Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Rare 1986 Wadada Leo Smith Show Surfaces

Here’s a really cool one from the vaults: a 1986 duo performance at Brandeis University featuring trumpeter Wadada Leo Smith – an early AACM member – and his drummer friend Ed Blackwell, the longtime Don Cherry and Ornette Coleman sideman. Recorded by the college radio station and just now seeing the light of day almost 25 years later, it’s a brisk, entertaining and warmly melodic romp, quite a change from the intricately, often massively orchestrated stuff Smith has mined lately. Blackwell’s performance here, as Smith has taken care to emphasize, is especially impressive because although his playing is completely improvised, it’s intricately thought out, a series of hypnotic riffs that he runs over and over again for a trance-inducing vibe. Either Blackwell had them up his sleeve all along – several with tinges of hip-hop; a martial New Orleans step, and a couple that sound like loops – or he conjured them up on the spot, which as Smith avers is the more likely story. Either way, it makes this new album, titled The Blue Mountain’s Sun Drummer, a goldmine for rappers on the prowl for catchy samples.

It’s essentially a ten-part suite. Not all of the tracks segue into each other, but many of them do. Smith goes for melody most of the time, a central four-note hook that twists and bends and then comes back toward the end when least expected. His tone is bright, clear, and ebullient except for the couple of occasions when he goes off-mic, with a mute, as Blackwell takes centerstage. It’s fascinating to hear how Blackwell pulls Smith into a series of staccato, insistent, minimalist phrases from time to time: he’s nothing if not a good influence. There are a couple of vocal numbers here too, the of them first building vivid, watery ambience as Smith plinks on a mbira (west African thumb piano) and Blackwell flails on the metal on his kit. The second is something of a meek-shall-inherit-the-earth theme with Rasta overtones (which are present but muted; one brief, lyrical passage here is titled Sellassie-I). Occasionally Blackwell will move out from the center, signaling a small handful of Smith excursions, but those are few and far between. More often, it’s Smith judiciously ornamenting over a trance-inducing groove or five. One cut here features Smith playing pensively expansive flute, contrasting with Blackwell’s most traditional, and most aggressive work here. They close with a number that juxtaposes balmy atmosphere with slinky funk, then the instruments switch roles; the final cut is almost a fugue, blithe trumpet glissandos alternated with those brief, percussive, staccato accents again, in a tribute to Albert Ayler. It’s a lot of fun, especially as it showcases a side that neither musician has ever been particularly known for.

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November 21, 2010 - Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , ,

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