Label: Mack Avenue Records, 2023
Personnel - Josh Evans: trumpet; Marcus Strickland: bass clarinet, tenor saxophone; Christian McBride: bass; Nasheet Waits: drums.
Hitting us with the force of a tornado right from the start, Prime, the second chapter of bassist/composer Christian McBride with his post-bop-meets-avant-jazz outfit New Jawn, relies on top-notch musicianship, uncommon technique, and refined taste to succeed. The quartet performs a rich repertoire consisting of two McBride original compositions, one each by his bandmates: trumpeter Josh Evans, saxophonist/bass clarinetist Marcus Strickland and drummer Nasheet Waits, and three refreshing covers with a lot to be savored.
The two opening numbers - McBride’s “Head Bedlam” and Strickland’s “Prime” - are particularly stirring. The group makes a cacophonous entrance in the former, prior to providing guidance and aligning structure through the bassist’s funky groove. In the latter piece, their proposition consists of angularity and ambiguity, rounded out with interesting-to-follow solos and smart accents that pulsate without totally breaking the swinging motion.
Evans’ “Dolphy Dust” is agreeably disconcerting in its swinging allurement and flows with plenty of Dolphy-esque sharp edges. Carrying less exuberance and prone to reflection, Waits’ “Moonchild” kicks off with sharply intoned bass clarinet over articulated bass lines. Equally in this spirit but pouring different emotions, McBride’s “Lurkers” contemplates arco bass and tom-tom fantasies, whose mournful tones can reach spiritual freedom at times.
The covers were chosen wisely and the stupendous energy that characterizes this quartet is brought to the fore, firstly on Larry Young’s mercurial “Obsequious”, a post-bop workout delivered with a free posture and surprising transitions. Evans blows his horn with gleeful enjoyment and geometrical precision; he is followed by Strickland, who is less impetuous but more inquisitive and mysterious. The proceedings end up in a bouncing funk that you can dance to. Moreover, you can do the same during the jubilant Latin tinge of Ornette Coleman’s “The Good Life”.
The session is concluded with Sonny Rollins’ “East Broadway Rundown”, whose initial bass pedal goes beyond the theme statement, and where a bass monologue precedes an audacious drum solo. What McBride’s high-caliber quartet captures here is well worth listening to.
Favorite Tracks:
01 - Head Bedlam ► 02 - Prime ► 04 - Obsequious