“5 AM” doesn’t feel like jazz, or at least my uninformed, preconceived notions of jazz. Martin’s drumming and percussion more closely resemble some of the world-music-inspired compositions on his solo records than the jazz style he plays elsewhere on Commitment and Change. While Rangel's piano is an enjoyable, integral part of this record, removing it for one shakes up the sonic direction and texture of the record.
Rangel returns on “Ok Anyway,” and his work is a vital part of one of the album's standout tracks. While not complicated, his insistent chords open the song and create a mood. As the composition progresses, these repeated chords evolve into some more delicate playing. In addition to drums, Martin supplements Carter’s trumpet and Rangel’s piano with some atmospheric work on the vibes. It’s not easy to talk about a song’s vibe and the vibraphone in the same paragraph. Luis Guerra is allowed to bring his upright bass work to the forefront for a few bars near the song’s end before the composition returns to where it began. Similarly, the circular “Nopajam” repeats ideas without becoming repetitive.
Carter wrote all 12 tracks on the album and while it is billed as a solo record, it is very clear he respects the talents of his collaborators. Carter's trumpet is the lead instrument, but he never weighs his compositions down with empty noodling. By allowing songs to stay for six, seven, and eight minutes at a time he can both get his point across and give his sidemen a chance to shine. Moving himself in and out of the spotlight allows the songs to breathe and keeps listeners engaged.
For 70 minutes, I let the music take me on its journey rather than fighting its current. I went where it took me, allowing it to speak and myself to feel. Sounds, images, and emotions flickered like an old-fashioned movie projector. Music doesn't have to be understood to be enjoyed. I'm not championing idiocy and ignorance. Understanding and knowledge are good things and are worthy goals in any of life's pursuits, but they aren't always necessary for everything. I don't have a jazz vocabulary and I love this record. Maybe I'm the only one who thought those things were mutually exclusive, but I don't anymore.
Article comments
1 - El Bicho
Very nice job. Welcome to the club and enjoy the new world that has opened up. Where do we start sending suggestions?
2 - Mark Saleski
nice review josh. i've been trying to get people over this "jazz is too complicated" thing for years! ...but you already knew that.
3 - Josh Hathaway
Thanks, guys. Suggestions are certainly welcome. I hope you'll take one from me and check out this album. I'm absolutely in love with it. I had trouble writing the review because I got caught up just listening to it instead of writing.
4 - Tom Johnson
Sounds to me like you understand it just fine, Josh. Sounds like good stuff, too.
You might want to check out Dave Douglas' The Infinite if you like Carter's so much. Similar feel and it sticks closer to the song format rather than diving into improv. Douglas repeatedly gets named jazz's best trumpeter, but it's not just because he can keep up with the best of them - he's got the gift of melody and does beautiful stuff with it. He's covered a lot of territory but with this album he's presented a very good entrance for new listeners.
Also, man, you just can't go wrong with Dave Brubeck - seriously. Everyone knows him, but there's a reason why he's so popular. Check out his Carnegie Hall show, it is awesome.
5 - lila
I love Dave Carter's album. It's about time he released something solo. He has played with musicians ranging from Les Claypool to Skerik to Aiko Shimada. Amazing! Can't wait for his next solo work. Plus, Barrett Martin! What a great combo of musical minds...jazz and more, this album has everything!
6 - Josh Hathaway
Thanks, Lila. I completely agree. It's a wonderful album, one I can't get enough of. I can't wait for Barrett's next solo album (probably sometime next year) or the new Tuatara/Coleman Barks record. Wonderful album.