LAFAYETTE GILCHRIST
3
Hyena Records
Read
the Jazzitude review of Lafayette Gilchrist/The Music
According To
Review the Jazzitude
review of Lafayette Gilchrist/Towards the Shining Path
The title of Lafayette Gilchrist’s new
album refers not only to the fact that this is his third
releas on Hyena Records but also that fact that here, cor
the first time, he plays in a piano trio format rather than
with his explosive horn section, New Volcanoes. The result
is pure Gilchrist, but in many respects we hear his piano
work here as for the first time, and it’s a revelation.
Right out of the box, on the propulsive “Visitors”
Gilchrist is rollicking, reveling in his ability to make
the keyboard dance. The rhythms here are steeped in hip-hop
and D.C.’s distinctive go-go sound by way of ‘70s
and ‘80s funk-driven fusion. The flurries of notes
that Gilchrist flings at his sonic canvas are sometimes
slightly reminiscent of Cecil Taylor, at others of Monk,
at still others of barrelhouse blues piano. It’s obvious
that Gilchrist never separates these musical concepts in
his mind, and so his playing comes across as unique and
fresh, his own take on all the influences he takes in and
then blenderizes into a fantastically bright whole. The
second tune, “In Depth” features more of the
circular patterns of notes that help define his sound, but
there’s also a more lyrical bent, and his use of piano’s
range is at times orchestral in nature.
On Gilchrist’s second album, Towards
the Shining Path the emphasis was on Gilcrhist the
composer. Here it’s his piano playing that is front
and center, and it is no small feat that he carries off
being the focal point of the disc’s sound with apparent
ease. Like Monk he stakes out his own claim on the instrument,
but he doesn’t play so much like a composer or arranger
as one might expect. No, his vocabulary on the instrument
is that of a consummate player, one of the more interesting
pianists to come down the pike in a while. He’s adamant
about the fact that you’ve got to be able to play,
no matter what concept you have, what music you’re
combining to reach your sound. And on 3, he plays
up a storm.
His rhythm section is a monster. Anthony “Blue”
Jackson and Nate Reynolds listen and respond to Gilchrist
and each other as any straight ahead jazz rhythm section
would be expected to do. However, they are anything but
straight ahead. I’ve heard some ciritcs and fans deride
some of the new jazz music put out there on the basis that
its players use hip-hop and electronica rhythms that ‘don’t
swing.’ They argue that moving towards this thype
of rhythmic basis is essentially abandoning jazz. I disagree
with that, and clearly Gilchrist does, too. Listening to
tracks here like “The Last Train” and “Volcano
Red” I hear plenty of jazz influence and a sense of
real musical history. The music is rooted in jazz and the
blues, no matter what else is going on. Believe me, Fifty
Cent fans won’t be jumping ship to become Lafayette
Gilchrist devotees anytime soon. Unfortunate, ‘cause
the man is truly bad in all the very best senses of the
word. Highly, highly recommended.
