If the 90s was the height of a wave of talented trumpeters - which, taking out Dave Douglas, almost all the time, proved to be influenced by neo-traditionalism of Wynton Marsalis, Terence Blanchard, Nicholas Payton, Roy Hargrove, among others - to the 2000s has been more favorable to the category of pianists, the principal actors in the evolution of jazz in this new century.
However, recent years are evidence of the emergence of a new generation of trumpet players, and these, in turn, left the neo-traditionalism and are transitioning back under the most contemporary and post-modernist influences that permeate the current American culture: ie, pop, alternative rock, hip hop and neo-soul. Besides the already famous Christian Scott and newcomer Akimusire Ambrose, here comes another great trumpeter in the New York jazz scene ":
It is Maurice Brown, trumpet player and a Chicago native born in 1981. In 1999, after high school, Maurice began his advanced studies at Northern Illinois University, moving then to Southern University in New Orleans, where he lived and began his career as band leader at the club Snug Harbor. Before he won the National Miles Davis Trumpet Competition Competition for young trumpeters, becoming then ordered both a sideman for musicians as the new generation of veterans, reaching out to touch with Clark Terry, Johnny Griffin, Curtis Fuller, Stefon Harris, Ellis Marsalis, Lonnie Plaxico, Fred Anderson, Roy Hargrove, among others. With the catastrophe of Hurricane Katrina, Maurice had to try his luck in New York, the "Mecca" of the jazz world.
And it worked: his reputation as a musician and composer has earned him a full agenda in collaboration with not only jazz musicians but with very different artists and groups of soul and hip hop, among them Aretha Franklin, Talib Kweli, Wyclef Jean , Cee-Lo, De La Soul, The Roots and P.Diddy.
With the release of their debut album, Hip to Bop, in 2004, Maurice Brown made clear he would follow the trend of producing a sound that was tuned with contemporary music african-american, as its title suggests, the album shows a which includes jazz tracks that range from bebop to hip hop beats, from the lyricism of the neo-soul.
This is the trend that has driven most of the designs of the new generation of jazz african Americans, initially captained by musicians like vibraphonist Stefon Harris, the bassist Christian McBride, pianist Robert Glasper and, more recently, trumpeter Christian Scott.Categorically, this is a kind of post-bop influences showered gifts on contemporary culture african-american: the phrasing - improvisation - still bear accents and inflections of the language from bebop, but the grooves (the rhythmic taken) are unusually based on the beats of funk and hip hop as well as harmony and melody are inspired by the neo soul sound climates andrhythm'n'blues - the example of hard bop bop out a more flexible language, inspired by the blues , gospel and soul music of the 50s and 60s.
However, it turns out that Maurice Brown has a predilection for more retro (style categorized as straight-ahead), a footprint and a more visceral more gestural performance, more improvised and less lyrical than the style of Christian Scott, for example. After launching Hip to Bop, in 2004, only now, in 2010, Maurice Brown managed to release his second album, The Cycle of Love: During the six years that separated one from another record, the trumpeter was interrupted by the disaster losses Hurricane Katrina and then, back in New York for the full schedule of projects as an arranger and producer - considering that, in addition to sideman well ordered, he was hired by Atlantic Records to be music director of the Irish singer Laura Izibor, who toured several countries.
Released independently through his own label, Brown Records, the album The Cycle Of Love was one of the 10 best albums of 2010 National Public Radio. But we must emphasize that the lovers The Cycle of Love is not an album like "jazz for lovers".
Contrary to the impression that the album title can pass, the music contained therein do not provide any sound romanticized love: as, for example, those formulaic ballads honeyed, somewhat "smooth jazz" based on the melancholy love between a man and a woman. According to Maurice Brown himself, the songs are inspired by the love between a man a woman, but the main inspiration is the pursuit of happiness and love humanity as a whole.
For both, the climate of the album marrying sentimentality with relaxation through easy listening tunes and memorizing, and through unusual grooves, funky beats basically based and hip hop. The band is a quintet this sound: with it, Maurice Brown on trumpet, Chris Rob on piano, Derek Douget on tenor saxophone, Solomon Dorsey on bass and Joe on drums Blaxx. The video below was produced based on the track "Time Tick Tock," an album highlight.
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