Christian Scott’s Concord CD debut, Rewind That, seems to take up where jazz, rock, and other popular music began to be combined by energetic young musicians in the early 1970s and to proceed as though there had been no backlash against fusion. On the other hand, it doesn’t ignore the sense of balance that the ‘Young Lions’ who came to prominence in the 1980s and early 1990s brought to the table. In other words, Scott’s musical vocabulary includes all of it, making his music seem both a rock/hip-hop groove with all the attendent influences AND yet, very mainstream in its vocabulary. The title, Rewind That, seems to acknowledge that Scott is going back, not merely to recreate the sound of an earlier era, but to pick up the threads that were dropped when fusion was relegated to the persona non grata of jazz genres.

There are those who will say that Scott has merely couched his beautiful trumpet tone in the rhythmic vernacular of hip-hop and/or electric chill out music. These elements are certainly present and heavily influence what Scott and his compatriots are doing. But Scott approaches his trumpet playing in the lineage of jazz tradition. There is an influence of Miles and of Chet Baker in the plaintive tone of some of Scott’s playing, but I also hear a good deal of the improvisational fire of Freddie Hubbard. I find it hard to think that tracks like “Lay In Vain” and “Like This” are anywhere outside the jazz mainstream in this day and age, and I doubt that many musicians of Scott’s age would disagree.

The music on Rewind That is very much of a stylistic piece, creating and sustaining a single atmosphere in much the same way that Miles did on Kind of Blue. There are times, though, that the tracks can blend a bit too easily, creating a ‘samey’ feeling between several of the tracks. Since the grooves are good, and the mood relaxed, it seems like a relatively small problem here. The band is both sympathetic and very much in control of creating the sound they wish to create. There is no hesitancy or sense of meandering. Tenor saxophonist Walter Smith III is a worthy companion to Scott in the front line. Guitarist Matt Stevens provides edge without high volume, while keyboardist Zaccai Curtis, who plays in a band led by Scott’s uncle, New Orleans-born alto saxophonist Donald Harrison, puts the right texture onto the music with his Fender Rhodes and Wurlitzer electric piano work. Drummer Thomas Pridgen and bassis Luques Curtis work in lockstep, creating grooves that are sometimes reminiscent of the Crescent City rhythms of bands like the Meters. Harrison appears on four tracks as well, and contributes some great solos.

The only thing that feels like a misstep is Scott’s take on the Miles Davis standard “So What.” It’s a straightforward dance version that funks up the trademark riff. It feels just a bit too facile and ultimately stands out as being not quite up to the level of the rest of the disc.

Christian’s idea here was to make a CD that would be different than what listeners might expect, and he succeeds very well. Rewind That should attract a lot of well-deserved attention to Scott’s playing, and there’s no telling what direction his future work will take. For anyone that grew up listening to and enjoying the music of the original fusion era, this disc will be a very interesting and rewarding listen. Those interested in the future direction that jazz music is likely to take should check out Rewind That.