Emergence

Performer: Roy Hargrove
Engineer: Al Schmitt; Steve Genewick
Producer: Larry Clothier; Roy Hargrove
Distributor: Universal Distribution

Notes: Personnel: Roy Hargrove (vocals, trumpet, flugelhorn); Justin Robinson , Bruce Williams (alto, flute, reeds); Keith Loftis, Norbert Stachel (tenor, flute, reeds); Jason Marshall (baritone, flute, reeds); Saul Rubin (guitar); Ambrose Akinmusire, Darren Barrett, Greg Gisbert, Frank Greene (trumpet); Saunders Sermons, Vincent Chandler, Jason Jackson (trombone); Max Siegel (bass trombone); Gerald Clayton (piano); Danton Boller (bass instrument); Montez Coleman (drums); Rolando Guerrero (percussion). Audio Mixer: Al Schmitt. Trumpeter Roy Hargrove has been in some exotic musical environments in the past -- from his various quintets, quartets, his Afro-Cuban outfit Crisol, and his funk band the RH Factor, he's pretty much done it all. And while he's played in various big bands before, he's never led his own until now. Emergence on the Groovin' High imprint features a 19-member big band, playing a set of 11 standards and originals by Hargrove and bandmembers as well as a track written for the leader by none other than pianist Chucho Vald�s -- who doesn't appear here. The roots for this project go all the way back to 1995 when Hargrove formed a big band to play the New York Jazz Festival. The group went through many metamorphoses when he played a series of club and festival gigs over the intervening years. The set begins with "Velera," a tune written and arranged by Hargrove. It's a ballad in modal style with extended harmonies and a lovely textural palette. The composer employs restraint to bring forth his gorgeous melody. It's followed by "Ms. Garvey, Ms. Garvey," written and arranged by baritone saxophonist Jason Marshall. It quotes liberally from "Wade in the Water" and "Hit the Road Jack," but is a stomping, raucous blues in its own right with the wide chromatic and harmonic range of the brass section on full display, and contains a smoking solo break by Hargrove. Some of the standards that really shine are an unusually restrained and utterly elegant "My Funny Valentine" and the finger-popping "September in the Rain," the former arranged by bass trombonist Max Siegel and the latter by Hargrove. Frank Lacy's "Requiem" is here, and is the most imaginative tune on the set; arranged by the composer, it walks a solid line between modern post-bop jazz and modern classical composition. Roberta Gambarini is the guest vocalist on "Every Time We Say Goodbye," and does a knockout job. There are a couple of Latin numbers on the set as well, and they just smoke: "Mambo for Roy," written by Vald�s, and "La Puerta," which also features Gambarini -- they offer deep-listening evidence how far-reaching this band is at heart. Hargrove's "Tschpiso" is a wild, rumbling big brass number filled with syncopation, tough rhythms, and heavy blues feel. In all, Emergence is a stunner from top to bottom. ~ Thom Jurek

Down Beat (p.53) - 3.5 stars out of 5 -- "This is a player's program just as much as it is an ensemble effort. Time and again, band members step forward for a moment in the spotlight." JazzTimes (p.62) - "[Hargrove] manages to incorporate various stylistic interests he has shown in the past, including a shuffling old-school blues chart, nods toward Cuba, and '60s-style modal musings." Record Collector (magazine) (p.90) - 4 stars out of 5 -- "[A]n ambitious new album....The music reverberates with echoes of legendary big band ensembles from the past..."

Not content to be a highly respected post-bop trumpeter and flugelhorn player, displaying technical mastery and graceful expressiveness, Roy Hargrove continually explores musical possibilities. He has led jazz quartets, big bands, an Afro-Cuban ensemble called Crisol, and the experimental R&B band RH Factor. The Texas-born Hargrove studied briefly in the late 1980s at both the Berklee College of Music and the New School, and by 1990, at the age of 21, he'd already released his first solo album on Novus/RCA. He released several more records on RCA before moving to Verve, and continues to mesmerize audiences with his inventive playing and sonic experimentations.

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