When We Find Ourselves Alone by Rodney Whitaker

Rodney Whitaker

When We Find Ourselves Alone

Price: € 17.95
Format: CD
Label: Mack Avenue
UPC: 0673203108820
Catnr: MAC 1088
Release date: 22 August 2014
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Label
Mack Avenue

UPC
0673203108820

Catalogue number
MAC 1088

Release date
22 August 2014

"Mr. Whitaker, who plays with depth and resonance and constant swing; his single-note solo on “Invitation” hustles through sawed-off bebop phrases and seems to sing, up high and down low."

NY Times, 29-8-2014

Album

Artist(s)

Composer(s)

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About the album

With When We Find Ourselves Alone, he gathers generational contemporaries and modern masters including saxophonist Antonio Hart, pianist Bruce Barth and drummer Gregory Hutchinson—each a friend and musical partner for close to a quarter-century. Reinforcing the family feel of the proceedings, Whitaker’s daughter, Rockelle Fortin, brings her expansive voice and keen interpretative skills to five selections. “Quartet with saxophone is really my voice,” says Whitaker. “I grew up playing in that context and with vocalists. When you’re from Detroit, you don’t compartmentalize or segregate music. You play funk, you play bebop and you play gospel.”
The ambiance on When We Find Ourselves Alone is similar to what Whitaker generated on such turn- of-the-century gems as Winter Moon, Ballads and Blues: The Brooklyn Session and Yesterday, Today and Tomorrow—all recorded for small independent labels—on which the leader drew repertoire from several stylistic tributaries. Now, as then, Whitaker and company address the leader’s 5 originals and 6 arrangements with an old-school feel and a 21st century attitude. They follow the time-tested jazz aesthetic, embracing the tradition of navigating the long-standing forms with individualistic tonal personalities, ebullient soulfulness and an unending will to swing.

“I think of what Carl [Allen] and I did on our records as 21st century soul jazz,” Whitaker says. “This record is closer to modern hard bop. It’s about swinging and having a good time. Even though I hadn’t gigged with any of them for years, there’s a certain freedom to playing with people you trust that you can’t get otherwise. I worked with Bruce from 1989 to 1991 with Terence Blanchard, and he’s like a big brother to me. I was on the road for 4 years with Greg and 3 with Antonio in Roy Hargrove’s group. They’re like my little brothers, and we’re all grown men now. All these guys knew my daughter as a child, and they hadn’t seen her since she was probably 10 years old.”
Whitaker relates the back story of the jaunty opener, “The World Falls Away,” a medium swinger propelled by Hutchinson’s crisp beats and highlighted by Hart’s impassioned, melodic declamation. “It was Valentine’s Day, and I’d had a bad day,” he says. “My wife gave me a card that talked about the rigors and challenges of life, and at the end said, ‘But at night, when we’re together and lying in each other’s arms, the world falls away.’”

A thread of joyous nostalgia infuses “When You Played With Roy,” an AABA theme with a bossa feel that contains a catchy 10-bar bridge. Whitaker’s brief opening solo displays his abundant technique and creativity, qualities that also animate Hutchinson’s exchanges with the soloists. “Everywhere I play, people approach me and say, ‘I loved it when you played with Roy Hargrove,’” Whitaker says. “I started thinking about turning that title into a theme that would capture the joy of performing with Roy and the joy people got from hearing the group live.”

Whitaker bows a plush introduction to “Autumn Leaves,” then switches to pizzicato for a dramatic rubato duo with his daughter, whose stately rendering of the lyric foreshadows a cogent scat solo once the tempo morphs to swing.
Hart’s pure soprano saxophone tone illuminates the poignant long notes that open “Jamerson’s Lullaby,” which references not only the immortal Motown session bassist, but also the sadness that Whitaker’s youngest son, Jamerson, age five, experiences when it is time to go to bed. Whitaker adds, “He looks at you and smiles, and it’s so infectious it makes you happy,”—in this case, a mood-switch denoted with a change to major key in the B-section.

