Kirk Whalum | The Gospel According To Jazz: Chapter III

Kirk Whalum was surrounded by music in his household growing up whether singing in the church choir or learning the fine points of jazz from his two uncles who played professionally.  And he never took that gift for granted to this day.  He has used his extraordinary gift to play with urban music greats like Bob James, Nicole C. Mullin and Luther Vandross.  One of his calling cards was a brief but soulful solo on Whitney’s signature hit, “I Will Always Love You.”  Like fellow jazz players such as George Duke, Allen & Allen, Angela Christie and Jonathan Butler, gospel music plays an integral role in their faith.  The 2001 disc, Hymns in the Garden, reworks classic worship hymns without the smooth jazz synthesizer trappings such as the Dixieland blues drenched “Just a Closer Walk with Thee” and a classy piano trio sound on “I Must Tell Jesus.”  Whalum was also featured with gospel rapper Mr. Del on the foot-stomping “Chuuch.” 

Then there is the trilogy entitled The Gospel According to Jazz.  It is really no secret that throughout black history, gospel and jazz have been always been intertwined (i.e. Duke Ellington’s Sacred Music Series).   This ambitious project raises the praise and worship service to astounding heights.  Chapters I (made before Hymns) & II are shear jazz canvasses of Latin, bebop, hip-hop, R&B and contemporary gospel.  Now eight years later, Chapter III has finally been fulfilled.  Whalum’s indisputable love for communicating jazz with gospel is just one side to this multi-faceted musician.  

Whalum grew up in one of music’s hotbeds.  From blues to rock and all things in between, the city of Memphis was the birthplace of B. B. King, Elvis and Johnny Cash, and many influential artists.   The city’s history was certainly attractive to aspiring musicians like Whalum.  First starting on drums, he eventually switched to saxophone by junior high.  He then concentrated on jazz while in high school.  Thanks to a scholarship, Whalum traveled to a well-respected jazz mecca – Houston, the home of Texas Southern University.  After graduating, he did not immediately pursue music.  Strangely enough, it took a car accident for Whalum to reevaluate his future.  In 2003, he began a long musical relationship with Bob James.  Though he is not considered a jazz musician in the traditional sense, his respect for heroes like roots players Dexter Gordon and Miles Davis has pushed him to be one of the most recognizable modern day artists.   

On Chapter III of The Gospel According to Jazz (recorded in 2007 at Reid Temple in Glenn Dale, Maryland), Whalum and company including several entrusted family members, draw us into a relationship with God with a unique perspective.  There are several highlights worthy of mention.  The fierce New Orleans rhythms of “Fit to Battle” brings Kirk’s uncle Hugh‘Peanuts’ Whalum and nephew Kenneth Whalum III to the horn line and a riveting drum line, courtesy of Sean McCurley.  “Ananias & Sapphira,” named after characters in the book of Acts, is set-upin with an exquisite, unaccompanied acoustic bass solo by Reginald Vealwith a middle-eastern flair.  Once the song picks up speed, trumpeter Aaron Broedus' dexterious trumpet and Kirk's explosive sax are supported by a snappy Latin foundation from percussionist Lenny Castro and McCurley.  For those who remember “Because You Loved Me,” the pop smash by CelineDion, George Duke extends the piano table from gentle strokes to thunderous chords that stir hallelujahs throughout the Reid Temple building.   “Make Me a Believer,” recorded and co-composed by Luther Vandross, possesses all the qualities of Vandross’ smooth tenor, thanks to Kirk’s brother Kevin Whalum.  Yet the tweaked lyrics clearly emphasize believing in the Word of God.  Kirk pulls still another R&B rabbit of the hat with “You Are Everything;” first with the stellar guitar work by Doc Powell.  “AfricaJesus Africa” mixes a pseudo reggae beat along with a brief history lesson covered by Kirk’s cousin rapper, Caleb the Bridge.  The funk soul classic “Running Away” is an interesting teaching moment about how running closer to Jesus.  Kevin Whalum redefines this Frankie Beverly & Maze hit by sharing some crisp scat exchanges with the house band.  But it is Hugh Whalum’s sincere reading of a remarkable pop standard “Smile,” doubled up with the gospel/R&B tinged God Has Smiled on Me; that tugged at my ears the most.

