An Ambitiously Translucent Debut Album by Flutist and Singer Alex Hamburger
Alex Hamburger is a graceful singer and a thoughtful, lyrical flutist. Her sonic home seems to be the instrument’s midrange: shrieking extended technique is not her thing. And she has a fearless political sensibility. Her debut album And She Spoke – streaming at Bandcamp – celebrates womens’ strength and resilience. Her songcraft is vivid and she doesn’t waste notes throughout this 2019 recording..
The opening number, Waking in the City is built around lyrics by Maya Angelou. Hamburger sings with a crystalline focus over a bass drone: “And I, an alarm. awake as a rumor of war, lie stretching into dawn, unmasked, unheeded.” Pianist José Luiz Martins and bassist Doug Weiss stretch themselves in tandem with a lithe hook, drummer Chase Kuesel building suspense on his cymbal bells and hi-hat, the bandleader’s lines dancing as the morning tableau unfolds. Martins spirals and ripples before Hamburger brings everything in for a soft landing.
The piano runs a brooding riff as she sings the opening verse of La Desesperación Es la Pasión Verdaderamente Humana – a setting of an eloquent and pretty inarguable text by Ana Maria R. Codas. Hamburger’s flute provides reedy hints of Colombian music before it’s suddenly over: the group keep you wanting more.
Martins shifts between piano and starry Rhodes in a balmy take of Geri Allen’s Unconditional Love, offering a fond but kinetic solo before Hamburger takes a purposefully strolling one of her own. It Comes Unadorned is a setting of lyrics by Toni Morrison – is the tune “strong enough to cast a spell?” This one is gentle but resolute, Martins looping a wary modal hook, Hamburger rising from disquiet in an account of casual serendipity.
She does Mary Lou Williams’ What’s Your Story Morning Glory as a steadily syncopated blues, Weiss taking a balletesque verse to set up Hamburger’s low-key, imaginatively ornamented solo, Last Chance Lost, a Joni Mitchell tune, gets a sober, stoic, brief interpretation over low lights, then the band segue into a plainspoken, earthbound jazz version of the Beatles’ Across the Universe.
The album’s final and strongest cut is Burning the Letters, a simmering, flamenco-tinged jazz waltz. It’s reason to look forward to whatever else this eclectic artist has cooking.
Geri Allen’s Grand River Crossing: A Vivid Homage to Her Detroit Hometown
It’s always risky to read subtext into a work of art. But pianist Geri Allen‘s new Grand River Crossing – a tribute to the Motown music of her Detroit childhood – has a persistent unease, a plaintive and often poignant quality, in stark contrast with the upbeat material on which most of it is based. To what extent is the album – Allen’s final installment in her mostly-solo trilogy – a reflection on how her hometown has seen a sad transformation from auto capitol of the world to bankrupt Murder City?
Allen’s m.o. here is less to reharmonize a bunch of catchy pop tunes than it is to use their changes as a springboard for improvisation. She opens with a briskly dancing, unrecognizable take on the Michael Jackson hit Wanna Be Starting Something. Smokey Robinson’s Tears of a Clown is reinvented as a haunting, carnivalesque, absolutely brilliant portrait that’s far more true to the title than the original. Stevie Wonder’s That Girl follows some insistently moody variations to a lively, off-the-beaten-path, syncopated romp. Then Allen imbues Ray Brooks’ The Smart Set with a darkly biting, elegaic edge,Marcus Belgrave adding bluesy trumpet. Allen’s solo version of the Beatles’ Let It Be is bitter and jaggedly wounded, as far from the calm resignation of the original as you could possibly imagine.
Belgrave’s Space Odyssey, another duet, builds a broodingly syncopated march around a surreal, microtonal trumpet intro and a brief free interlude. The first Holland/Dozier’Holland tune here, Baby I Need Your Lovin’ plays hide-and-seek with the hook, followed by the second, Itching in My Heart – with David McMurray on alto – done as a pulsing oldschool soul vamp.
Frank Wilson’s Stoned Love is a wary, precise early 60s soul groove – it doesn’t have much of anything to do with jazz, yet it might be the best song on the album. Marvin Gaye’s Inner City Blues has Allen running the riff in the lefthand against variations in the right; his Save the Children is moody and enigmatic, more question than answer. Allen winds up the album with another duet with Belgrave, Gerald Wilson’s Nancy Joe, finally emerging jauntily from the pervasive darkness that preceded it. There are also three Allen solo miniatures here which for the most part maintain that mood.
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.”