Jeff Parker - Like Coping (Delmark)
There are two strong, long-standing bands in what might be called the
"second generation" of Chicago's AACM. One is a deep and stirring octet
within the heady, spiritual tradition of the organization while the other
carries the unexpected feel of a party band in a scene where partying is
rarely the setting.
Ed Wilkerson's 8 Bold Souls strikes most closely to AACM alum Henry
Threadgill's great Sextett of the 1980s, from the rich complex
compositions right down to the cello. Ernest Dawkins, however, mines a
very different vein of Great Black Music, striking closest to an update of
Lee Morgan's Blue Note work from the 1960s.
Of course, there's nothing wrong with having a good time (as Lester
Bowie, one of the original figureheads made sure to show us before
leaving this life). Dawkins isn't likely to cover Michael Jackson anytime
soon, and his dress is dashiki not lab coat, but he's here to make the
music move as much as Mr. Bowie was.
The saxophonist has made himself something of an AACM MC, writing
songs that reflect Chicago life and dedicating many of his tunes to other
members of the seminal organization (which regularly produces festivals
in Chicago and New York and for years operated a music school in
Chicago's south side). Here he expands his scope to the whole of African
and African American music, building one track from a Senegalese
rhythm, another from the New Orleans march tradition and a third
invoking Eric Dolphy and Thelonious Monk but dedicated to AACM
hornman Vandy Harris and, to keep things from being simple, written in
12-tone form. Along the way, Dawkins also encounters Southern Baptist
spirituality (with the late trumpet player Ameen Muhammed in the role
of the preacher) and rapper Kahari B (son of Bold Soul Mwata Bowden,
one of the finest reed players in the Windy City) intoning "jazz to hip
hop/beat box to bebop." It's an ambitious journey, and true to form
Dawkins takes as his mission enjoyability over exhaustiveness.
His New Horizons Ensemble has undergone some changes in personnel
since their first release which, like Capetown, was a live
recording. After the Dawn has Risen was recorded at the
Leverkusener Jazztage festival in Germany in 1991, when the band
featured Reggie Nicholson on drums. A recent shift is the loss of the fine
guitarist Jeff Parker, who might be better known from his involvement
with Tortoise, Isotope 217 and the Chicago Underground Quartet. On
Like Coping, his first record under his own name, Parker doesn't
synthesize old and new jazz guitar as much as throw them in a hat and
pull them out again. Cuts like "Holiday for a Despot" might excite the
Isotope crowd with its staticky feedback and noisy wash, but much of
the album is made up of good old-fashioned guitar trio ballads. With the
worthy drummer Chad Taylor and bassist Chris Lopes, two more names
familiar in Chicago's new breed of acid jazz, Parker proves his chops as
a tasty jazz guitarist, laying it down more for mood than machismo.
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