ROY HARGROVE
Nothing Serious

Verve

Read the Jazzitude Review of RH Factor/HardGroove

This is Hargrove’s first straight ahead record in awhile, and it certainly does not disappoint. From the leadoff track, “Nothing Serious,” there is a fierce post-bop small combo aesthetic in effect, augmented by healthy helpings of Hargrove’s Latin groove, heard on Hargrove’s album Habana. This time out his recording group is his working combo, with Justin Robinson on woodwinds, Ronnie Matthews n piano, Willie Jonew III on drums, and Dwayne Burno on bass. The group is augmented on three tracks by Slide Hampton, who fits into the group’s aesthetic very well. Hampton’s own composition “A Day In Vienna” is given a rousing performance, with Hampton, Hargrove, and Matthews all turning in first rate solos.

Hargrove produces several of his own compositions on this outing, with the exquisite ballad “Trust” being the first. Hargrove’s sound is clear and open, eschewing the Miles Davis trumpet tone model for an approach more reminiscent of Freddie Hubbard. His flugelhorn work here is among his best recorded playing, and across the board Hargrove really impresses with this outing. The next Hargrove original, “Camaraderie” skirts the edges of free jazz territory, having inherited DNA from both John Coltrane and Ornette Coleman. The argument simply cannot be made that Hargrove cannot play pretty much all styles of modern jazz proficiently and beautifully. Neither artistry nor technique is overly pushed to the forefront; Nothing Serious presents a performer who has truly found a balance of these elements. Robinson plays diamond-edged alto sax with the enthusiasm of Coleman and the ability to play soulfully demonstrated by Bird and Cannonball Adderley. This band definitely IS serious, and it shows that they have developed solid rapport with one another. Hargrove’s other composition, “The Gift” sparkles like one of those Herbie Hancock Blue Note tunes, serving only to heighten the Hubbard vibe that Hargrove’s playing takes on here.

Hargrove gives his bandmates a chance to shine, featuring both Dwayne Burno’s “Devil Eyes” and Matthews’ “Salima’s Dance.” Burno’s tune is a fast-paced post bop twister, and the horn arrangements sometimes make this sound like a Horace Silver composition. Both Robinson and Hargrove turn in fiery solos before an ensemble recap and a drum solo to close. “Salima’s Groove” brings back the Latin influence, though it is presented subtly. Hampton joins the group again, thickening the ensemble sound and contributing a typically vigorous solo. The finale is an uptempo Latin (think ‘Night In Tunisia’) version of the standard “Invitation,” a number whose popularity never seems to decline with jazz musicians. Hampton is on board once again, and the performance brings this excellent disc to a satisfying close. The first few times through this disc, many listeners will end up hitting the PLAY button repeatedly at the CD’s end—it’s that good. Nothing Serious, indeed!