Terence Blanchard: "Flow"

[CJ Shearn]

I picked this up last night, I like Terence but not having heard his first for BN, I bought it, I think this is the only time I've bought an album for a producer credit. and what a band. A very unique album, at points hinting at Mwandishi, the playing is nice, "Wadagabe" is pretty cool, as well as "Over There" which sucked me in b/c of its Metheny like build. I think Herbie's production influence is felt more in the said Mwandishi ish ness of cuts like "Wadagabe", and the world influence in many tracks. The man himself lights it up on "The Source", something about Herbie's trills make me scream out loud in ecstacy!!! Any other opinions of this one? oh yeah, whats with that whiny synth sound found on Snoop Dogg's early stuff (isn't that deriveed from P-Funk anyway that whiny synth sound) popping up on albums these days? even Lyle Mays uses it (to subtle effect) on "The Way Up"

[sal]

I'm very interested to hear feedback about this one. I liked Bounce quite a bit, but have heard mixed reviews about Flow.

[Kari S]

I've been intending on picking this up - haven't yet - since I read about it in the UK jazz magazine, Jazzwise. They gave it the highest rating, four stars and a "recommended". And when I learned that my man H.H. is on board, I was definitely interested. (plus the cover's pretty cool!) I've been checking out some reviews online, some have been praising, some somewhat reserved.

And even though it isn't the most prominent example, "Flow" is yet again another album reaching back to the sounds of the late 60's/early 70's. What's the appeal? Blanchard could be considered the latest addition to a line of trumpeters who are doing something now that a certain prince of darkness was experimenting with over 30 years ago. Look who's done it in the 00's: at least Roy Hargrove, Nicholas Payton, Dave Douglas, Wallace Roney, French Erik Truffaz, Norwegian Nils-Petter Molvaer and Swedish Goran Kajfes. However, I admit that each of these musicians has had their own take on the music, some perhaps more "innovative" than others IMO. Like the hiphop/pop/r&b of Hargrove vs the compositional prowess of Douglas vs the electronica of Payton or Molvaer.

Edited June 8, 2005 by Kari S

[CJ Shearn]

Kari, you will be pleased. Herbie plays an unbelievable solo on "The Source", IMO his best on record in recent years.

[Joe M]

If you like Dis is da Drum, you'll LOVE this record, especially the programming. Terence's tone is also weaker and more thin than normal.

[GA Russell]

This one got a great review in Sunday's paper here, 3 1/2 stars out of four, by a critic named Owen Cordle, who also writes for I believe DownBeat.

[CJ Shearn]

oh yeah, I noticed that feet crushing gravel sample in "Wadagbe" was on "Dis is Da Drum", which I thought was alright, but I like this album much better, great playing and tunes, a very layered effort too I think. Anybody else liking/not liking this record?

[Kari S]

If you like Dis is da Drum, you'll LOVE this record, especially the programming. Terence's tone is also weaker and more thin than normal.

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Hmm, do I sense a hint a sarcarsm in your tone, sir...? Anyway, here's the review from Jazzwise:

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Terence Blanchard

Flow

Blue Note 7243 5 78273 2 4

**** RECOMMENDED

Blanchard (t, synth), Brice Winston (ts, ss, EWI), Lionel Loueke (g, v), Herbie Hancock (p), Aaron Parks, (p), Derrick Hodge (b), Kendrick Scott (d), Howard Drossin (synth prog) and Gretchen Parlato, (v). Rec. date not given

Miles Davis’ influence on electric jazz may be deep but it’s not a black hole. Terence Blanchard certainly finds his way around it on this splendid extravaganza: one of the smartest and artful intermingling of electronica flourishes with acoustic modern jazz in recent years.

Blanchard escapes Miles’ towering influence by relying on the lustrous tone of his clarion trumpet instead of attaching it to a wah-wah pedal or plugging in a mute. It also doesn’t hurt that he’s already developed a trick-bag of nuances of his own or that he’s a noteworthy jazz composer and film scorer. Interestingly enough, the cinematic sweep on pieces like the heroic ‘Over There’ and the funky title track suggest Blanchard’s film background. It certainly enabled him in manipulating the electronica embellishments without the music sounding gimmicky. But most of the music was composed by Blanchard’s band members.