Now that Chapter III of The Gospel According to Jazz is finally fulfilled, I highly recommend this Top Drawer DVD/CD.   After experiencing the depth of the Whalum’s stellar family and a solid cast that also includes organist Jerry Peters and vocalist/keyboardist John Stoddart, Kirk should strike a chord for both gospel and jazz fans alike.

Peggy Oliver

Alan Hewitt – Retroactive

The casual music fan probably will not recognize Alan Hewitt by name.   But it is possible they have heard his scores for television, movies and video games.  Lots of fellow musicians, especially in the smooth jazz community, have appreciated his production skills, arrangements and keyboard wizardry.  Ever since graduating from one of music’s prestigious institutions, Hewitt kept refining his songwriting chops in a variety of settings both behind and in front of the scenes.  With his last three releases: Noche de Pasion, Metropolis and his latest work Retroactive, Hewitt is now considered one of smooth jazz’s more respected players.  Through it all, he gives credit to music executive David Chackler, founder of Hewitt’s current label home nuGroove Records (home to ground breaking jazz sensations Down To The Bone), for being a major support system invarious phases of his career.   

The Los Angeles-based Hewitt is a multi-gifted musician who began as a drummer and vocalist.  While studying at Berklee College of Music in Boston, he added piano and keyboards to his arsenal.  Once he graduated, Hewitt paid many dues inside the recording studio playing for artists representing almost every genre from his idols Earth Wind& Fire to Donny Osmond.  But it was more than his instrumental prowess that brought Hewitt to further prominence.  The more experience he gained in the studio, the more he grew in confidence with his compositional skills.  Some of Hewitt’s incidental and soundtracks for TV and movies include Survivor-South America, Oprah, Bridget Jones and Gods & Generals.  Hewitt also orchestrated the music for Utherworlds - a fantasy themed book centering on hope versus fear.

With all his extraordinary musicality to give, he found his solo voice in the contemporary jazz market; beginning with the 2004 release, the Latin-edged Noche de Pasion on 215 Records.  Through a series of cruises, he naturally bonded with veteran jazzmen Boney James and Norman Brown.  In 2008, Hewitt was involved in a cruise meshing popular smooth jazz musicians and hit-making soul stars – i.e. Motown greats, The Four Tops and funk band, Kool & The Gang.    

Hewitt’s appreciation of jazz and soul are evident throughout most of Retroactive.  One example is the Isaac Hayes soundtrack staple, “Shaft.”  Taking on a song of this caliber can be a risk.  Yet Hewitt pulls this task off because he is extremely sensitive to the grooves from the original version.  “Hot Fun In The Summertime” (an encore performance first heard on Metropolis), though not exactly aligned with Sly & The Family Stone’s smash hit, is sliced and diced to perfection.   Every once in a while, Hewitt decides to change up the mood; case in point“Big Bang” complete with fuzz guitar fills, funky breaks and a killer horn section.  Speaking of the funk and nothing but the funk, the acid-jazz flavored “In The Works” has all the trimmings including a delicious vibe solo that could make Roy Ayers take notice.   The title track adds several smooth layers of funk frosting; from the electric piano hooks to the brief but dazzling guitar harmonics and the dancing organ from Hewitt.

Overall, Retroactive should bring more recognition for Hewitt’s giftings as a jazz player who can shift from rock to pop to funk with pure ease.  In all sincerity, even though Hewitt can play and arrange anything his heart desires, he deserves to be a shining star in the contemporary jazz limelight.

Peggy Oliver

The Urban Music Scene

Here is the Track Listing:

1 Kept by your power,

2 You’re my everything,

3Sunshadow,

4 Hold on to love,

5 Follow your road,

6 Free,

7 Wayne,

8 Heloves you,

9 Devils a liar,

10 Pearl,

11 Everybody needs love,

12Liquid spies.

