Kev’s Music Review: Christian Scott ‘Anthem’

Greetings everyone,
I can’t remember the last time I did a music review, but it certainly has been a long time. Since going back to Canada for the holidays, I was able to pick up a number of new albums, so I’ll be reviewing them over the next week or so.

I was very excited to see that Christian Scott had come out with his second album, entitled Anthem, which followed up his Grammy-nominated debut album ‘Rewind That’ last year. I was not disappointed. Christian refines the trajectory he set in Rewind That, firmly establishing his identity, his ‘sound’, and his reputation as one of the profound leaders in the next generation of jazz.

Scott categorizes his music on MySpace as Nu-Jazz/Soul/Rock. It certainly has those components. Christian Scott himself plays very blues-infused contemporary jazz tones, while Matt Stevens keeps it rock-heavy on the guitar. Marcus Gilmore plays with a laid-back post-modern jazz tempo but with rock accents, and Aaron Parks is a chameleon on the keys but keeps a Soulful tone to lighten up the edginess of the other players.

Together this quartet (plus many other guests on certain tracks) play some really amazing music. I feel Christian Scott extends Miles Davis’ tradition with a very strong Modal feel, but meticulously fragmented, decomposed and reconstructed for the twenty-first century construct. The layering of identities and messages speaks to the modern-day experience. Taking direction from Davis’ ‘Cool’, Christian Scott’s compositions dig deep and dark, in an introspective sound that is sophisticatedly beautiful.

Christian Scott’s album title ‘Anthem’ and the album artwork that accompanies it leads hints to the listener that this second body of work is as much an ‘anthem’ for Christian Scott’s musical direction as it is a commentary and call to attention of what the artist sees as the state of America, and perhaps the world. The music is fitting for the album artwork that speaks of unmitigated urban crime and the struggle of innocence growing up in such an environment. As a son of New Orleans and a witness to hurricane Katrina, it is not difficult to see where Christian Scott’s perspective is coming from.

Anthem is an album I suspect I will continue to regularly enjoy for many years to come. The maturity Scott has already shown, and the amount of growth from the first to the second album are truly impressive. Its just downright an awesome piece of work, and as it was meant to be, speaks to you on a very personal level.
For more info on Christian Scott: www.christianscott.net OR www.myspace.com/christianscottmusic

Keeping an ear to the ground,

Kev.

Kev's Music Review: C.O.U. Chinese Organic Union

For those of you who follow my music reviews, you'll probably notice that I review mostly contemporary jazz. But to be honest, I am a great lover of anything jazz. In fact, much of the greatest advances in jazz are coming from jazz fusion, which I've been spending a lot more time exploring, and which I will hopefully begin reviewing more for you.

It is no surprise then, that when a new group labeled themselves the first 'Chinese Jazz-Rap', I was more than intrigued. Jazz? Good. Rap? Good. Chinese? Gooood. (Thats a parody from Joey on Friends by the way).

Earlier in September I went to their cd release concert and party, just to check them out live, and see what their idea of jazz-rap was all about. To my surprise; it was really good. Well, it had serious potential. A little raw in some areas, like when they tried to infuse their Chinese rap with Chinglish slang to make it more 'authentic'. But two things really caught my ear: 1) the DJs knew their stuff. They've produced some serious thick beats overlaid with some even heavier jazz-influenced tunes. Even without the rapping, I would have purchased the CD cause their Jazz-hip hop beats were really movin'. Most of it is thanks to Kirby Lee, the main DJ, who has just come out with his own debut solo album. 2) The premier featured rapper, J-Fever, is a really really talented lyricist. Not only is he native to Beijing (while some of the other rappers in this collective come from Shanghai, HK, and South China), but his Putonghua, or standard Chinese, is so clear that it is a pleasure to listen to him wrap. The way he uses the cues during the off-beats really goes well with the laid-back, sit-back style of this jazz-rap.

It wasn't too long into the first song that I was bopping, and nodding in appreciation and agreement. "Alright" I said, "they got good skill". And then I took a closer look. These guys were young. Well, at least J-Fever is. He is still in college I believe, which means that he has a bright future ahead of him if he plans to devote it to music.

