Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Yet Another Sunny, Enjoyable Ernest Ranglin Album

Bassist Yossi Fine asserts that Ernest Ranglin is the world’s greatest living guitarist. And why not? Ranglin might not have singlehandedly invented reggae, but he was there in the studio the day that Skatalites drummer Lloyd Knibb came up with the one-drop. And he most certainly invented reggae jazz. Since then, Jamaica’s preeminent guitarist has made a career out of many other first-ever moments (including Bob Marley’s first studio session). One function of always seeming to pop up at the right place is that Ranglin is always on the road, the consummate live musician. As a result, much of his solo catalog has been recorded on the fly (and sounds that way, for better or for worse), as is the case with his new album Avila, recorded to dovetail with a one-off California reggae festival gig. It’s a throwback to Ranglin’s late 70s instrumental sessions as bandleader: backing the guitarist, and pretty much staying chill and out of the way, are Fine, plus the Mickey Hart Band’s Ian Inx Herman on drums, Jonathan Korty on piano and keyboards plus trumpeter Ryan Scott and saxophonist Alex Baky of the Monophonics.

It’s hard to believe that Ranglin will turn eighty this year, considering how fast and precise his fingers are on the fretboard after all these years. This is a particularly joyous session, a mix of originals plus inspired takes of compositions brought in by individual band members. Bookending those songs are a pulsing versions of Abdullah Ibrahim’s Manenberg and Return to Manenberg, full of good-natured call-and-response between Korty’s piano and Ranglin’s playful, bouncy pointillisms. Ranglin’s rhythmically tricky Memories of Senegal works a circular West African riff on the bass, the guitar’s modal waves strikingly evocative of Jerry Garcia at the top of his game during the 80s. Ernossi, a reggae jazz homage by Fine, gradually grows from an easygoing, funky organ-fueled sway as Ranglin adds an insistent staccato bite alternating with gently ascending runs. Ranglin’s own Ska Rango also follows a carefree arc up, down and back again, from ringing, sustained chords to a casually swing lit up with the occasional slithery filigree, quicksilver descending run, or the fluttering, rapidfire flourishes that have come to define Ranglin’s work as a jazz musician.

The unexpectedly wary Uncle Funky, by Korty contrasts pensive Wes Montgomeryisms, voodoo staccato and watery Leslie speaker tonalities over an echoey Rhodes piano groove. The other Ranglin composition here, Swaziland, kicks off with an insistent minor-key horn chorus that the guitarist follows with a characteristically expansive, thoughful solo, big bright chords mingling with biting single-note phrases. The album’s title track, by producer Tony Mindel brings back the mellowness, Ranglin once again reaching into his bottomless bag of island jazz riffs, warmly and judiciously. This isn’t heavy, intense music by a long shot: it’s a good-time collection of smart grooves and terse playing, a perfect soundtrack for the end of summer. It’s a worthwhile addition alongside the literally hundreds of good albums that Ranglin has played on.

August 9, 2012 Posted by | jazz, Music, music, concert, reggae music, review, Reviews, ska music | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: Chico Hamilton – Twelve Tones of Love

This album is all about joie de vivre. At 87, Chico Hamilton is happily ensconsed in the jazz pantheon – the percussionist decades ago passsed the point where he had anything left to prove. Yet here he is again, having fun. While this might sound like your typical Sunday afternoon jazz at a distance, or at low volume – and it’s a marvelous choice for a Sunday afternoon – it’s a lot more than that. It’s best experienced on headphones. Hamilton’s stock in trade has always been subtlety and nuance, rare qualities for a percussionist, and as usual he’s not here to jolt anyone out of their socks. But this album is anything but saturnine: it resonates with a confident, gentle warmth.