Seawind has always had a gospel edge to their music and lyrics. Not because they started out as a gospel band, but that spirit has allowed them to continue making great music for us all to hear.  You can find their project at www.amazon.com , www.seawindjazz.com,   

Even though an actual cd was not released, we will never hear the talent that the artist might possess. But what you will hear is along the lines of Incognito and other groups in the same genre. Groups that bordered along the acid jazz lines. It’s a Club Jam and it’s very danceable. Enjoy!

Marv D

Vickie Winans - How I Got Over 

The beauty of a gospel artist is that their voice can plant seeds for Jesus through their music and ministries.  But alongside their fame and responsibilities come the challenges; sometimes more than even one could possibly fathom.  If one could list what trails Vickie Winans has faced, she could write a book.  Surviving two divorces, losing her mother and several frustrations with the music industry, and so much more, there is plenty of reason for Vickie to testify how she got over those big humps.  The consummate professional since entering the music business, she started a record company a few years back, created and starred in a fitness video and released a comedy project.  To state that she is a go-getter for God might be the best way in describing this multi-awarded singer who first discovered her gift in a slightly unconventional way – in the bathtub.  Vicki’s professional career took off during her marriage to Pastor Marvin Winans, a member of the eighties’ gospel/soul vocal group The Winans with brothers Carvin, Michael and Ronald.   Yet once she released her debut for Light Records, Vickie never really needed to lean on other family members coattails to prove her formidable talent.  And oh - how her faith was tested several times over and again.

The 1985 release, Be Encouraged, was a remarkable start for Vickie that generated plenty of gospel radio play.  But it was the power balled, “We Shall Behold Him” composed by Dottie Rambo, where her fans first took notice.  Unfortunately, sales for Vickie’s sophomore disc, the 1989 disc Total Victory, went way south; a similar fate for her label home Light Records which was going through financial ruin.  The difficulties continued as she signed with a secular label where she could hopefully crossover to sing her vibrant brand of gospel.  The record executives had other plans.  From 1991, The Lady(co-produced by R. Kelly and Marvin & Mario Winans) her one and only disc for the MCA record family, was met with mostly negative feedback.  But just like the familiar song claims, she picked herself up and started over again.  In other words she always found a way to ‘get over.’  In 1997 & 1999 respectively, the recorded concert series Live in Detroit Vol. I & II brought Vickie back in the limelight.  On Vol. I, her rendition of Rev. James Cleveland’s “Long As I Got King Jesus” brought the church house down.  As a rare feat for a vocalist, she flexed her comedy skills on Share the Laughter.  Yet her record label fell upon hard times and she found herself in another recording hiatus.  Then in the millennium, she joined Verity for three discs, including Bringing It All Together which had somethin’ somethin’ for the traditional worshipper (“Shake Yourself Loose”) and Vickie’s personal ‘remix’ on the children’s favorite, “Happy & You Know It.” 

Being the persevering spirit she it, Vickie broke from Verity in 2006 to finally form her company, Destiny Joy Records.  The second release from DJ, How I Got Over, is another testimonial record as usual and has many shining moments.  The title track focuses on what Vickie does best; bridging the traditional with the now, courtesy of a snappy ‘21^st century’ scat by her nephew, Tim Bowman, Jr.  One might consider dusting off their old-school roller skates (not blades) as “Swoop” & “Dance Till the Walls Come Down” throws down that‘rock, roll, skate’ feeling.   There is contemporary praise dance with “Heyy,” a perfectly suited pairing with Tye Tribbett.  From the Live in Detroit archives, “No Not A One” exercises Vickie’s preaching and teaching moments.  But the ultimate gem on How I Got Over is “My Peace”, a bittersweet tribute to her beloved mother, Mattie Bowman, who passed in 2006.

Through the years, I have considered Vickie as one of the most versatile female vocalists alongside Patti, Aretha and Chaka.  That said, How I Got Over successfully extends Vickie’s musical and ministry legacy and certainly qualifies as her lifelong mission statement.

Peggy Oliver

The Urban Music Scene