And what a band Blanchard has: his most dynamic yet. Not only does each member afford the music with invigorating solos, some rivaling that of the leader and a thrilling unified sound, they bring compositional wit, too. Loueke’s episodic ‘Wagagbe’ simply enchants as it begins with his percussive guitar solo and Benin chants amidst ominous synth clouds, before enfolding into a picturesque excursion. Parks contributes the lavish ‘Harvesting Dance’ a Moorish-tinged escapade that finds Blanchard firing gallant melodies like a romantic swashbuckler. Winston’s capricious ‘Child’s Play’ returns Blanchard back to a soley acoustic setting while sounding firmly appropriate alongside the electric-laden works.

It’ll be unfair to suggest that Miles’ influence is no where to be found here. But it comes, reverentially more so than referentially, possibly pointing towards a fresher approach to electric jazz.

John Murph

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I'm thinking of picking this up during the weekend, I'll post my thoughts here then.

[CJ Shearn]

Kari, grab the disc? any thoughts?

[Jazz Kat]

This is a unique disk. I think Metheny started a trend with his Way Up release. If so, I'm fine with it. I have been listening to Way Up a lot lately, mainly Part One... Almost half an hour, the time seems to fly by. Anyway, about Blanchard's new release: the playing was spectacular, but the vocals sort of didn't sit well with me. Maybe it'll take time.

[Joe M]

Yes, sarcasam indeed. I think Terence's tone is weaker that it has been in recent albums. I think he's also playing in a sort of one dimensional way on this album. Technically great, maybe even exciting, but I don't hear the contrast that I'd like to hear. It's a lot of the same thing. Maybe it's due to the material, and it's harmonic structure.

Also, when will everyone try to stop playing like and DRESSING LIKE Miles? A friend of mine who is a huge Terence fan, said this album is kind of like Terence's version of Simply Said. I'm not sure I'd go that far, but I don't think it's all that great.

[JSngry]

And even though it isn't the most prominent example, "Flow" is yet again another album reaching back to the sounds of the late 60's/early 70's. What's the appeal?

Maybe they came to the conclusion that they've reached an at least temporary dead end playing accoustic, "traditional"-based material, and they want to see what can happen by drawing on "popular" textures and production concepts.

Thing is, that's the same conclusion Miles reached after taking much the same path they've taken. It's like Miles said about early Wynton - "Didn't we get it right the first time?" Well, yeah, they did. And they got it right with the electric stuff the first time as well. How long before these neo-electic-Miles guys figure that out?

If it's true that those who do not learn from history are doomed to repeat it, is it equally true that those who repeat history are doomed to not learn from it? What's going to happen when all the history's been repeated verbatim? Like Mingus said, roughly, after Bird dies - who are people going to steal from now?

Truthfully, I do find the trend towards some of the neo-cons moving forward as to where they do their looking back to be a positive step, at least in tems of them coming out of their holes abd getting in touch with the reality of modern life. But geez, 1970 was, like 35 years ago, and a lot's changed since then, even if it's five years less of change than since 1965.

[Joe M]

But what's modern about ripping off Miles 70's work versus Miles 60's work?

The biggest cliche in jazz right now is formely neo-bop trumpet players going electric.

[JSngry]

But what's modern about ripping off Miles 70's work versus Miles 60's work?

It's not modern. It's neo-modern.

[CJ Shearn]

haha, true.

[Jazz Kat]

I just wish these musicians would just make something totaly new. Electric, acoustic whatever... Why not both.. Do you HAVE TO be up there swinging 4/4 all the time... I think some artists are trying to do this, sometimes successfuly, sometimes not.