In anycase, a glimpse into the emerging underground of Chinese hip-hop, and one potential direction it is headed. If indeed C.O.U. and it's community continues to gain popularity as it has been, we could potentially see Chinese hip-hop evolve into a forerunner for the popularization of Jazz-influenced Hip Hop. This could be a very exciting development, and could potentially be the launching platform for different kinds of jazz -- jazz fusion, jazz house, and yes, even traditional contemporary jazz-- to make a real home here in China.

I will keep my tabs on how C.O.U., Kirby Lee, J-Fever and the whole Chinese Jazz-Rap movement grows.

Keeping an ear to the ground,

Kev.

Kev's Music Review: Kurt Rosenwinkel

Its been a quite a few months since I've done a music review; finishing school and life in general has just been catching up on me.

This review is devoted to someone who isn't really that new on the scene, but is still at the beginning of what will likely be a very influential career: Kurt Rosenwinkel.
As a young guitarist, he is really this generation's leading answer to the foundation laid out by Pat Metheny. As ever lyrical in the ways of Metheny, Kurt's style leans heavily towards an aggressive improvisation that is being popularized by his contemporaries. It isn't surprising to see that Kurt's most recent album, the '05 Verve Records release 'Deep Song' is comprised of some of the strongest forces in contemporary jazz today: Joshua Redman on saxophone, Brad Mehldau on piano, Larry Grenadier on bass, and Ali Jackson on drums.
Kurt Rosenwinkel was born and raised in Philedelphia where he was introduced to jazz in highschool. His progress was such that he was admitted into Boston's Berklee School of Music. However, he dropped out in 1992 when he was invited to play in Gary Burton's band, a world-famous ensemble celebrated for the master vibraphonist's Art-Blakey-esk commitment to training young talent. Kurt gained real-life lessons playing and touring with Gary Burton, and then a much longer mentorship playing with avant-garde drummer, Paul Motian.
Kurt's most recent 2005 album was his 6th title recording, fourth with Verve records. For those of you who want to hear the "sound" of today's jazz, a real discussion on structure, theory and soul of contemporary Jazz, and a type of music the record labels have been really getting behind in the last 5 years, keep a tab on Kurt Rosenwinkel.

Keeping an ear to the ground,

Kevin.

Kev's Music Review: Elizabeth Shephard

This edition of Kevin's Nu Jazz Review features Canadian Jazz pianist and vocalist, Elizabeth Shephard. During the past few years on the Jazz scene, she has been making heads turn with her perfect combo of contemp jazz and funky soul. Her extremely smooth vocals give jazz divas like Norah Jones and Diana Krall a run for their money. Her up-beat, edgy tempo produces a hard-hitting, head-nodding sound that you'll want to keep coming out of your speakers time and again. Elizabeth's piano skills are equally impressive, as she is unintimidated by innovative chords and fast-paced solos. She is a testiment to the McGill University jazz program from where she graduated. Her songs are all original compositions, showing her mastery of composition as well as performance. A true pleasure all around, if you want to hear some fresh female jazz vocals that will make you smile, please, do check out Elizabeth Shephard. You won't be disapointed. www.myspace.com/elizabethshephard

Keeping an ear to the ground,

Kevin.

Kev's Music Review: Jonathan Batiste

For those who love the ebony and ivory keys, check out Jonathan Batiste. This home-grown New Orleans talent plays with the virtuosity of the stridemasters of old, yet at the young age of 19, he melds hints of blues, rag, R&B and soul to make this some serious righteous jazz for our day. Jonathan can be seen performing regularly in New York City where he now resides as he attends the Juilliard school of music. He has played with the likes of Wynton Marsalis, Nicholas Payton, Harry Connick Jr. and more. If you are looking for some new, vibrant, energetic, foot-stoppin' Jazz that still acknowledges the roots that got us here, then Jonathan Batiste is for you.

With an ear to the ground,
Kev.

Kev's Music Review: Matt Stevens

I want to introduce a rapidly rising stars of the Jazz world: Matt Stevens. This guitar-playing impresario is a fresh voice in the jazz guitar's evolution. With strong influences in both tone and repetoire from Pat Metheny, Matt Stevens infuses his own string of blues and funk into the mix. After watching him live at the Rex in Toronto this past weekend, I have to say he is one of the finest guitarists of the new generation. Not only is he a great solo musician, but his is a fantastic band leader as well. His quintet moves together as one, laying thick grooves with heavy percussive bass-lines in support of Matt's forward-thinking riffs. Check him out if you're into some serious progressive jazz guitar!

With an ear to the ground,
Kev.