By Ammar Kalia | Published September 2022
In 1994, pianist Darrell Grant’s debut for Criss Cross records, Black Art, was greeted with critical acclaim for its hard-swinging, rhythm-forward approach. Featuring upstarts Brian Blade and Christian McBride, Black Art heralded a new generation of improvisatory talents on the cusp of genre-dominating success.
In 2019, Grant took to the stage at Birdland for a 25th anniversary outing of the album with a killer new band, featuring Kendrick Scott on drums, Marquis Hill on trumpet and Clark Sommers on bass.
Sommers left his tape recorder onstage and the ensuing material now makes up the live record, The New Black.
Owing to the lack of close mics, the resulting compositions contain a raw feeling of unpredictability; as if the listener is perched on a stool stage-side, eagerly awaiting the changes. Opener “The New Black” kicks off in high energy with a soaring solo from Hill, while “The New Bop” showcases Scott’s swinging dexterity, and ballads “Foresight” and “For Heaven’s Sake” illustrate Grant’s delicate voicings.
The band takes each opportunity to spur each other on, as much as supports each other texturally in the softer moments of introspection. Yet, the monodirectional recording is disappointing. Despite the novelty of its immediacy, ultimately it does the work of the band a disservice. Scott’s drumming is largely washed out, while Grant’s lower register is muddied, leaving only high-end melody clearly available. It was lucky that Sommers captured this stellar set. If only we had a better-quality recording, we could relive it in its proper glory.
The New Black: Darrell Grant Live At Birdland: Introduction, The New Black, Tilmon Tones, Foresight, For Heaven’s Sake, The New Bop, Einbahnstrasse, Blue in Green, Freedom Dance. (69.59)
Personnel: Darrell Grant, piano; Marquis Hill, trumpet; Clark Sommers, bass; Kendrick Scott, drums.
Ordering Info: darrellgrant1.bandcamp.com