 

Most of the cuts here aren’t long, clocking in at under four minutes at a clip. Some of them are sketches. Many of them are confidently swaying, slow-to-midtempo swing blues. The rhythm is carried as much here by Paul Ramsey’s Fender Bass as it is by anything else, cutting through the mix with the trebly, slightly oscillating tone common to electric jazz bass around forty years ago. Cary DeNigris plays guitar, giving an absolutely marvelous, spot-on Ernie Ranglin-style chordal feel to the casual hangout number Steinway, anchoring the brief and beautifully lyrical Americana number On the Trail and gently keeping things on the rails while guest George Bohanon’s trombone signifies jauntily on George, a gift of appreciation from Hamilton. The percussionist himself takes a typically understated star turn on several occasions, riding the cymbals with an altered clave beat on the Wes Montgomery-ish Penthouse, spicing the mallets-and-vocals-only Lazy Afternoon and pointedly punctuating the early 70s style latin shuffle Raoul. If this album intrigues you, you can enter to win a free copy courtesy of Giant Step (contest expires May 15, 2009). New York listeners also have a golden opportunity to see him live for free on Wednesday, April 30 at 7 PM (early arrival obviously advised) at Borders Books & Music in the Time Warner Center at Columbus Circle on the second floor.

April 29, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , | Leave a comment

Yard Party Uptown, Mon: Ernest Ranglin and Others in Concert in NYC 2/26/09

The party vibe was strong at this one-off concert put together by Jamaican historian Herbie Miller for Harlem Stage at Aaron Davis Hall. It was an oldschool massive, and it was as if everybody pretty much knew everybody else, friends of the seven musicians shouting out to their countrymen and getting a shout back from the stage. A strong case could be made for the contention that for the past several decades, no other country has had more talented musicians per square mile than little Jamaica, and this casual yet dazzling display of three generations of island jazz talent only bolstered that argument. Serving as bandleader was iconic, ageless guitarist Ernest Ranglin, who in his six-decade career has played with just about every legendary Jamaican musician in calypso, jazz, ska and reggae. Former Sun Ra sideman Cedric “Im” Brooks and Douglas Ewart on sax joined in representing the older generation, with pianist Orville Hammond and longtime Gil Scott-Heron percussionist Larry McDonald filling in the middle and a young-gun rhythm section of Wayne Batchelor on bass and frequent Jimmy Cliff and Monty Alexander sideman Desmond Jones on drums. Running through a set heavily stacked with old mento standards, the group were loose and conversational but buckled down when they had to, with often exhilarating results.

 

Jazz from Jamaica tends to be especially melodically oriented, and tonight it was Hammond holding it down with the rhythm section pushing along on the basic, soul- or blues-based changes. Often Brooks would ham it up, opening the set with an amusing if ill-advised turn on vocals, serving as a foil to Ranglin’s counterintuitive sophistication. Now 76, Ranglin has never played better: given a chance to take center stage, he chose his spots and then wailed through some strikingly intense, even piercing solos, generally eschewing the fluttery Les Paul-inflected chordal style that’s been his trademark for so long. Hammond had fewer chances to cut loose, but made the best of them, bringing a masterfully eerie noir lounge touch to the few minor-key songs in the set. Brooks and Ewart were remarkably similar, each showing off a soulful, slowly crescendoing, thoughtful style that gave their cohorts ample opportunity to contribute or, in the case of Ranglin, echo and bend a phrase into a completely unexpected shape.

 

At their most boisterous, Jones would get out from behind his kit and pummel a big bass drum, McDonald coming over from his congas, joined by both Ewart and Brooks, creating a free-for-all that would eventually drown out the rest of the band. There were also a couple of perhaps expected, perhaps surprise special guests, namely a couple of older gentlemen who took the stage in front of the band and got the crowd roaring with their impressively agile dance moves while the security guards looked on bemusedly from the edge of the stage. Before the encore, Miller explained to the crowd that they had been ripping up the yard since way back in the day. And then the less frenetic of the two grabbed the mic and indulged in a long exhortation to the Rastas in the crowd, ending with a fervent suggestion to read Isaiah, Chapter 43 (a passage which doesn’t make much sense other than to say that God will mess with you if you don’t behave). And nobody stopped him or shut off the mic: no problem, mon. For about an hour and a half, it was like being in Montego Bay – or Ogetnom, as one of the night’s most beautifully haunting numbers was playfully titled. 

February 28, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | 1 Comment