Review: Morgan Guerin | The Saga
There is a reason for cover art. It speaks in silence for the artist. Thus, the listener should take a moment to immerse him/herself to visually understand the message the artist is attempting to convey. What I found in the artwork was a mini story of the instrumental journey from boyhood to arrive with a full arsenal by manhood. I realized I was viewing the preface of what was to come. Aptly titled The Saga, I knew a journey had taken place to get to this point as I inserted the disc into my computer. What I heard was an unexpected voice of a young man who had traveled far beyond his musical prowess. I was immediately reminded of Herman Hesse and Siddhartha’s sojourn, who left home to discover life through the lens of the world, only to return with greater self-awareness and peace.
To say he is compelling storyteller falls short of the message his music delivers. He is a messenger, come from a long line of griots who has given voice to a generation that unwillingly is forced to take the baton as have generations before him. From deep in the Louisiana culture you will hear the Second Line and rhythm and blues influences in his music. The very first drumbeat of Parallel sets the tone for his acknowledgement of the turbulent ecological and racial times the country is in. I am hearing the protest songs of the Sixties expressed in a rap delivered by Dashill Smith.
Blueprint delivers another message and eases us into a zone where discomfort is our journey foretelling, through the voice of Allana Hudson, the lies to humanity that contradict our ancestor’s wisdom. A fusion of sound that is ethereal beckons us forward in Tabula Rava, reminiscent of Mahavishnu, Santana, Zawinul and Return to Forever. Beginning with an Eastern calling and announcement of something majestic approaching, it builds to a cacophonous revelry in the spirit. It’s like witnessing something for the very first time that takes your breathe away or gives you pause. That tingly feeling of excitement that leaves you fulfilled for that brief moment in time. In The Saga is the journey of ups and downs, loves and loss, in the varied experiences that greet us along the way.
In Madeira there is settledness I hear when one finds a space that is easy and comfortable. This is where find solace With A Peace Of Mind that remains constant throughout our lives if we only allow it. Sharynwood Drive is my return home with all that has been discovered and learned, to be passed on to a new generation of explorers.
The Saga is a simple story told through the complexities of the music. The voices used to tell his story vary in emotion but the message is consistent. Listen carefully and you will see he has taken on a journey through the history of jazz, incorporating his youthful sensibilities within the standard language of jazz. One can feel the pulse of the music and there is beauty in the nuances throughout with the able assistance of his 11 accomplices. This was my musical journey with this young man of infinite wisdom, yet to be fully unleashed upon the world.
For those legions of jazz enthusiasts following the music trends, we await patiently for each decade to spew forth those chosen few who will humbly add their talent to the lexicon of the music. We guard the bastion for the rise of the exceptional to step forth onto the global stage. To our delight, our stalwart diligence has revealed just such a young man from amongst his peers. Hailing out of the birthplace of jazz, the name is familiar to us. It is Guerin… Morgan Guerin.
His Instruments: Drums, Alto & Tenor Saxophones, Piano, Fender Rhodes, EWI, EWI Vocoder, Organ, Flute, Moog Bass and Percussion.
The Band: Curtis Olawumi/flugelhorn, Daniel Wytanis/Trombone, Grace Sommer/violin, Julius Rodriguez/organ, Roland Guerin/electric bass, Paul “PapaBear” Johnson/electric bass, Risa Pearl/vocal, Dashill Smith/rap, Allana Hudson/spoken word, Patrick Arthur/electric & acoustic guitar, Brandon Boone/electric & upright bass.
Impressive!
carl anthony | notorious jazz | september 7, 2016
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Bennie Maupin was born August 29, 1940 in Detroit, Michigan. He started playing tenor saxophone in high school and attended the Detroit Institute for Musical Arts, while playing locally. He moved to New York in 1963, freelancing with many groups, including ones led by Marion Brown and Pharoah Sanders.
Well known for his playing as a part of Herbie Hancock’s Mwandishi sextet and Headhunters band and for performing on Miles Davis’s seminal fusion record, Bitches Brew. Maupin has collaborated with Horace Silver, Roy Haynes, Woody Shaw, Lee Morgan and many others. He has also performed on several Meat Beat Manifesto albums.
Noted for having a harmonically-advanced, “out” improvisation style, while having a different sense of melodic direction than other “out” jazz musicians such as Eric Dolphy.
Maupin was also a member of Almanac, a group with bassist Cecil McBee, pianist Mike Nock and drummer Eddie Marshall. He has recorded a half dozen albums as a leader and another three dozen as a sideman with John Beasley, Marion Brown, Mike Clark, Miles Davis, Jack DeJohnette, Eddie Henderson, Andrew Hill, Darek Oles, Lonnie Smith, McCoy Tyner, Lenny White, Patrick Gleeson and Jim Lang.
Multireedist Bennie Maupin, who plays various saxophones, flute and bass clarinet, failed to catch on as a bandleader, thus maintained a low profile during the past 15 years, until emerging in 2006 with the critically acclaimed Penumbra followed two years later Early Reflections on the Cryptogramophone label, then on Vocalion with Slow Traffic To The Left, Moonscapes. He continues to perform and tour.
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Barbara Gracey Thompson was born on July 27, 1944 in Oxford, United Kingdom. She studied clarinet, flute, piano and classical composition at the Royal College of Music, but it was the music of Duke Ellington and John Coltrane that caused her to shift her interests to jazz and saxophone.
