Thirty-years later we now understand that Miles was both raising the bar for jazz artists’ commercial success and diligently trying to get the music back to the social and cultural spaces that birthed it and out of the conservatory and concert hall. Critics tuned out Miles’s On the Corner– era recordings simply because they felt he wasn’t living up to the standard he set for himself with classics like Kind of Blue and Sketches of Spain (there’s some correlation in the current talk about Tiger’s slump). Of course Roy’s effort comes with some drama - the classic jazz artist “sells out” to cross over crap. Roy Hargrove Presents The RH Factor: Hard Groove (Roy hard groove, get it?) is the product of that patience. There have been rumors for more than a decade that Roy was doin’ a hip-hop recording (I was riding in the Integra with C-Dub talking about it months before Race Matters dropped), but Roy paced himself, paid tribute to the elders ( With the Tenors of Our Time, 1994 and Parker’s Mood, 1995), got his Afro-Cuban vibe on ( Habana, 1997), and sought out some fellow travelers, namely D’Angelo, who made Roy’s flow a big part of his brilliant (don’t hate it was brilliant) Voodoo. Listening to Roy Hargrove and the rest of them Neo-bop young lions (Marc Cary, Antonio Hart, Gregory Hutchinson, and Rodney Thomas Whitaker) flow on Miles’s “Milestones” and Hargrove’s original “Caryisms” (from 1992’s The Vibe) you got the sense that hip-hop had in fact already blessed the jazz gods. Gutterman”, most of them fell flat.įrom the time most cats heard Lil’ Roy blow on Diamond in the Rough (1989), there was always the sense that he was “the one”. Most of these latter efforts were heart-felt and good intentioned, but with the exception of Osby’s “Mr. Even the jazz cats tried to get in the mix - Miles weighed in from the grave with Doo-Bop (who the hell told him to work with Easy Mo Be on his last tracks?), Branford Marsalis got down with his alter-ego Buckshot Lefonque, M-Base veterans Greg Osby and Steve Coleman put their good foots forward, respectively, with 3-D Lifestyles and A Tale of Three Cities (with the Five Metrics). And true indeed there were cats who claimed that they could be the architects of this - Guru’s Jazzmatazz (1993), A Tribe Called Quest’s The Low End Theory (1992), and Digable Planets’ Reachin’ (A New Refutation of Time and Space) (1993).
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The music of “old southern men full of northern pain” (holla back bruh Umar) and the music of their angry-ass offspring (once removed) - both with rhythmic names that seemed to mirror each other (bebophiphopbebophiphop). In all, is a stunner from top to bottom.“This ain’t rapping, this is street bop / Now get up off you ass like your seat’s hot.” 's 'Tschpiso' is a wild, rumbling big brass number filled with syncopation, tough rhythms, and heavy blues feel. There are a couple of Latin numbers on the set as well, and they just smoke: 'Mambo for Roy,' written by, and 'La Puerta,' which also features - they offer deep-listening evidence how far-reaching this band is at heart. Is the guest vocalist on 'Every Time We Say Goodbye,' and does a knockout job. 's 'Requiem' is here, and is the most imaginative tune on the set arranged by the composer, it walks a solid line between modern post-bop jazz and modern classical composition. Some of the standards that really shine are an unusually restrained and utterly elegant 'My Funny Valentine' and the finger-popping 'September in the Rain,' the former arranged by bass trombonist and the latter. It quotes liberally from 'Wade in the Water' and 'Hit the Road Jack,' but is a stomping, raucous blues in its own right with the wide chromatic and harmonic range of the brass section on full display, and contains a smoking solo break. Garvey,' written and arranged by baritone saxophonist Jason Marshall. The composer employs restraint to bring forth his gorgeous melody. It's a ballad in modal style with extended harmonies and a lovely textural palette. The set begins with 'Velera,' a tune written and arranged.
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The group went through many metamorphoses when he played a series of club and festival gigs over the intervening years. The roots for this project go all the way back to 1995 when formed a big band to play the New York Jazz Festival. On the Groovin' High imprint features a 19-member big band, playing a set of 11 standards and originals by and bandmembers as well as a track written for the leader by none other than pianist - who doesn't appear here. And while he's played in various big bands before, he's never led his own until now. Trumpeter has been in some exotic musical environments in the past - from his various quintets, quartets, his Afro-Cuban outfit, and his funk band, he's pretty much done it all.
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