humanity. The Poet Melba Boyd, who knew Belgrave for decades, touched on how incandescent Belgrave was.

   

“Marcus was a happy person. I don’t ever remember seeing him without a smile on his face,” Boyd said. Then she read a poem about Belgrave titled “Blow Marcus Blow”.

   

The collective sadness was lifted after the Motown Legends of Gospel Choir, led by vocalist Hazelette Crosby, performed “Bridge Over Troubled Water”. 

Pianist Geri Allen fought back tears as she talked about meeting Belgrave in 1970 at Cass Technical High School. At his Jazz Development Workshop, Belgrave exposed Allen and other budding musicians to the nut and bolts of jazz.

   

Bassist Robert Hurst another of Belgrave’s protégés almost woke Belgrave up soloing on “Number Three”. Saxophonist James Carter received the first ovation after closing out the ballad “Tenderly” with one of his trademark cadenzas.

   

The most heartrending moment came when Belgrave’s wife, Joan, was escorted on stage. Before she sung “Crazy He Calls Me,” which felt like a final love letter to her beloved husband, she thanked the musicians who played with Belgrave while he was in Glacier Hill. “Thanks for helping Marcus keep his chops up,” she said.    

Before Rev. Daniel Aldridge’s eulogy, there was a trumpet salute with trumpeter Rayse Biggs, Dwight Adams, John Douglas, and Allan Denard. Aldridge’s eulogy was humorous and anecdotal. People applauded when Aldridge said a statue of Belgrave should be erected in Detroit. 

He also talked about how joyful Belgrave was and how he could play damn near every genre of music jazz, the blues, free jazz, funk, and reggae. Aldridge joked that he once saw Belgrave performing in a circus band.

“I couldn’t have that much joy at gunpoint,” Aldridge said. The overwhelming sentiment throughout the celebration was Belgrave spent the better part of his life giving. 

A BRIEF LOOK AT THE LATEST STUDIO RECORDINGS FROM RUSS NOLAN, REGGIE QUINERLY & DAVID BERKMAN

 

Deep down saxophonist Russ Nolan is a savant of  Latin jazz and of authentic post-bop. Nolan stayed loyal to that comfort-zone on his latest recording "Call It What You Want". He moves from acoustic-bop to various forms of Latin jazz. The acoustic-bop stuff probably won’t broaden your attention span, but the Latin goodies such as “MI Remedio,” “Cancion Sabrosa” and “Las Tecias Negras” will. Those are numbers played at a tempo that won’t have your shirt drenched with sweat after you have finished dancing to them.

  

“Invictus” is jazz drummer Reggie Quinerly’s second album as a session leader. Quinerly composed 10 of the 11 songs. To perform them, he hired vibist Warren Wolf, guitarist Yotam Silberstien, pianist Christian Sands and bassist Alan Hampton, equally yoked musicians who at heart are rugged swingers. It appears, however, they popped a chill-pill before the session. “Invictus” is mellower than Quinerly’s 2012 debut “Freedom Town”. That date was primarily a platform for his prodigious skills as a jazz drummer. Like his forefathers drummers Jimmy Cobb and Lewis Nash, Quinerly has an aggressive streak but overall is uniquely tasteful, which manifest more on "Invictus". On the debut, it was obvious Quinerly was the leader. On "Invictus," Wolf has the most sway. It seemed as he bogarted the session. That's not the case at all. Zero in on "Light Work," "The Star, The Crescent and The Police Captain," and the "Lester Grant" and you'll realize Quinerly designed this album, in part, with the intent of giving Wolf the lion share of the spotlight. 

  

The recent release of “Old Friends And New Friends marks pianist David Berkman’s return to Palmetto Records after an 11-year absence. From 1998 to 2004, Berkman was on a winning streak with the label. On this album, Berkman wrote nine new compositions. He invited saxophonists Billy Drewes, Dayna Stephens, Adams Kolker, bassist Linda Oh and drummer Brian Blade over to make the homecoming celebration grand. With three strong-willed saxophonists on the frontline, you would expect a lot of hand-to-hand combat. The saxophonists blended nicely on “No Blues No Really No Blues” and “Past Progressive”. What force of nature kept them in check? The excellent drumming of Brian Blade.