Around 1970, Thompson she joined Neil Ardley’s New Jazz Orchestra and appeared on albums by Colosseum. Starting in 1975, she was a founding member of three bands, the first being the United Jazz and Rock Ensemble, with bandleaders Wolfgang Dauner, Volker Kriegel, Albert Mangelsdorff, Eberhard Weber, Ian Carr, Charlie Mariano, Ack van Rooyen and Jon Hiseman. The second was Barbara Thompson’s Jubiaba, a 9 piece Latin/rock band with Peter Lemer, Roy Babbington, Henry Lowther, Ian Hamer, Derek Wadsworth, Trevor Tomkins, Bill Le Sage and Glyn Thomas. The third, Barbara Thompson’s Paraphernalia, is her current working band with pianist Peter Lemer, vocalist Billy Thompson, bassist Dave Ball and Jon Hiseman on drums.
She was awarded the MBE in 1996 for services to music but due to her being diagnosed with Parkinson’s disease in 1997, she retired as an active saxophonist in 2001 with a farewell tour. Barbara went on to work exclusively as a composer exclusively, but returned to the stage in 2003 replacing the unwell Dick Heckstall-Smith during Colosseum’s “Tomorrow’s Blues” tour becoming a permanent member, and in 2005 she performed live with Paraphernalia in their “Never Say Goodbye” tour.
Thompson has worked with Andrew Lloyd Webber on musicals such as Cats, Starlight Express and Requiem. She has written several classical compositions, music for film and television, a musical of her own and has composed songs for her big band Moving Parts.
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Anthony Braxton was born June 4, 1945 in Chicago, Illinois. He studied philosophy at Roosevelt University and early in his career he led a trio with violinist Leroy Jenkins and trumpeter Wadada Leo Smith. He was involved with the Association for the Advancement of Creative Musicians (AACM) founded in his birthplace.
In 1969, Braxton recorded the double album For Alto, the first full-length album for unaccompanied saxophone. The album’s tracks were dedicated to Cecil Taylor and John Cage among others. The album influenced other artists like soprano saxophonist Steve Lacy and trombonist George Lewis, who would go on to record their own solo albums.
Joining pianist Chick Corea’s trio with bassist Dave Holland and Barry Altschul they form the short-lived avant garde quartet Circle around 1970. When Corea broke up the group to form Return To Forever, Holland and Altschul remained with Braxton for much of the 1970s as part of a quartet, rotating Kenny Wheeler, George Lewis and Ray Anderson. With Sam Rivers they recorded Holland’s This group recorded for Arista Records and the core trio with saxophonist Sam Rivers recorded Holland’s Conference of the Birds on ECM. In the 1970s he recorded duets with Lewis and with synthesizer player Richard Teitelbaum. In 1975, he released Muhal with the Creative Construction Company featuring Richard Davis, Steve McCall, Muhal Richard Abrams, Wadada Leo Smith and Leroy Jenkins. He would oo on to record through the 70s, 80s and early 90s wth Marilyn Crispell, Mark Dresser and Gerry Hemingway.
He performed at the Woodstock Jazz Festival, was awarded a MacArthur Fellowship, composed his Ghost Trance Music released on his now defunct Braxton House label, and the final Ghost House live recordings at the New York City Iridium club were released by Firehouse 12 label in 2007. He recorded a prodigious series of multi-disc sets of standards during the 1990 and early 2000s
Besides playing saxophone, Braxton also plays clarinet, flute and piano, performs and records in the avant-garde, improvisation, bebop and mainstream genres, composes operas, orchestral and classical compositions, and is an avid chess player. He is the author of multiple volumes explaining his theories and pieces, such as the philosophical three-volume Triaxium Writings and the five-volume Composition Notes.
Composer and instrumentalist Anthony Braxton has released well over 100 albums since the 1960s, has taught at Mills College in the Eighties, was Professor of Music at Wesleyan University from the 1990s until his retirement at the end of 2013, and in 2013, was named a 2014 National Endowment for the Arts Jazz Master.
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Bud Shank was born Clifford Everett Shank, Jr. on May 27, 1926 in Dayton, Ohio. He began with clarinet in Vandalia, Ohio, but had switched to saxophone before attending the University of North Carolina. While at UNC he was initiated into the Pi Kappa Alpha Fraternity.
In 1946 he worked with Charlie Barnet before working with Stan Kenton and the West Coast jazz scene. He also had a strong interest world music, playing Brazilian-influenced jazz with Laurindo Almeida in 1953–54, and in 1962 fusing jazz with Indian traditions in collaboration with Indian composer and sitar-player Ravi Shankar.
He spent the 1960s as a first-call studio musician in Hollywood and is also well known for the alto flute solo on the song California Dreamin’ recorded by The Mamas & the Papas in 1965. By 1974 Shank had joined with Ray Brown, Shelly Manne and Laurindo Almeida to form the group the L.A. Four, recording and touring extensively through 1982. He helped to popularize both Latin-flavored and chamber jazz music performing with orchestras as diverse as the Royal Philharmonic, the New American Orchestra, the Gerald Wilson Big Band, Stan Kenton’s Neophonic Orchestra, and Duke Ellington.
In 2005 he formed the Bud Shank Big Band in Los Angeles, California to celebrate the 40th anniversary of Stan Kenton’s Neophonic Orchestra.
A documentary film, Bud Shank “Against the Tide” Portrait of a Jazz Legend, was produced and directed by Graham Carter of Jazzed Media and released by Jazzed Media as a DVD and CD) in 2008. The film has been awarded 4 indie film awards including an Aurora Awards Gold.
Alto saxophonist Bud Shank, who also played tenor and baritone saxophone, passed away on April 2, 2009, of a pulmonary embolism at his home in Tucson, Arizona, one day after returning from San Diego, California, where he was recording a new album.
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