ERNEST RANGLIN
Surfin'

Telarc

Read the Jazzitude Review of Monty Alexander/Rock Steady
Featuring Ernest Ranglin

Guitarist Ernest Ranglin’s latest release, Surfin’, is an easy ride on a Jamaican coastal highway in a rickety old car. It’s comfortable and familiar, warm and scented with sea air, with just a hint of possible chaos below the surface as though the wheels could come off the jalopy at any time—but they don’t.

Ranglin, who has been a mainstay of Jamaican music for more than forty years, has capitalized on his ability to play Carribean-influenced ska-beat with jazz-like solos throughout his lengthy career. Surfin’ marks his thirteenth recording as a leader, and there’s nothing here but precisely what one would expect from Ranglin. The grooves are rock-solid, the fleet chordal guitar work is in evidence, as is his ability to play incredibly melodic lines within the staccato phrasing of the dancehall.

From the opening title track, a remake of one of Ranglin’s most successful compositions, it is evident that the master will not break his stride. “Surfin’” rides a chugging organ and rubbery walking dub bass line while Ranglin plays his trademark guitar style, influenced by Jamaican and Caribbean music, American jazz, even a hint of rock and roll. “Ketch It” introduces a punchy horn section comprised of saxophonist Mark Feinberg, trumpeter Tom Schwartz, and trombonist Mike Smith. As always, Ranglin is accompanied by the cream of Jamaican session musicians, and is reunited with two pals from his Studio One days, rhythm guitarist Bo Pee Bowen and keyboard player Robbie Lyn. “Ramouslin” features a by-now familiar Middle Eastern theme over a ska beat. “Surfside” is a tough-minded composition that is a worthy successor to “Surfin’”, with Ranglin taking more of a jazz stance and Jamaican saxophone legend Dean Frazer featured as well.

Ernest has a few tricks up his sleeve, though. His remake/remodel of Delroy Wilson’s “Dancing Mood” entitled “Dancing Mood II,” combines Jamaican dancehall rhythms with smooth Sound of Philadelphia arrangement and production. “Diamond” features rhythms that are a bit more direct and tribal than the usual Jamaican rhythms, with African shadings. Frazer again is featured, providing a bold, muscular tenor sound that stands up to the intensive percussion. Ranglin closes with a couple of tunes that emulate dancehall rhythms, but also feature boppish, brass-fueled horn arrangements.

This is easy music to listen to and easy music to love. Ranglin’s ability to make his exquisite guitar work sound effortless and fit into the music his band is playing speaks volumes about the collaborative, community-like nature of playing this kind of music. Ranglin is this music’s equivalent of Django or Charlie Christian. He is a musical treasure to be savored. Jazzers, ska fans, reggae enthusiasts, jam band fans, Deadheads, and Phish fans would all do well to check out Ranglin’s music, and Surfin’ is as good a place to start as any. It’s laid back, low key music, but once you get into it, you realize how many layers there are to it, and just how good a musician Ernest Ranglin is.