DONALD EDWARDS QUARTET - The Colour Of Us Suite
Criss Cross Jazz: Criss 1407 CD
Donald Edwards (drums, compositions) Anthony Wonsey (piano) Ben Wolfe (bass) David Gilmore (guitar) Abraham Burton (tenor saxophone) Sophia Edwards and Frank Lacy (voice)
Recorded January 2020 in New York.
The title of the album combines the objective pronoun for `we` with the abbreviation for the United States to make a socio-political statement in the form of a plea for social harmony, justice and equality, no doubt inspired by continuing racial tensions on the other side of the Atlantic.
The ability of instrumental music to effectively convey a non- musical narrative has long been debated: turbulent passages can be interpreted as anger and conflict, minor key melodies can invoke sadness and grief but music as an abstract art is self-sufficient and has no obligation to be anything other than organised sound. To sustain a narrative there usually has to be some accompanying text and in this context it comes in two forms: firstly, a couple of tracks that deliver verbal recitations; one by the leader’s young daughter that opens the proceedings by asking the question “I love us, does the U.S, love me” and a passionate monologue by Frank Lacy, former trombonist with The Mingus Big Band, which concludes with the band chanting `Freedom, Equality, Justice`. Secondly there are the rather verbose booklet notes by a Mr G.J Fontenette which obscure rather than enlighten. The remainder of the suite (there are ten pieces in all) is instrumental being a collection pieces that often segue into each other and bear titles that, in part, draw on the symbolism of colours referencing those in the Stars and Stripes and of human diversity.
Regardless of its narrative purpose Edward’s music is a fine set of contemporary jazz played with energetic zeal by a set of top flight New York based musicians all of whom have impressive credentials. The simple theme statements, some bustling and urgent, others relaxed and soulful, all underpinned by vibrant and adroit drumming, are spun out into intelligent and exciting solo work by the band with Abraham Burton’s powerful tenor providing the dominant voice and David Gilmore’s guitar moving through linear bop lines into excoriating rock and funk stylings with a touch of freestyling as in the angrily overheated `Black’. Together Burton and Gilmore engage in a particularly exciting chase dialogue in the piece entitled `Blue` providing one of the high spots of the set.
Of the calmer, reflective pieces there is `White`, a melody reminiscent of `Come Sunday` from Ellington’s `Black, Brown and Beige Suite`, which features some gentle guitar and peerless pianism from the estimable Anthony Wonsey ; then there is `Finding Beauty`, an emollient ballad which is embroidered by some of Burton’s most expressive playing. Throughout there is exemplary bass playing from Ben Wolfe whether rooting the music with a pliant pulse, stitching together the pieces with well- crafted obbligatos or soloing at greater length, which he does with impressive dexterity in the aforementioned `Blue`.
The suite ends with a rousing `Hurricane Sophia` dedicated to the leader’s daughter and described by the sleeve writer as an “ode to the boundless energy and curiosity of youth”. It is a vigorous hard bop theme expressed over a pounding pedal note leading to slower B section with probing solos from the guitarist. Some poised piano playing follows and a headlong performance by the tenorist with the leader delivering a thrillingly executed solo to wind up what is simply a superb presentation that exploits all the compelling techniques and characteristics s of contemporary jazz to winning effect.
Reviewed by Euan Dixon
Criss Cross Jazz: Criss 1407 CD
Donald Edwards (drums, compositions) Anthony Wonsey (piano) Ben Wolfe (bass) David Gilmore (guitar) Abraham Burton (tenor saxophone) Sophia Edwards and Frank Lacy (voice)
Recorded January 2020 in New York.
The title of the album combines the objective pronoun for `we` with the abbreviation for the United States to make a socio-political statement in the form of a plea for social harmony, justice and equality, no doubt inspired by continuing racial tensions on the other side of the Atlantic.
The ability of instrumental music to effectively convey a non- musical narrative has long been debated: turbulent passages can be interpreted as anger and conflict, minor key melodies can invoke sadness and grief but music as an abstract art is self-sufficient and has no obligation to be anything other than organised sound. To sustain a narrative there usually has to be some accompanying text and in this context it comes in two forms: firstly, a couple of tracks that deliver verbal recitations; one by the leader’s young daughter that opens the proceedings by asking the question “I love us, does the U.S, love me” and a passionate monologue by Frank Lacy, former trombonist with The Mingus Big Band, which concludes with the band chanting `Freedom, Equality, Justice`. Secondly there are the rather verbose booklet notes by a Mr G.J Fontenette which obscure rather than enlighten. The remainder of the suite (there are ten pieces in all) is instrumental being a collection pieces that often segue into each other and bear titles that, in part, draw on the symbolism of colours referencing those in the Stars and Stripes and of human diversity.
Regardless of its narrative purpose Edward’s music is a fine set of contemporary jazz played with energetic zeal by a set of top flight New York based musicians all of whom have impressive credentials. The simple theme statements, some bustling and urgent, others relaxed and soulful, all underpinned by vibrant and adroit drumming, are spun out into intelligent and exciting solo work by the band with Abraham Burton’s powerful tenor providing the dominant voice and David Gilmore’s guitar moving through linear bop lines into excoriating rock and funk stylings with a touch of freestyling as in the angrily overheated `Black’. Together Burton and Gilmore engage in a particularly exciting chase dialogue in the piece entitled `Blue` providing one of the high spots of the set.
Of the calmer, reflective pieces there is `White`, a melody reminiscent of `Come Sunday` from Ellington’s `Black, Brown and Beige Suite`, which features some gentle guitar and peerless pianism from the estimable Anthony Wonsey ; then there is `Finding Beauty`, an emollient ballad which is embroidered by some of Burton’s most expressive playing. Throughout there is exemplary bass playing from Ben Wolfe whether rooting the music with a pliant pulse, stitching together the pieces with well- crafted obbligatos or soloing at greater length, which he does with impressive dexterity in the aforementioned `Blue`.
The suite ends with a rousing `Hurricane Sophia` dedicated to the leader’s daughter and described by the sleeve writer as an “ode to the boundless energy and curiosity of youth”. It is a vigorous hard bop theme expressed over a pounding pedal note leading to slower B section with probing solos from the guitarist. Some poised piano playing follows and a headlong performance by the tenorist with the leader delivering a thrillingly executed solo to wind up what is simply a superb presentation that exploits all the compelling techniques and characteristics s of contemporary jazz to winning effect.
Reviewed by Euan Dixon