[Kari S]

I finally gave this a listen. Here's some thoughts... First of all, I think it's not fair to have Miles' electric experiments as a reference point - Terence has not gone "electric", even though the drummer plays "straight" time instead of "swinging" on most tunes, and there's an electric bass and synth washes. (Which I thought were a bit unnecessary btw.) In my opinion Flow is just a modern and contemporary jazz (not in that 'smooth' sense) album that sounds suprisingly a lot what Europeans, especially in Scandinavia are doing at the moment. At times there's even a kind of Metheny vibe IMO.

As far as compositions go, they're not really memorable. Usual "complex" tunes (like 'Wandering Wonder' or 'Child's Play') with a difficult and an often changing harmony, that seem too common these days. The only memorable "theme" is on the title tune, which ironically is a totally improvised piece - and IMO the only clear Milesian influence on the album, with its playful tone.

Musicians. I felt the drummer Kendrick Scott, who apparently is a Berklee student, wasn't playing with enough variation in dynamics. He's a great drummer but I felt his playing was a bit too one-dimensional. I liked how Loueke picked Terence's (improvised) theme to 'Flow' as a motif for his solo. The pianist, who is apparently a quite young guy, as a soloist sounds like a mix between Brad Mehldau, Herbie and Chick Corea. As an accompanist, he's heavily influenced by Hancock, but is harmonically less fluent; some of his voicings sound pretty weak - still: he's gonna be a great pianist some day (he already is really good).

But then...the bomb a.ka "The Source"!! Herbie's solo is so unbelievable... I totally cracked when I heard it and almost soiled myself. I mean he's been playing that kind of stuff in concerts, but it's certainly one of his best recorded solos since 'Gershwin's World' in my opinion. WOW.

As a whole, maybe not worthy of the hype (they rarely are...), but there certainly are some great moments in there.

[CJ Shearn]

I totally agree about that Herbie solo, although I must respectfully disagree with you about the album as a whole, that Herbie solo first time I heard it, my face contorted and I was yelling out loud it was so great.

[JSngry]

Just got to hear this myself, and it wasn't at all what I was expecting. I agree that the Miles comparisons are off-base. The music is somewaht "cinematic" in both intent and execution, I think. The electronic colors and "contemporary" grooves are used to evoke and create a specific aura/visual "space" rather than as mere effects/hooks. Given Blanchard's experiences in film scoring, this seems perfectly natural to me. Factor in Herbie's long-standing (if not always to the fore) position as one of the music's most provocative colorists, and I think you have grounds to say that this music is at least every bit as "organic" relative to its creators as any "straight ahead" work that they could do.

Another thing - I hear nobody playing or writing anything on this album that couldn't also be played or written for a "traditional" jazz quintet. Change the underpinning to a Neo-Con Accoustifest ca. 1985, and you got basically the same record, just played with a more constant and predictable pallate. The fact that the underpinning isn't like that is to this record's credit, I think, because the musical use of these expanded tonal/textural resources brings the music further away from pure retro-ism, and more into continuum-ism. That's fine with me!

OTOH, though, the core music that everybody makes here is still more in line with 1975 (or even 1965) than 2005, so it's hardly pointing the way to the future, or anything like that. Still, it's a very engaging set on its own terms, and if it points the way towards anything, I hope it's towards getting the more rigid/anal adherants of the "ACCOUSTIC OR DIE!!!" crowd to realize how idiotic their dogma really is.

On a scale of 1-5, this record gets a solid 3.5 from me, which is almst twice what I was expecting. Kudos to all involved, and somewhat "recommended" as well.

[Jazz Kat]

I think we should buy every new album that comes out, so we know where jazz is going.

[sal]

I would if I had an unlimited income supply.

[Jazzmoose]

I think we should buy every new album that comes out, so we know where jazz is going.

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My wife thinks I already do...

[CJ Shearn]

agreed Jim, if we were to remove the colors and contemporary production this would be like a record at the height of the young lion movement in the 80's.

[Jazz Kat]

What's this "young lions" movement from the 80'??

[Jazz Kat]

I think we should buy every new album that comes out, so we know where jazz is going.

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My wife thinks I already do...

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So does my mother, but we know it's So Not True!