Fortin channels her inner Carmen McRae on “You Go To My Head,” enlivened by Hutchinson’s neo-hip- hop pocket and ascendant solos by Hart, Barth and Whitaker. Then Whitaker creates a polyrhythmic bass line to maneuver “Invitation”—one of several homages to tenor saxophone immortal Joe Henderson that he has recorded—away from well-traveled routes.

There follows “Freedom Day,” an Oscar Brown song depicting the end of slavery at the end of the Civil War that Max Roach and Abbey Lincoln memorably recorded in 1960 on We Insist! After Fortin’s intense delivery of the lyric, and fierce statements by Hart and Barth, Hutchinson displays his rarefied position on the drum tree with a solo that dialogues with Roach’s drum oratory from half-a-century ago.
“I follow W.E.B. DuBois in thinking about music as a way to talk about politics,” says Whitaker. “We live in a time where we have an African-American President, yet people are angry at him solely because he’s African-American. We’re not free yet, though we think we are. But slavery didn’t just change the black man. It changed us all. We’re not ready to let go of oppression or the anger in our hearts.” Whitaker’s social activist concerns underpin “A Mother’s Cry,” a memorable refrain that he composed a few years ago for the documentary film Malaria & Malawi: Fighting to Save the Children, earning a Michigan Emmy nomination for the theme. Propelled by Whitaker’s ferocious 12/8 vamp and Hutchinson’s Afrodiasporic beats, Hart uncorks a magnificent soprano solo that evokes both the pain of malaria’s impoverished victims and possibility of a remedy.

In arranging “Mr. Magic,” Whitaker hewed to Roberta Flack’s early ‘70s hit that Grover Washington immortally interpreted as a soprano saxophone instrumental in 1975. Fortin elicits oceanic emotions from the lyric; Hart’s ecstatic solo signifies on his very first jazz saxophone hero. “It’s a song about joy, someone who found someone, treated them with love and took care of them physically,” Whitaker says.

Whitaker composed the title track two years ago for a commissioned work titled Jazz Up South on the topic of migration stories. “It’s about forbidden love between two people who are in love when people do not want them to be together,” Whitaker says. Turbulent solos by Barth and Hart evoke the inflamed emotions of love denied. “For me, the story is a metaphor for life, when people don’t pursue their dreams. My compass has always been to do first what brings joy to my life.”

Along those lines, Whitaker concludes this well-wrought portrait of the artist in mid-career with “Lost In You Again,” a modern gospel classic by Fred Hammond, illuminated by Barth’s and Hart’s jubilant solos. “The spiritual realm is part of my upbringing, and if I’m telling a story or putting together a set, I want to attend to the whole person,” Whitaker says. “I want to talk about every aspect of life and love and tragedy. Sometimes you’ve got to talk about the unpleasant to get to joy, but ultimately it should all end with joy.”

Für When We Find Ourselves Alone versammelt Rodney Whitaker mit Saxophonist Antonio Hart, Pianist Bruce Barth oder Schlagzeuger Gregory Hutchingson Meister ihres Fachs, die außerdem seit beinahe einem viertel Jahrhundert zu seinen Freunden und musikalischen Partnern zählen, und auch Whitakers Tochter Rockelle Fortin trägt mit ihrer ausdrucksstarken Stimme bei.

Die Stimmung dieses Albums erinnert an Jahrhundertwende-Juwelen wie Winter Moon, Ballads and Blues: The Brooklyn Session und Yesterday, Today and Tomorrow, auf denen er bereits Repertoire von verschiedensten stilistischen Richtungen präsentiert: die Band spielt mit Gefühl für die alte Schule und einer modernen Einstellung und folgt der lang erprobten Jazz-Ästhetik, die traditionelle Formen mit individuellen tonalen Persönlichkeiten, sprudelnder Emotion und nie enden wollender Lust am Swing.

