Steve Turre Rainbow People CD

Personnel: Steve Turre (trombone, percussion); Kenny Garrett (alto saxophone); Sean Jones (trumpet); Mulgrew Miller (piano); Peter Washington (upright bass); Ignacio Berroa (drums, percussion).
On 2008's RAINBOW PEOPLE, veteran jazz trombonist Steve Turre leads an impressive ensemble that includes pianist Mulgrew Miller, saxophonist Kenny Garrett, and bassist Peter Washington. Standout tracks on this vibrant set include "Brother Ray," a bluesy number that nods to one of Turre's mentors, Ray Charles, and the Spanish-tinged "Midnight in Madrid."
High Note Records has been on a roll in 2008. Larry Willis and David "Fathead" Newman have both issued near career-defining statements on the label in 2008 -- and that's just naming two. To this illustrious duo add trombonist and composer Steve Turre, whose Rainbow People album -- his self-produced third release for the imprint -- may be the finest offering of his career as a leader. Turre surrounds himself with likeminded musicians he's played with in various ensembles through the years: drummer Ignacio Berroa, who worked with Turre in Dizzy Gillespie's United Nations Orchestra; pianist Mulgrew Miller and saxophonist Kenny Garrett, who worked with Turre in Woody Shaw's fine band; bassist Peter Washington, who played with Turre in the Jazz Messengers; and Turre's discovery in the young trumpeter Sean Jones, who was hired on the spot after the trombonist saw him play at a gig in New York. Guest percussionist Pedro Martinez is also in the house; he's worked with Turre in his Latin bands. The program contains six Turre originals, as well as a killer reading of Charlie Parker's "Segment," McCoy Tyner's "Search for Peace," and bassist Steve Kirby's "Cleopatra's Needle." The unhurried and unforced swing of this band is evident from the opening title cut. With its knotty, mantra-like Latin groove, Turre and Garrett take the head into minor-key blues and Afro-Rican soul before coming up with a stretched harmonic cadenza that announces Turre's solo. Miller plays off Berroa's double- and triple-time breaks and fills on the ride cymbal and hi-hat. All the while, Washington struts that vamp into the heart of the multi-textured mystery at the center. Garrett's solo picks up right on its tail and, as evidenced by his own last album, Beyond the Wall, he's playing the best saxophone of his career. His alto is snaky and stretched, and flawlessly digs into the minor-key changes and accents the rhythms at the end of his long, angular lines. The late-night bluesy soul of "Brother Ray" echoes not only the late singer and bandleader's own sense of evoking gospel and barroom dynamics, but also his sense of the emotional undercurrent in his music. Turre is like a singer himself on his 'bone; he gets into the meat of his notes in both verse and chorus -- before breaking off into an extended jam with the band -- with Ray's sense of phrasing just behind the beat. Miller's piano solo is pure ivory enunciation; his blues articulation is pure and gritty, but so technically astute that he adds colors and hues to the tune, making it shine.
The smoking flamenco tinge in "Midnight in Madrid," with Jones sharing the melody, adds some real depth and dimension to the vocabulary first articulated by Gil Evans and Miles Davis -- without the strings. Turre keeps it on the avenue without losing a thimble of the elegance and excitement of the flamenco's sultry allure. Jones' solo is a knockout; it's all tense and dramatic, and so blue it's black. The final swinging groover, called "Para el Comandante," weaves together strains of Afro-Cuban, Brazilian, and hard bop with all three horns sharing the front line on the head. The rhythm section just seems to hover there, its members interacting with one another, with Washington being their bridge. Miller's solo is sheer graceful dancing on the keys while still punching on that vamp before Garrett jumps in blowing on the changes and extending them harmonically. Turre brings itDown Beat (p.77) - 4 stars out of 5 -- "Varied in texture and format, this no jive session covers most of Turre's vaunted musical facets: Latin, blues, bop and soul."
JazzTimes (p.114) - "'Groove Blues' is just that, a simple shuffle with an infectious feel that Garrett, Turre and Miller jump on with earthy gusto. Dig Washington's fat, walking bass lines here."