A Haunting Update on Old Spirituals from Jaimeo Brown’s Transcendence
Percussionist Jaimeo Brown’s new Transcendence album (just out from Motema) was inspired by a cult classic, How We Got Over: Sacred Songs of Gee’s Bend by the Gee’s Bend Quilters. It’s a double album of old African-American spirituals recorded during quilting sessions which Brown has sampled extensively and used as the basis for a rather haunting series of what could be described as jazz tone poems.
One amazing thing about the performance of those spirituals is how rhythmically they were sung: Brown plays seamlessly with them, and everybody in his ensemble is swinging, if slowly and sometimes morosely. Brown’s compositions lean toward minimalism – every note here counts – with an uneasy push and pull. It’s a dark, relentlessly ntense suite of sorts. JD Allen begins with the blues, spirals around, hits the occasional repetitive, insistent riff, and then develops his themes with a modally-infused gravitas: he is the perfect choice of tenor saxophonist for this project. Guitarist Chris Sholar brings a smoldering, slow-burn, David Gilmour-esque majesty and angst to the pieces, often playing with a slide. Pianist Geri Allen works an eerily starlit, otherworldly pedalpoint as the sax, guitar and keyboards (also including Andrew Shantz’ harmonium and Kelvin Sholar’s light electronic effects) shift around within the sonic picture. Brown artfully leads a series of slow crescendos, sometimes riding the traps around the perimeter, other times building to a crushing gallop. Singer Falu adds Indian-influenced vocalese on the more hypnotic of the album’s twelve tracks. And Brown’s parents, bassist Dartanyan Brown and flutist Marcia Miget, each take an emphatic cameo. The result is stark and richly evocative: the way the bandleader weaves the sampled choir and individual voices into the music casts them as ghosts from another era that eerily prefigures our own. The whole thing is streaming at Jaimeo Brown’s tour page.
And he gets the big picture. From his liner notes: “On a macro level, politically this music is a warning to our generation. Global corporations and banks are destroying local cultures throughout the world. The same spirituals that gave strength to our ancestors need to give us strength today as we consisder the very real possibility of modern global slavery, and look in earnest for ways to avoid that unacceptable state. In the midst of darkness the brighest light and hope can appear.”
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