So mischen sich auf When We Find Ourselves Alone eigene Stücke Whitakers wie der unbeschwerte Opener "The Worls Falls Away", eine Valentinstagserinnerung, oder ein Schlaflied für seinen Sohn Jamerson ("Jamerson's Lullaby") mit Standards wie "Autumn Leaves", hier ein dramatisches Vater-Tochter-Duo, und Fred Hammonds modernen Gospelklassiker “Lost In You Again” als letzten Song des Albums.

“Religion ist Teil meiner Erziehung, und wenn ich eine Geschichte erzähle oder ein Set zusammenstelle, möchte ich dabei die ganze Person betrachten," sagt Whitaker. "Ich möchte über jeden Aspekt des Lebens sprechen, über Liebe und auch über Tragödien. Manchmal muss man über das Unangenehme sprechen, um zur Freude zu gelangen, aber letztlich sollte es alles mit Freude enden."

Artist(s)

Rodney Whitaker

Internationally renowned bassist and Origin Records recording artist, Rodney Whitaker, currently holds the titles of Professor of Jazz Bass and Director of Jazz Studies at Michigan State University where he has built one of the leading jazz degree programs and performing faculty in the world. He is considered one of the leading performers and teachers of the jazz double bass in the United States. He is also the Artistic Director of the Michigan State University Professors of Jazz, former Artistic Advisor of Jazz @ Wharton Center, Director of Detroit Symphony Orchestra’s Civic Jazz Orchestra and a former member of the Jazz at Lincoln Center Orchestra. Whitaker received his first national recognition performing with the Harrison/Blanchard Quintet.
Building on his Detroit roots and enormous talent, Whitaker went on to earn an international reputation as one of the world’s finest jazz double bass performer. He completed seven-year tenure as bassist with Wynton Marsalis’ Septet and the Lincoln Center Jazz Orchestra. He has toured the world over the last twenty-five years, collaborating and performing with legendary jazz artists such as Jimmy Heath, Eric Reed, Cyrus Chestnut, Vanessa Rubin, Kathleen Battle, Dianne Reeves, Cassandra Wilson, Diana Krall, Jon Faddis, Donald Harrison, Terence Blanchard, Rodney Jones, Wycliffe Gordon, Kenny Burrell, Bob James, Benny Golson, Regina Carter, Pat Matheny, Nicholas Payton, Jimmy Cobb, Joshua Redman, Stephon Harris, Johnny O’Neal, Marcus Belgrave, James Carter, Steve Turre, Claudio Roditi, Junko Onishi, Harry Allen, Ronnie Matthews, Chick Corea, Kenny Garrett, Kevin Mahogany, Ingrid Jensen, Barry Harris, Ron Blake, Jeff Clayton, Dana Hall, Gerald Wilson, Sean Jones, Niki Harris, Wessell Anderson, Don Vappie, Johnny O’Neal, Cedar Walton, Renee Rosnes, Randy Brecker, Rickey Woodard, Bobby Shew, Gary Smulyan, Joe LaBarbera, Randy Napolean, Peter Martin, Nnenna Freelon, Donald Byrd, Branford Marsalis, Greg Hutchinson, Carl Allen, Herlin Riley, Jeff “Tain” Watts, Terrell Stafford, Tim Warfield, Bruce Barth, Jon Carl Hendricks, Roy Hargrove, the late greats: Dizzy Gelispie, Mulgrew Miller, Tommy Flanagan, John Lewis, Marian McPartland, Donald Walden, Joe Henderson, Hank Jones, Frank Morgan and Betty ‘Bebop’ Carter as well as performing with leading symphony orchestras world-wide. Whitaker has also toured internationally as a featured performer with the Roy Hargrove Quintet. In addition, he has appeared and presented master classes at the International Association of Jazz Educators (IAJE) conferences.
Rodney is one of the hardest working and swinging bass players on the scene and has recorded with great musicians such as Roy Hargrove, Pat Metheny and Wynton Marsalis. Featured on more than 100 recordings — from film to compact discs — Whitaker’s film scores, China, directed by Jeff Wray, was released on PBS Fall 2002 and Malaria and Malawi, released on PBS Fall 2010. Also, Whitaker has a DVD release featuring Michigan State University’s Jazz Department entitled, “Inside Jazz”. In 2011, he was nominated for an EMMY for the ‘Original Music’ category, “Malawi and Malaria: Fighting to Save the Children” produced by Robert Gould and Sue Carter.
A proven and committed jazz educator, Whitaker has presented numerous master classes across the nation at locations such as Duke University, Howard University, University of Iowa, University of Michigan, Barbican in London, the New School (NY), Lincoln Center, and the Detroit International Jazz Festival. In addition, he is a consultant with the Detroit Symphony Orchestra in the development of the jazz education department, and has served on the faculties of University of Michigan and Julliard Institute of Jazz.
In 2006, he was nominated for the Juno Award, Canada’s equivalent to the Grammy, for his work on “Let Me Tell You About My Day,” produced by Alma Records. Whitaker collaborated with musicians Phil Dwyer (musician) and Alan Jones on the album, which was nominated for Traditional Jazz Album of the Year.
Now based in East Lansing, Whitaker continues to serve many of the talented in the state of Michigan. His legacy of teaching promises to be distinguished with former students currently performing with jazz greats such as Wynton Marsalis, Dianne Reeves, Pat Matheny, The Count Basie Orchestra and Stephon Harris.
Whitaker attended Wayne State University, studied with trumpeter Marcus Belgrave, bassists-Stephen Molina, Ralph Armstrong, the late Herbie Williams (trumpeter) and the late Robert Gladstone (bassist).

