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Seeds from the Underground
Seeds from the Underground in Bloomington, MN
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On his sophomore
Mack Avenue
date, saxophonist
Kenny Garrett
has taken a back-to-basics approach to melodic composition with some compelling twists and turns.
Seeds from the Underground
is a set of ten new originals, performed by his standard group -- bassist
Nat Reeves
and pianist
Benito Gonzalez
-- with drummer
Ronald Bruner
(who also hails from
Garrett
's hometown of Detroit) and percussionist
Rudy Bird
. While the framework of nearly everything here stays firmly within the post-bop frame,
' structural reliance on intricate, memorable melody is a keen lift-off point for group interplay. Opener "Boogety Boogety" features him head to head with
Gonzalez
, whose large chord voicings recall
McCoy Tyner
, though his brightly hued harmonics are his own.
Bird
's percussion drives the tune along the top, adding a Latin feel. "J Mac," inspired by
Jackie McLean
, is a sprint that draws on
McLean
's ability to cover bases from
Charlie Parker
to
John Coltrane
while keeping his own sense of lyricism inherent.
's solo is knotty, unchained, and pyrotechnic.
Bruner
's kit just pops, double-timing the band. "Detroit," a ballad, hovers between wistful and noirish. It's evocative of an earlier era (especially with the sound of a turntable needle on a vinyl record's blank space), with one caveat: the lovely, understated, wordless vocals of
Nedelka Prescod
. The title track features
on soprano, with some athletic rhythmic turns that
and
(the latter on bata drums) shine inside. Here, too, one can hear the influence of
Tyner
, not only on
, but in
's harmonic extensions. "Welcome Earth Song" finds
Prescod
and a chorus of vocalists underscoring a gorgeous folk melody in a beautiful, sprightly 21st century post-bop presentation. "Ballad Jarrett" also features
on soprano, it's spare, warm, lush, and haunting. Each piece here is resonant. On
, the boundary of
's lyricism has been extended; his newfound rhythmic invention is singular among other post-bop technicians. But these qualities are part of something larger: that this music is welcoming and accessible, underscoring the notion that
's new compositions have that mercurial something in them that approaches the mysterious nature of song itself . ~ Thom Jurek
Mack Avenue
date, saxophonist
Kenny Garrett
has taken a back-to-basics approach to melodic composition with some compelling twists and turns.
Seeds from the Underground
is a set of ten new originals, performed by his standard group -- bassist
Nat Reeves
and pianist
Benito Gonzalez
-- with drummer
Ronald Bruner
(who also hails from
Garrett
's hometown of Detroit) and percussionist
Rudy Bird
. While the framework of nearly everything here stays firmly within the post-bop frame,
' structural reliance on intricate, memorable melody is a keen lift-off point for group interplay. Opener "Boogety Boogety" features him head to head with
Gonzalez
, whose large chord voicings recall
McCoy Tyner
, though his brightly hued harmonics are his own.
Bird
's percussion drives the tune along the top, adding a Latin feel. "J Mac," inspired by
Jackie McLean
, is a sprint that draws on
McLean
's ability to cover bases from
Charlie Parker
to
John Coltrane
while keeping his own sense of lyricism inherent.
's solo is knotty, unchained, and pyrotechnic.
Bruner
's kit just pops, double-timing the band. "Detroit," a ballad, hovers between wistful and noirish. It's evocative of an earlier era (especially with the sound of a turntable needle on a vinyl record's blank space), with one caveat: the lovely, understated, wordless vocals of
Nedelka Prescod
. The title track features
on soprano, with some athletic rhythmic turns that
and
(the latter on bata drums) shine inside. Here, too, one can hear the influence of
Tyner
, not only on
, but in
's harmonic extensions. "Welcome Earth Song" finds
Prescod
and a chorus of vocalists underscoring a gorgeous folk melody in a beautiful, sprightly 21st century post-bop presentation. "Ballad Jarrett" also features
on soprano, it's spare, warm, lush, and haunting. Each piece here is resonant. On
, the boundary of
's lyricism has been extended; his newfound rhythmic invention is singular among other post-bop technicians. But these qualities are part of something larger: that this music is welcoming and accessible, underscoring the notion that
's new compositions have that mercurial something in them that approaches the mysterious nature of song itself . ~ Thom Jurek
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