It ‘s just important to note that the acoustic funk of “Mr.
HARGROVE EARFOOD TORRENT SERIES
Without question, the trumpeter’s forays into hip-hop, funk, and soul on his RH Factor series with Verve provided long time fans with a perfect change of pace from the Diamond in the Rough– Moment to Moment era. Now the previous sentence should not be taken as a slight against Hargrove’s fusion recordings. Every staggered note serves as a reminder that jazz musicians can get their swerve on without plugging in. Much to my delight, Hargrove grooves hard with the bare essentials: drum, bass, brass, and piano. Denis” transports us back to the art form’s funky and communal roots, providing a brief but enjoyable glimpse of those public and private spaces where African Americans danced the night away. Unfortunately, far too many music insiders and outsiders view jazz as introspective art best enjoyed in solitude, but “Strasburg/St. Hargrove’s powerful projection of notes on the latter harkens to a time when jazz brought people to the dance floor. Thankfully, the good times keep rolling on Weldon Irvine’s “Mr. One can’t help but think about Lee Morgan’s “Sidewinder”, Donald Byrd’s “Slow Drag” or “Black Jack”, or Freddie Hubbard’s “Red Clay” when listening to Hargrove seductively caress the groove on “I’m Not So Sure”. Quite a few esteemed critics have waxed eloquently on Clifford Brown’s influence on Hargrove’s balladry, but on Earfood’s first track, the influence of other jazz greats shines brightly. Leaving space for his talented young pianist Gerald Clayton to give due respect to the vastly underrated Walton, Hargrove resurrects not only the style but the spirit of his jazz heroes. Wasting no time in showcasing his fine interpretive skills, Hargrove opens the disc with the searing Cedar Walton number, “I’m Not So Sure”, depositing loads of attitude and funk into a performance eerily reminiscent of the gutbucket soul of Donaldson Toussaint L’Ouverture Byrd II, Freddie Hubbard, and the late Lee Morgan. Firmly anchored by captivating originals and covers, Hargrove’s latest release, Earfood, proves why the talented trumpeter from Dallas, Texas occupies such an esteemed place among modern jazz musicians. Stunningly consistent in his output of quality art, Roy Hargrove adds to his already impressive discography another fine recording that soothes the soul, arouses the mind, and most importantly, pleases the ears.