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Bruce Barth

Jazz pianist and composer Bruce Barth has been sharing his music with listeners the world over for more than twenty-five years. In addition to traveling widely performing his own music, he has also performed with revered jazz masters, as well as collaborated with leading musicians of his own generation.
Bruce has performed on over 125 recordings and movie soundtracks, including fifteen as a leader. He is equally at home playing solo piano (American Landscape on Satchmo Jazz Records), leading an all-star septet (East and West on MaxJazz), and composing for a variety of ensembles. His trio has recorded live at the legendary Village Vanguard in New York City, and his duo recording with saxophonist Steve Wilson, Home, was chosen by DownBeat magazine as one of the best recordings of 2010. His trio has also appeared at several major European festivals, including San Sebastian, La Spezia, and San Javier, where Bruce shared the bill with Chick Corea's trio.
Originally from Pasadena, California, Bruce arrived on the New York jazz scene in 1988, and soon started working in the bands of Stanley Turrentine and Terence Blanchard. While in Terence's band, Bruce recorded his first two CDs as a leader, In Focus and Morning Call for the Enja label; both were chosen for The New York Times' top ten lists. These recordings displayed not only Bruce's powerfully fluent piano playing, but also the scope of his own compositions and his imaginative arrangements of jazz standards.
As a leader of his trio and larger ensembles, Bruce has performed at major venues in the United States, Europe, and Japan; he has led bands at many major venues in New York, The Kennedy Center in Washington, DC, and major festivals in UK, Spain, Sweden, and Portugal.
Throughout his professional life, Bruce has had extended collaborations with Terell Stafford, Steve Wilson, Luciana Souza, Steve Nelson, and Tony Bennett. He has performed with James Moody, Phil Woods, Freddie Hubbard, Tom Harrell, Branford Marsalis, Art Farmer, and the Mingus Big Band. Finally, Bruce is a dedicated teacher, currently on the faculties of Temple University and Columbia University. He has also given master classes around the globe.

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Rockelle Fortin

Antonio Hart

Greg Hutchinson

Composer(s)

Press

Mr. Whitaker, who plays with depth and resonance and constant swing; his single-note solo on “Invitation” hustles through sawed-off bebop phrases and seems to sing, up high and down low.
NY Times, 29-8-2014