Saxophonist, composer, and bandleader Tia Fuller uses the
process of diamonds forming under four levels of extreme pressure and heat as a
metaphor for the time she spent honing her artistic craft. When looking up the
term 'diamond cut,' you'll learn that it was not necessarily pertaining to the
shape but to the proportioning and the balance as to which the highest amount
of light is reflected through the diamond. The process serves as a direct
correlation to her teaching and playing.
While the phrase "diamond in the rough" often
describes burgeoning talents brimming with potential, Fuller has exhibited
impending greatness since emerging on the international jazz scene more than a
decade ago. Now, her artistic capacity has blossomed tremendously, resulting in
her fourth Mack Avenue Records release -- the aptly titled Diamond Cut, her
first album as leader since 2012's Angelic Warrior. In those six years, she's
transitioned from being a member of Beyoncé's touring band to becoming a
full-time professor at Berklee College of Music, while still juggling a
demanding career as a solo artist and touring with the likes of drummer Terri
Lyne Carrington, bassist Esperanza Spalding, and Ralph Peterson Jr., among
others.
"Not that I've arrived by any means, but I think I'm in
a space of empowerment, knowing that I'm walking in my purpose," says
Fuller as she reflects on her multifaceted career. "I'm in the fullness of
my purpose. Now, I'm more able to directly reflect the light toward others
because of what other people have poured and reflected into me. I feel that I'm
in a solid place to give back things of substance."
Produced by GRAMMY® Award-winner Terri Lyne Carrington, the
album finds Fuller leading two superb rhythm sections, both of which contain
some of jazz's brightest luminaries -- bassist Dave Holland and Jack
DeJohnette, then bassist James Genus and drummer Bill Stewart. Adding texture
and harmonic support of several compositions are guitarist Adam Rogers and
organist Sam Yahel.
While touring together in 2014, Carrington encouraged Fuller
to recruit some of more seasoned musicians for her forthcoming disc.
"Terri said, 'I really would like for you to see you house yourself
amongst the greats on the next album so that you can really hone in on playing
jazz. You've done it with your peers. But I would like to see you with some
elders,'" Fuller recalls. The net result is a sparkling, cohesive album
that optimizes her iridescent tone and supple, sometimes rhythmically
aggressive, improvisations through an enticing program of mostly originals
firmly rooted in the language of 21st century modern post-bop.
The actual day of recording Diamond Cut marked the first
time Fuller worked with both DeJohnette and Holland. "Seeing them arrive
at the studio and set up, I was definitely nervous," Fuller says.
"But as soon as we started playing, it was all about the music. One thing
that I appreciated from both of them was that they approached the music in a
very humble way and really honored it."
Indeed, Fuller sparks an electrifying rapport with
DeJohnette and Holland on the pneumatic waltz "Queen Intuition," on
which Rogers and Yahel provide subtle harmonic cushioning, and the capricious
"Joe'n Around," on which Fuller unravels various improvised, melodic
fragments associated by three of her saxophone mentors -- Joe Lovano, Joe Henderson
and Joe Jennings. They're also featured on the episodic "The Coming,"
of which Fuller uses Clark Atlanta University professor Daniel Black's The
Coming: A Novel as inspiration in the retelling of the Middle Passage that
brought captured African slaves to the Americas; a prancing reading of Mal
Waldron's signature composition, "Soul Eyes," on which she tips her
hat to John Coltrane; and the soothing "Delight," which takes its
inspiration from the Christian Biblical scripture, Psalms 37:4 -- "Delight
in the Lord/And he will give you the desires of the heart."
The album also marks the first time Fuller has recorded with
Genus and Stewart. And again, she strikes a winning accord, indicative of the
album's searing opening piece, "In the Trenches," on which she rides
a turbulent momentum steered by Stewart's jagged rhythms and Genus' hefty,
propulsive bass lines. "That was the first song that I wrote for the
album, while I was literally in the trenches of transitioning and balancing my
work schedule and dealing with personal family challenges," Fuller
explains. "I literally felt like I could not move. I remember being in my
office feeling like I was all the way in the trenches, trying to dig myself
out."
From there, Fuller along with Genus and Stewart render
"Save Your Love for Me," the first of only three jazz standards on
Diamond Cut. The soulful makeover-arranged by vibraphonist, drummer and fellow
Mack Avenue Records artist Warren Wolf allows Fuller to pay homage to yet
another significant lodestar, Cannonball Adderley. Also powered by the
Genus-and-Stewart rhythm team, Fuller delivers the majestic ballad "Crowns
of Grey," which honors her parents -- Fred and Elthopia Fuller -- both of
whom encouraged her formative musical growth while living in Aurora, Colorado.
Fuller praises Carrington for her production ingenuity,
which helped guide Diamond Cut from its early conception to completion.
"Terri really pays attention to minutia while being able to see the big
picture," Fuller says. "And she can enhance the big picture by having
an endless arsenal of ideas for sounds and song structures. Even while I was
writing the tunes, she was on the front lines saying, 'Tia, you want each and
every song to be the best song that you've ever written.' She was always
strongly encouraging me to not just lapse into what I've done before. She
really helped shape the finer points of the compositions, then as the producer
she put her magic touch on it."
This newest outing illustrates that Fuller continues to etch
away at her inner diamond as a saxophonist, composer, bandleader and educator.
History will surely reveal Diamond Cut to be a landmark chapter in her artistic
journey.
Tia Fuller · Diamond Cut
Mack Avenue Records · Release Date: May 25, 2018
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