Are Your Ears Hungry?

Roy Hargrove's "Earfood" provides plenty of sustenance for those whose ears are hungry for some good music. Right from the beginning, pianist Gerald Clayton spoons out a delicious riff, setting the tone for a nutritious, multi-course feast.

Okay, enough of the food allegory. This is a solid cd from an excellent trumpeter that plays 'in the tradition', but truly realizes that the development of jazz did not end, unlike what a lot of people seem to believe, with the death of John Coltrane. Yes, Hargrove may look back somewhat, but it seems that it's only with the acknowledgment that what he's doing today would be impossible without the accomplishments of the jazz masters of the past.

The CD gets kicked off with an Eddie Harris-type tune, titled, "I'm Not So Sure", written by the great pianist, Cedar Walton. I know it sounds corny, but the best way to describe this tune is 'funky'. At the start, Gerald Clayton sets the tempo, making it clear that this is a 'feel good' tune. On this tune, Hargrove's soloing is exuberant, letting everyone know "I'm back". Next up is Justin Robinson's alto solo, taking up where Roy left off, showing that he's an altoist to be reckoned with. Then Clayton brings it on home with a solo that personifies the soul-funk nature of the piece.

Next up is "Brown", which clearly illustrates that Hargrove is not stuck in the '60s. It has a rhythm that is 'slick', led by Montez Coleman's percussive groove, and is clearly indicative of a Black Man of the 2000's. That's right--a BLACK MAN of the 2000's. The reason I emphasize this is because most jazz commentators would like to promote the idea that music, in particular, jazz music, is color blind. In my opinion, this is an attempt to rewrite the history of the music and impute unto Caucasians a greater attribution of importance upon jazz than is deserved; but I digress-- that is a different subject for a different time.

"Strasbourg/St. Denis", is the next cut on the cd and was penned by Hargrove. Kicked off by the 'Negroidal' bass of Danton Boller, it's another tune in the funk-jazz tradition and that also has that "feel good" sound of the first cut which goes to show that Mr. Hargrove is not only capable of interpreting that type of tune, but capable of writing them himself.

The mood severely changes on the next cut, "Starmaker". If you're a sensitive soul, then beware: after listening to this cut, be prepared to wipe the tears from your eyes. I can't explain it, but this piece tells such a sad story. I admit, I don't know exactly what that story is--probably a lost love--but one listen and you'll know what I'm talking about.

"Joy Is Sorrow Unmasked" is next up and what can I say other than that it's a standard ballad-type tune, written by Hargrove. Nothing particularly stands out, but it's definitely solid, melodic and well executed, with Roy's flugelhorn playing illustrating that he can 'mellow-out' with the best of them.

"The Stinger" is clearly post-'post-bob' (if that makes sense to you--email me if it doesn't). Again, the applicable term is 'slick'. It has a feel of the best bop tunes of the sixties, but there's something about the rhythms that reminds us this is 2008 and these musicians were likely influenced by the hip-hop generation. The Miles Davis Quintet simply would not have played this tune at such a rhythm.

The rest of the tracks are all solid and to go through each one might prove tedious, but I must point out the tune "To Wisdom The Prize", written by the great and under-appreciated pianist, Larry Willis. Very emotional; very sensitive. I don't know exactly how certain tunes become to be 'standards', but this is one that should be added to that select group of compositions.

There's a notion among some that 'jazz is dead' and that the musicians of today are simply re-hashing the music played by the masters of the 60's. One listen to "Earfood" will dispel that notion, illustrating that jazz is alive and well and, most-importantly, in the good hands of modern-day masters such as Mr. Hargrove. I can't imagine that there has been or will be a better cd released in 2008 and this one clearly gets my vote for recording of the year.