Jimi Hendrix’ tragic death in 1970 at the age of 27 has forever connected the question “What if…?” to his mystique. A profound clue to that elusive answer is put forward by the dazzling new Justin Time release Experience, from the World Saxophone Quartet. Taking on eight of the peerless guitarist/composer’s compositions, the dynamic ensemble adds another chapter to both Hendrix’ and their own growing legends.
Probably the most respected artist, in the eyes of jazz musicians, to emerge from the rock tradition, Hendrix’ compositions provide incredibly fertile substance for the explorations of the ensemble considered by fans, critics and musicians as one of the most important and innovative groups of the past 25 years.
For this, their eighth recording for Justin Time, founding members Oliver Lake, Bluiett (he’s recently stopped professionally using his first name, Hamiet) and David Murray, along with most recent member Bruce Williams, are joined by special guests, trombonist/didgeridoo player Craig Harris, violinist Billy Bang, drummer Gene Lake and Matthew Garrison on electric bass. Harris, a renowned composer in his own right, also provides three stunning arrangements. Garrison, the son of the late Jimmy Garrison, legendary bassist for the unparalleled Classic John Coltrane Quartet, and Gene Lake, Oliver’s son, add a “second generation” element to the mix. That element is further enhanced by Jahi Sundance, Lake’s youngest son – and a deejay of rapidly growing reputation – as producer on Oliver’s two arrangements, “If 6 Was 9” and “Little Wing,” both from Hendrix’ classic Axis: Bold as Love album.
Lake, whose arrangements have provided fuel for artists as diverse as Lou Reed, Bjork, A Tribe Called Quest and Me’shell N’degeocello, shows why he’s gaining a reputation as one of contemporary music’s finest arrangers. “If 6 Was 9,” powerfully punctuated and heavily syncopated, features playful call and response sections and rip-roaring collective improvisation over a furiously walking bass line. “Little Wing” receives a sharply delineated and highly soulful treatment, with wailing Lake, gutbucket Bluiett, funky Williams and bluesy Murray, all culminating in a collective improv that harkens to the blues-drenched, prayer meetin’ intensity of classic Mingus.
Tenorman Murray also provides two arrangements. Hendrix’ flagship hit “Hey Joe” is transformed into a gorgeous ballad with gospel overtones. The richly textured reeds provide a full-bodied bottom for Murray’s deeply moving tenor before taking an almost-Baroque turn, launching Lake’s scalding alto, Bluiett’s gurgling baritone and Williams’ bluesy soprano solos. “Machine Gun,” a classic from Hendrix’ Band of Gypsys period, is given an appropriately percussive and syncopated treatment of the staccato theme. Billy Bang’s dynamic violin is highlighted here, both in a soaring solo and providing delightful punctuation to Murray’s tenor excursion. It all climaxes into a scorching collective improvisation of the type of screaming intensity that only the WSQ can muster.
Bruce Williams contributes a densely punchy take on “Foxey Lady,” whose big, swinging butt launches a four-horn free-for-all that seems headed beyond the stratosphere. It’s brought back to earth by that funky bottom and a collective holler of the title, before taking off again and coming full circle to the head.
The three Craig Harris arrangements are mind-blowing. Gaining great recognition as a composer/arranger and conceptualist of multi-disciplined works, Harris’ arrangements are brilliantly conceived and executed here. His funky take on “Freedom” opens the CD in full swagger, with rocking bass and drums propelling a wickedly smoking alto solo by Lake and a twisting, furious turn by Murray.
“Hear My Train A Comin’,” an amazing solo tour de force by Hendrix, receives an incredible transformation here, with Bluiett’s bari and Craig’s didgeridoo (a haunting Aboriginal wind instrument) providing the rumbling rhythmic thrust of the wheels while the other horns blow the whistle. The tenor and bari exchange phrases over the didgeridoo bass line with the higher horns screaming the melody as it all picks up speed with freight-train-in-the-night intensity. Tearing around curves, steaming and smoking wildly, it finally rolls to a stop, huffing and puffing. It’s a powerfully conceived, breathtaking masterpiece.
Closing the album is the totally different, but no less evocative “The Wind Cries Mary,” with Harris reciting the poetic lyrics and Bluiett’s didgeridoo-like baritone curling the rhythmic underpinnings and the other horns swirling colors all around it. It all emerges into beautifully textured reed voicings that cushion Harris’ smoothly vivid trombone on the lovely theme in a heart-wrenching rendition that could bring tears to the eyes of a raging gorilla.
This is the WSQ’s first album of works by a single composer since their classic Ellington tribute of the mid-1980s that helped bring them from cult heroes into the musical mainstream. Like that album and all true dedications, the World Saxophone Quartet’s Experience pays the highest tribute possible by presenting some of Jimi Hendrix’s best-loved work into a new and innovative light, expanding upon the original material rather than replicating it. The members of the WSQ have stated that this is one of their finest creations, and undoubtedly that feeling will be shared by many, many others.