Integrity is a word that often tends to be thrown around too
loosely these days. But in the case of the extraordinary alto saxophonist
Sherman Irby it not only fully applies, but demands a capital "I" for
the proper emphasis. His latest album Cerulean Canvas on Black Warrior Records
with his ensemble Sherman Irby & Momentum confirms that fact over and over
again throughout its 10 outstanding tracks.
The entire history of jazz as expressed through the alto is
always fully contained in every note that Irby plays--the rich lyricism of Hodges,
the commanding facility of Parker, the whimsy of Ornette, the exuberant swing
of Cannonball, the exploratory confrontation of Gary Bartz and Sonny
Fortune--and in those appropriate moments, the down home bluesy funkiness of
Hank Crawford and Maceo Parker. Irby is a protector of the profound legacy, not
in the museum curator sense, but in the classic tradition of the living
vitality of calling upon the past in forging his own unique voice to define the
present and foretell the future.
In the old-school tradition that he's fully embraced, Irby
uses his virtuosity to tell compelling stories, not just to show it off.
Considering the title of the album, it's even more appropriate to say that he's
a painter of images, deftly splashing his palette of colors upon the canvases
provided by the delightful compositions - and in the company of like-minded
artists who join him enthusiastically in the joy of creation.
For Cerulean Canvas, his eighth album as a leader and fifth
for Black Warrior, Momentum is comprised of a stellar cast of collaborators,
including trombonist Vincent Gardner, pianist Eric Reed, Gerald Cannon on bass,
and Willie Jones III on drums. Two special guests are also on hand. Trombonist
Elliot Mason spells Gardner on three tracks; and Wynton Marsalis steps out of
the limelight of the Jazz at Lincoln Center Orchestra to grace the JLCO lead
altoist's album with his eminent presence, offering his unique talents to the
appropriate enhancement in the manifestation of Irby's music. This exemplary
array of musicians fully and impeccably immerse themselves in Irby's music,
bringing all of their collective heart and soul to the proceedings as if they
owned it, but always keeping focused on the leader's intent and ownership of
the art their synergy is creating.
The repertoire is captivating and expressive, providing
brilliant canvases for the musical portraits: deeply grooved blues, poignant
ballads, a blistering romp, a refreshing take on an old standard, a Stevie
Wonder tune and an intricately crafted exploratory soundscape. Irby composed
five of the pieces and shares the solo spotlight generously, but his alto is
the primary color that unifies the tracks individually and the overall context
that binds them together. Emotive and evocative on Mulgrew Miller's lovely
"From Day to Day," and with filigreed warmth and wisdom on Wayne
Shorter's gorgeous "Contemplation,"Irby's ballad artistry is steeped
in traditional lyricism and is yet as urgent as this moment.
The Cannonball influence is front and center on Irby's edgy
and deeply grooved "Racine;" and his urgent adventurousness
highlights Gardner's episodic Mingus-tinted dedication to a remarkable
African-American painter, "Blue Twirl: Portrait of Sam Gilliam" as
Irby nimbly dances through the intricacy. Straightforward blues expression is
on tap on two more Irby originals with an old-school statement that defers to
Eric Reed's featured wizardry on the call-and-response "Blues for Poppa
Reed;" and bestowed in undiluted form on "John Bishop Blues,"an
organically flowing homage to a barbecue master (and all that might succulently
represent) in Irby's hometown of Tuscaloosa, Alabama. Marsalis and the band add
their own weight to Irby's brilliant raw blues essence in what usually happens
only in the late night atmosphere, just for the musicians themselves and anyone
else so spectacularly lucky to be there at the time.
Marsalis also joins in for "SYBAD," Irby's tribute
to JLCO charter member Joe Temperley who passed away in 2016. Not a tearful
remembrance, but more appropriately an easy swinging bluesy celebration of the
man, with Marsalis and Irby fully immersed in the fond memory. Two contrasting
angles of Irby's alto majesty round out this wonderful album. Playful whimsy is the key in the effervescent
take on the old standard "Sweet Georgia Brown"with Irby and Gardner
doing a deft dance around Jones' sticks-on-rims percussive mastery; and all out
scorching vibrancy alongside Mason's equally explosive trombone provide the
one-two punch on Irby's blistering "Willie's Beat, aka The Sweet
Science."
Since his arrival on the New York scene in 1994 where he was
a regular on the vital Smalls scene for three years, Irby has steadily
developed his career as a mainstay alto saxophonist through his recording and
touring. Two albums for Blue Note led to his longstanding commitment to
self-empowerment and artistic freedom and he has continued that since with his
own Black Warrior Records. His artistic imperative forged by his participation
in the unparalleled Betty Carter's Jazz Ahead Program, Irby has been a featured
member of groups led by Marcus Roberts, Roy Hargrove, Elvin Jones, Papo
Vazquez, and currently tours with the immortal McCoy Tyner. A member of the
JLCO from 1995-97, Sherman rejoined the orchestra in 2005 and serves as both
first alto saxophonist and a key arranger. In addition to all of his performing
activities, Sherman has developed an excellent reputation as a composer,
receiving commissions for works that include Twilight Sounds,and his
Dante-inspired ballet, Inferno. Also heavily focused upon youth education
Sherman was the regional director for eight years for JazzMasters Workshop, a
mentoring program for young children. He has also served as Artist-in-Residence
for Jazz Camp West, and as an instructor for the Monterey Jazz Festival Band
Camp.
As incredibly busy as he is, this brilliant new album will
hopefully inspire Sherman Irby to focus even more upon his own music as a
leader.
Sherman Irby · Cerulean Canvas
Black Warrior Records
· Release Date: October 20, 2017
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