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Duke, Whalum, Butler and Tisdale on 21st Century Jazz
| When I hear the name Duke, two vivid pictures come to mind. One is a conk-haired, debonair brother out of the 40's, seated at the helm of a nine-foot concert grand piano swinging a world-class big band like Bonds swings a bat - hard. The other is a brother who took the music scene by storm decades later, sporting a world-class fro and brandishing his weapon of choice - the Dukey Stick. Just as comfortable behind a nine-foot concert grand, George Duke, like his predecessor Duke Ellington, has left an indelible mark on the world of music.  Also like Ellington in his day, the George Duke biography reads like an encyclopedia of late 20th Century music; including but certainly not limited to jazz, fusion, funk, R&B, and pop. His list of associations is not just impressive; it's mind boggling. See for yourself on www.georgeduke.com. Between these two giants, the Duke name will likely span the better part of a century of popular western music. In a recent e-mail exchange with Duke, he made clear his concern about the future of Jazz music and what appears to be an increasing absence of afro-centricity in the music he loves. Duke observes over the last several years a leaning toward a more European textured jazz and diminishing elements of blues, gospel or what Duke calls "the Ancient Source." He says: "I'm referring to a long succession of musical feelings and ideas dating back to Africa... something is missing! I have to look hard to find that free expression of emotion..." Finally he says in what will surely become a classic Duke quote; "Jazz musicians are spontaneous composers versed in the art of theme and variations, counterpoint wizards, rhythmic voodoo doctors, melodic swans, harmonic oceans, creating what has yet to be created, constantly searching, assimilating and birthing a new music child." I found myself excited by the possibilities of what answers these questions might bring so I thought I would reach out to a few 21st Century artisans for further insight on this fascinating subject matter. It also provided an opportunity to discuss other issues and to get an update on their own current projects. I spoke with brilliant Memphis sax man, Kirk Whalum; Cape Town born, Grammy Nominee, Jonathan Butler and bass man Waymon Tisdale; the self-appointed "Ambassador of Old School and Keeping it Real." What would have ordinarily been three standard industry-career interviews will in this context be a closer look at the questions Duke posed. Kirk, a soft-spoken brother with a noticeably gentle spirit, attacked the issue with fervor. "Jazz like any other art form is so much bigger than we give it credit for," Whalum proclaimed." "Jazz is huge!"  I asked where he thought 21st Century jazz was headed and without skipping a beat Kirk offered; "Where hip-hop and jazz meet is where the future is, the music of young creative minds."I went on line to check out one example he gave; Soweto Kinch. I got it! (Check it out for yourself at www.sowetokinch.com.) I questioned premier guitarist/vocalist Jonathan Butler about Duke's observation about the European, technique oriented jazz artist. Butler declared, "Technique isn't everything. It's the choice of notes; the composition... that's why Miles (Davis) was great or Ellington.  Butler went on to say "You can go to school to learn but when you hit the streets you have to learn a different language. I can tell when someone went to Berklee and those who learned from the streets.""What's inside the music is where we learn," Butler said. Daring electric bass soloist Wayman Tisdale offered, "My quest is not to learn fancy licks or chops." He sites advice offered to him by one of his mentors, bassist Marcus Miller; "Come up with a tone unlike anyone else's." Tisdale, who feels his newest release "Way Up", showcases his "best playing so far," says "We're coming back around to real music."  He stressed the importance of his music being fun, funky and said he prefers his bass out front and "in your face." Interestingly, while Tisdale cites George Duke, Stanley Clarke and Marcus Miller as some of his biggest influences, he adds to that list Confunkshun, Lakeside and the Gap Band. He said with those bands, "When you heard a trumpet, you saw a trumpet." That's Tisdale keeping it real. While we're on the subject of keeping it real, when I asked Kirk Whalum to describe the Babyface Songbook project he said his intent was to make a "real record." When I pressed further for what he meant by "real record" he explained that he and producer Matt Pierson set out to record with real instruments with live musicians playing together in the same studio at the same time. If you know anything at all about sequencing and Pro Tools or generally recording in the digital domain, you'll understand just how profound a concept Kirk and Matt shared. In the first few moments of the first track "Exhale (Shoop Shoop)" it's immediately evident that it's the Whalum sound that will define the entire project. It's not the production or the arrangements; they are purposefully kept "out of the way." It's Kirk's perfectly soulful, bluesy interpretations of the popular Babyface melodies that make this an important collection of 21st Century jazz tracks. The Whalum sound is more like a voice than a horn. Luther Vandross once told Whalum; "I don't like saxophone"... "I like you... you play like I sing." To hear Jonathan Butler sing you may have to remind yourself from time to time that he's also playing the great guitar accompaniment you're hearing. It, of course, is reminiscent of the George Benson experience. You won't be surprised to know that Benson is one of Butler's biggest influences. Butler, a self-proclaimed "guitar junky" tells a great George Benson story. Jonathan said he began collecting guitars at a fairly young age and early on he bought, what is still one of his favorites; a George Benson signature model Gibson guitar - a GB-10. However, Butler like another of his guitar heroes, Jimi Hendrix is a lefty and the GB-10 is not offered in a left hand configuration. Years later Butler had the opportunity to meet Benson and didn't miss the chance to tell him about the vintage GB-10 in his collection. As Butler proudly tells it, years after the chance meeting; George Benson sent a GB-10 to Jonathan as a Christmas present - it was a lefty. I did ask Kirk, Jonathan and Wayman about their equipment of choice and while Wayman advised me; "It's not the equipment, it's the player," I found them each quite specific about their gear. Each player stressed the importance of the sound or voice; which is in keeping with Duke's observations regarding the soulfulness or bluesiness of the music. They also agreed in separate interviews that their preferred sonic environment is one that represents them accurately and honestly without unnecessary signal processing – no studio tricks please! I was curious to know from Jonathan Butler, what if a musician reached a certain point on a given continuum then ceased to experiment and explore. He says, "God is creative, you have to evolve all the time. Jimi Hendrix and the Gypsies evolved. We are artists and we have to keep growing." Butler went further to explain that although he was influenced by Benson, Earl Klugh, Stevie Wonder, Herbie Hancock, and a host of South African jazz musicians; there was a point at which that all began to "peel away and he was left with Jonathan." He says, "It's a process of every musician." There is one more corner of this question that intrigued me and that is the spiritual element of the music to come. While Duke cites the influence of gospel as vital to the music he loves, the most obvious examples to me are that of Kirk Whalum and Wayman Tisdale who are both sons of ministers and speak comfortably about that influence on their art. Whalum is readying his next release; "The Gospel According to Jazz Pt. III." Jonathan Butler is noticeably ecstatic about his upcoming "Praise Album" - it's his second gospel record and he says that's "where I am right now." One listen to Tisdale's "Sunday's Best" on his chart topping "Way Up" CD and you'll know that the "Ambassador of Funk and Keeping it Real" has an influence way up in a higher place. I might also say that if you wonder why you're feeling something deep in your soul when listening to "Sunday's Best," it's because you're being triple teamed. Label mate Kirk Whalum's tenor is taking you straight to church; right up to the altar to have hands laid on; and upon first hearing you may experience goose pimples when label mate Jonathan Butler adds vocals that can only come from one place - the Ancient Source. Welcome to the 21st Century! Article also published in Black Men's Magazine (Apr/May 2007) and Dallas Weekly |
