Jul 22, 2026 12:37 PM
In Memoriam: Rodney Holmes, 1966–2026
Drummer Rodney Holmes, a powerful presence behind the kit who emerged as an in-demand player on the New York scene…
The Music Of Randy Weston captures three 1980s performances.
(Photo: Michael Jackson)Randy Weston: The Music Of Randy Weston (In + Out; ★★★★★ 198:48) This handsome boxed set, commemorating the centennial of pianist and cultural griot Randy Weston, was lovingly assembled by the late producer Jacques Muyal, one of the first people Weston connected with in Morocco. “When I landed in Tangier in 1967 Jacques and his brother Massoud were totally into the music with a great passion,” Randy recounted in our interviews for his autobiography African Rhythms. “Jacques was an example of people I knew I could count on.”
Released on Muyal’s Groovin’ High imprint by the German In + Out label, this box (three CDs/three LPs) is a fitting centennial homage that spans three very different concert performances. The first was actually a studio commemoration of a February 1985 Brooklyn tribute to native son Weston, culminating in a grand concert evening at Brooklyn Academy of Music. Not satisfied with his commissioned recording of that evening and recognizing the grandeur of the occasion — Melba Liston arranging and conducting, Weston at the piano leading a stellar 18-piece orchestra — the undaunted Muyal arranged a studio date the very next day to capture four of Randy’s compositions.
One experiences both polarities from the jump: Liston’s orchestrations reflect the obvious gaze of Ellington on Weston’s “African Sunrise,” with Randy’s piano interjections clearly recalling Monk. The drama of “African Sunrise,” with its familiar horn declarations navigating through the declarative rhythmic bed of percussionists Big Black and Sam Kelly and drummer Charlie Persip, encourages some particularly prominent trombone from Benny Powell. The selfless Weston wraps some especially pungent chords around that richly percussive firmament for his essay on the Motherland at dawn.
Weston’s “Blue Moses” closes the session, its bass and castanet embroidered, powering horns thematics familiar to Weston observers. Much credit to Charlie Persip’s traps here, as well as Weston’s 20-plus-year music director Talib Kibwe’s alto sax interlude. In between the two extensive, suite-like opening and closing pieces are the evocative “The Last Day,” with its ominous opening chords and voice punctuation followed by a more hopeful solo piano interlude, orchestral theme restatement with voice and some brief but powerful Norris Turney alto sax. “Portrait Of Vivian” is Randy’s loving, melancholic reflection on his mother, highlighted by Harold Vick’s lovely tenor, the band shifting to swing time, then back to the theme.
The second 1985 date chronicles a triumphant Montreux Jazz Festival nonet performance, with trumpeter Benny Bailey, Sahib Shihab on baritone, trombonist George Lewis, drummer Clyde Lucas, bassist Wilbur Little and percussionist Kelly joining longtime African Rhythms band members Kibwe and Powell. Though Liston wrote the arrangements, health prohibited her from making the trip, so Hale Smith conducted. An extended “African Cookbook” offers suite-like mastery, Kibwe roaring on alto in call-and-response with the ‘bones. Familiar Weston themes include “Hi Fly,” featuring Shihab’s roiling bari and Powell’s buttery ‘bone interlude, “African Sunrise” and “Congolese Children.” Included also are two rarer Weston concert essays, a mashup of his “Blues For Strayhorn” with his homage to his pops, “Portrait Of F.E. Weston,” both delivered lovingly solo piano.
“Congolese Children” is a particular joy, Weston’s playful piano shaded by Lewis’ conversant ‘bone. Duke’s 1942 jam session perennial “C-Jam Blues” closes with some rollicking Weston dialogue with Lucas and Kelly, soon joined by Little’s sauntering bass. But for the most part this is a swinging piano moment, inspiring some Hale Smith scat choruses.
In 1988, Muyal brought together two piano masters, resulting in a series of three European festival performances by Weston and his compadre Monty Alexander, augmented by their respective percussionists Eric Asante and Bobby Thomas. Included are two variations apiece of “Hi Fly” and “Blue Moses” (each with their own distinctions), “Caravan,” “Blue Monk” and “St. Thomas.” The first “Hi Fly” is delivered in a deeper shade of blue. The second, sans percussion, is taken at near ballad tempo, reflecting what Randy recounted as his original intent. The second “Blue Moses” is encouraged by some particularly assertive Bobby Thomas hand drumming.
Ultimately, The Music Of Randy Weston is a deeply rewarding addition to the master’s distinguished discography, completely reflecting his dedication to his two guiding principles: Africa and the blues, questing for the spirits of our ancestors. DB
Ordering info: inandout-records.com
A drummer’s drummer, Rodney Holmes gigged with everyone from Joe Zawinul and Carlos Santana to Steve Kimock and the Brecker Brothers.
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Drummer Rodney Holmes, a powerful presence behind the kit who emerged as an in-demand player on the New York scene…
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