Label: Iacuessa Records, 2020

Personnel includes - JD Allen: tenor sax; John Ellis: soprano sax; Bruce Williams: alto sax; Ken Thomson: bass clarinet; John Bailey: trumpet, flugelhorn; Rafi Malkiel: trombone, euphonium; Marcus Rojas: tuba; Luis Perdomo: piano; Gregg August: bass, composition; Donald Edwards: drums; Mauricio Herrera: congas, shekere, castanets; Frank Lacy: vocals; Shelley Washington: vocals; Forest VanDyke: vocals; Wayne Smith: narrator, and more.

Raising awareness of the racial problem in America, bassist/composer Gregg August, a fundamental pillar in the acclaimed trio led by saxophonist JD Allen and also a respected member of Arturo O’Farrill's Afro-Latin Jazz Orchestra, releases his fourth album as a leader. Featuring a 12-piece big band, Dialogues on Race Volume One is a mature two-disc jazz opus composed and premiered in 2009, that only now is released on record. Motivated by Black Lives Matter and other civil rights movements, it's a reflection that urges us to combat racism and all the injustices derived from it.

The bassist, being white, was not discouraged by black fellow musicians and friends to present a sonic meditation largely centered on Emmett Till’s cruel assassination by lynching in 1955. The titles “Your Only Child” - inspired by Marilyn Nelson’s poem and presented in three distinct parts, the second of which shaping up as a lonely arco bass dirge - and “Mother Mamie’s Reflections” - where Emmett’s mother’s poignant words resonate atop of the brooding low sounds emitted by bowed bass, tuba and bass clarinet - are powerful musical statements imbued with troubled historical context.

Based on Cornelius Eady’s poem, “Sherbet” proves to be a fabulous starting point. After a forlorn intro with arco bass and saxophone, August and drummer Donald Edwards lay down an infectiously groovy rhythm, later punctuated by the restless activity of Ken Thomson's bass clarinet. Besides helping to provide a lush backing, pianist Luis Perdomo improvises with passion after the bandleader’s discourse prompted with a loose feel. With percussionist Mauricio Herrera very active on shekere, the piece ultimately incorporates an exuberant collective passage with the horn section at the fore.

Narrated by activist and war vet Wayne Smith, “Letter to America” reflects tight unisons and a powerful orchestration in the theme, pushing the bass clarinet and the trombone to the center of the discussion. Trombonist Rafi Malkiel swaps the haunting cries heard on the latter piece with mellower phrases on “Sky”, an exercise in atmosphere mostly commanded by the sensitive melodic drive of saxophonist JD Allen.

“I Rise” initially glistens with the crossing lines thrown in by the horn players, suddenly erupting into a crescendo that leads to a cacophonous uproar immersed in blustering bravado. You’ll find clever and distinctive palette shifts here, with the band fixating on a slow groove in nine prior to dive into another jagged pool of horn clamors, and completing with an uplifting swinging motion to better serve the soloists. It’s like an infectious synthesis of everything from odd-metered post-bop to rebellious avant-garde protests to soulful and swinging environments. Conversely, “Sweet Words on Race” flows with a glamorous Afro-Cuban touch.

Equally dynamic, “The Bird Leaps” encompasses head-to-head dialogues, smooth tempo shifts and compellingly articulated statements from saxophonists John Ellis, Bruce Williams and JD Allen on soprano, alto and tenor, respectively.

August matured into a talented leader and composer; this is a quite colorful work with a lot to absorb and reflect upon.