In a bit of 52nd Street scene (NYC) tabula rasa, Alvin Queen seemed destined to have his life entwined with jazz in some way. Growing up in the Levister Projects (New York) during the fifties, Alvin’s father was a jazz devotee, taking him to shows at The Apollo. The familial enthusiasm for jazz combined with the numerous clubs which dotted the landscape where one could go to see jazz live made Alvin an early convert.
His artistic naissance included playing in the school marching band and playing at the age of eleven as a stand-in drummer for altoist Jimmy Hill which, because of his age, required him to have to be accompanied by an adult. Alvin also needed a chaperone for his next baptism of fire, the annual Gretsch Drum Night held at the original Birdland. Here was where he garnered enthusiastic responses from what now reads like some of jazz percussion’s royal court (Elvin Jones, Charlie Persip, Max Roach and Mel Lewis).
It was at this event that Alvin would be introduced to Elvin Jones who initiated the next event in the artistic evolution of Alvin’s life which could definitely be seen as a “consecration” of sorts. While still in his adolescence, happenstance found him once again at Birdland; this time as John Coltrane’s classic quartet was recording their live album (1963). Elvin Jones had Alvin sit in with the band midway through first set. Although this part of the concert went unrecorded both audience and band responded enthusiastically.
The two skin men would remain friends, Elvin even talking to Phil Grant, then president of Gretsch drum to get Alvin a new set.
Such an auspicious debut allowed Alvin to quickly become a jazz journeyman where he learned and contributed to the work of such established greats as George Braith, Horace Silver, George Benson and Oscar Peterson.
The first time Alvin had been to Europe was as a member of Charles Tolliver’s band (1971). Finding the respect jazz received there and lifestyle conducive to his art Alvin would move there permanently in the late 1970’s settling not in Amsterdam or France as did many of his expat peers but in Switzerland.
The initial talent which was apparent in Alvin’s playing was fostered by not just the community but his fellow artists. After thirty five years of forging an artistic identity Alvin felt it was time to lead his own group and nurture an upcoming generation as he himself had been.
Mighty Long Way is Alvin’s second outing with his working group, expanded from his pervious album I Ain’t Looking At You (Enja Records) quintet to a septet.
This album is a throwback to a golden period of jazz not as an exercise in nostalgia but organically conjuring up jazz as it had initially inspired Alvin. The now largely vanished social aspect as it existed in clubs and lounges, where audiences packed small venues to not only hear great music at an arm’s length but to catch up with their friends and neighbors as the artists entertained.
The album is made up of two originals by band member Jesse Davis, covers of “I Got A Woman” (Ray Charles) and “United” (Wayne Shorter) “Lets Us Into The House” and “Mighty Long Way” both by Joe Pace which share a sort of sanctified rhythmic structure Alvin often affiliates with a youth of not just church but the Apollo Theater shows he attended. In a nod to his past, the rest of the program is rounded out by works of former employers who were also teachers then friends, Horace Silver and Oscar Peterson.
The Oscar Peterson tune “Sushi” finds the band locked into the first of many grooves and shows the inherent logic in the lineup of Alvin’s ensemble.
The song starts with Mike LeDonne’s Hammond B3 organ out front. Over the span of his career Alvin has worked with, if not all then, most of the greats of jazz organ. He knows how to comfortably play with and propel a piece which features this distinctive sounding instrument. Sonically, on this album the organ is easy to distinguish but Mike’s approach is one of overall subtlety. In lieu of providing steady swells of sound broken only by solos statements he opts to have his voice come and go within the span of a song.
The front line of guitar and horns initially play the melody in a seamless unison under which can be heard the percussion of both Neil Clark and Alvin.
The first solo is taken by Jessie Davis on alto saxophone, the organ providing pulse points with the rest of the band keeping up a big sounding tight but loose groove. Jessie’s playing has muscle but does not slip into discordance, sounding as if his long turned phrases would be comfortable inhabiting space in hard-bop, (old) R&B or soul jazz.
Terrel Stafford who appears on both trumpet and flugelhorn throughout the album has the second solo. On this piece he has a warm mid-range tone playing quick runs but never getting too out ahead of the band. There are few moments where the band quickly pauses during his solo which allows for some nice drama but does not disrupt the groove.
The guitar by Peter Bernstein has that classic hollow body tone possessing a bright ringing tone which is not mired down by any type of studio gadgetry. With its vintage sounding cadence one is instantly reminded of what a perfect fit guitar and organ are when done right.
Mike’s solo is comprised of more rapid runs then those of the sonic foundation he helps layout for the ensemble sections in which he appears throughout the rest of the song.
The end of the song finds the band playing once again in unison and the two percussionists with their unflagging energy give the song a live feel.
“Cape Verdean Blues” by Horace Silver has an even deeper groove than that of its original version off the Blue Note album of the self same titled album. The double percussion falls into a sort of infectious syncopated entrainment which sets the toes to tapping.
Here the trumpet has what Jelly Roll Morton might have been referring to when he mentioned the Spanish tinge. This version is six minutes long but the groove makes it disappear in the blink of an eye. Over all the song has a celebratory feel to it and must be one of the shining moments of this group’s live performances.
“Blues On Q” was written by Jessie Davis for Alvin. It has the light night feel, the other face of a good juke joint, when the people have stopped dancing but not having fun. Elias Bailey appears here and on “Alba” playing contra bass. It has a dark fuzzed out tone; a beautiful woman who is also most likely a little dangerous. The horns are plaintive yet it is the joy to be found in briefly being blue. It is the wisdom to be found hidden in every cigarette and cocktail found in lounges, clubs and juke joints of time gone by. It is harder to show diversity of chops and create tension on a slower piece as rapid tempo is not there to fall back upon for a dramatic device. Here the band shows it is more than up to the task.
The album is 68 minutes long, the sound is pristine but not overly produced and liner notes are included.
“The Drum Thing” is a musical dialogue between Neil Clark and Alvin. It was partially inspired by the conversations Art Blakey would have with Babatunde Olatunji and Apollo Theater jam sessions.
The piece shows off not just the percussionist’s virtuosity but their tight interplay as they sonically build off of each other’s ideas. This is the perfect way to end the album as it pays homage not just to a music and culture but an instrument as well.
Alvin Queen- drummer& leader
Jessie Davis- alto saxophone
Terell Stafford- trumpet & Flugelhorn
Peter Bernstein- Guitar
Mike LeDonne- Hammond B3
Elias Bailey- Contra bass- Alba & Blue On Q
Neil Clark- Conga drums and percussion
More information on Alvin:
http://www.alvinqueendrummer.com/Alvin_Queen_Jazz_Drummer/Home.html
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