By: Dr Matt Warnock
Filled with infectious grooves, stimulating melodic lines and stunningly virtuosic solos, Big Neighborhood is the latest release by New York based, jazz guitar extraordinaire, Mike Stern. Featuring eleven of Stern’s original pieces, the album aims to break free of standard labels as it ebbs and flows through the copious genres that have influenced Stern’s playing, including jazz, fusion, blues, Gospel, rock and music from the African continent. With an all-star cast, memorable compositions and the intense musicality that only Stern can bring to an album, Big Neighborhood is a welcomed addition to the lengthy catalogue of one of the guitar worlds most prestigious members.
Stern, known for his vast array of musical collaborations, has put together a veritable who’s who of the modern music world for Big Neighborhood. Never using the same ensemble for more than two tracks on the album, Stern plays the part of sonic alchemist as he mixes and blends this diverse collection of musicians to produce musical gold. Stern has included some of his long-time jazz friends on the album, such as drummer Dave Weckl and trumpeter Randy Brecker, as well as first-time collaborators guitarists Steve Vai and Eric Johnson.
While these musicians make memorable contributions to the album, including Vai’s electric sitar playing on “Moroccan Roll,” it is the work of vocalist Esperanza Spalding and jam-band trio Medeski, Martin and Wood that produce some of the most intriguing moments on the record. MMW, who have already made memorable recordings and appearances with guitarists such as John Scofield and Charlie Hunter, are at their jam-band best during their two featured tracks, “Check One” and “That’s All It Is.”
Bringing a sense of groove like only they can, the trio showcases their ability to act as inspirational catalysts behind Stern’s solos. While not featured as soloists on either track, the group lays back and does what it does best, provide a solid foundation for the soloists to play over, a simple, yet sometimes lost art in the modern jazz world. Though they only contribute on two of the albums eleven tracks, the chemistry between MMW and Stern begs the question, will there be a full studio album featuring these four talented musicians coming down the pipe?
Spalding may be one of the youngest and lesser-known artists on the album, but she quickly and firmly establishes herself as worthy of Stern’s invitation during the opening melody of the track “Song for Pepper.” Her vocal line, while devoid of lyrics, retains a lyrical quality that perfectly matches Sterns guitar as the two instruments meld together to sound as one during the tunes melody section.
Returning to provide background accompaniment during the finale of Stern’s improvisation, Spalding’s lines act as the catalyst for Stern’s creativity as the guitarist pushes his ideas further. Following the solo section the two reunite during the out head, followed by a short, final section where Spalding and Stern trade improvised melodies as the tune fades out. With such a strong outing on this, and the singer/bassists other tracks on the album “Coupe de Ville” and “Bird Blue,” Spalding not only proves she can hang with these world-class musicians, she leaves the listener wanting more from this Young Lioness.
Aside from his more than ample contributions as a writer, arranger and band leader, Stern is at his absolute best as a performer throughout the album. From the opening, Hendrix inspired, “Big Neighborhood,” to the melancholy “Bird Blue” and the Middle-Eastern influenced “Moroccan Roll,” Stern navigates each melody and solo section with the utmost respect for the intent of the piece.
While there may have been a time when critics could call Stern a chops player, those days are long gone. Yes, Stern possess a level of technical prowess that puts him at the top of the guitar world in that regard, but his restraint, sense of melodic phrasing and a lifetime dedicated to his art have lifted his musicianship to a level that few attain. His solo on the tune “Bird Blue” is a great example of the level of respect Stern holds for the melodic content of the pieces he plays.
The solo is short and eloquently simple, with a tonal quality that resembles the human voice, perfectly matching Spalding’s melody line that bookends the guitar solo. While other guitarists would be tempted to shred their way through a tune like this, Stern takes the opportunity to put the needs of the piece first, exposing a musical maturity that can only come from decades in the practice room, on the bandstand and in the recording studio.
Big Neighborhood is a strong outing, even for someone as prolific and accomplished as Stern is. Though there is always the risk that a collaborative album featuring an all-star cast of musicians can lead to yet another ego-driven, blowing session, Stern manages to avoid all of those clichés and produce an album that is all about the music.
Links
