playlist #13 | Rhythmic Narratives in Jazz: The Tale Told by Brian Blade’s Drums

Brian Blade is an influential figure in the realm of jazz and beyond. His drumming style transcends traditional definitions, weaving a rich tapestry of rhythmic patterns that mirror the complex diversity of human emotions. Blade’s work extends beyond the drum set; as a composer, he creates musical narratives that strike a balance between intricate technicality and heartfelt sentiment.

Notable for his collaborations with jazz giants like Wayne Shorter and Chick Corea, as well as his leadership in the Brian Blade Fellowship Band, Blade has demonstrated an enduring commitment to pushing the boundaries of jazz music. His approach to rhythm is both innovative and deeply personal, resulting in a unique sound that continues to resonate with you.

Red River Revel (Brian Blade Fellowship, 1998)

Emerging from his inaugural album with the Fellowship Band, “Red River Revel” is a vibrant composition that sets the identity of the Fellowship Band and the tone for the rest of this remarkable album.

The song doesn’t just play; it dances, sways, and tells stories in the language of rhythm and melody inviting us to revel in his memories, experience his heritage, and ultimately understand him better not only as a musician but also as a storyteller.

Stoner Hill (Season of Changes, 2008)

“Stoner Hill,” a track from Blade’s album “Season of Changes,” is a profound musical confession taking you on a nostalgic journey back to Blade’s childhood (high-school) days spent on Stoner Hill.

The composition deeply metaphorizes his devout Christianity permeated in his life, letting us listen quietly to his music, radiating joy, humility, and commitment beyound his personal beliefs. It is a spiritual resonance inviting you to partake in the shared human experience he so eloquently but humbly expresses through this song.

Return of the Prodigal Son (Season of Changes, 2008)

“Return of the Prodigal Son,” an exquisite composition by pianist Jon Cowherd, showcases vibrant solos from guitarist Kurt Rosenwinkel and saxophonist Melvin Butler. Throughout this sonic odyssey, Blade maintains an unbroken rhythmic current, anchoring the song with his steady pulse.

The narrative of this song mirrors its biblical parable as a tale of return. A full eight years have lapsed since Fellowship’s previous release, and in that interlude, Brian Blade and the Fellowship have proven themselves more prolific than prodigal.
No excess in pursuit of artistic abundance.

He Died Fighting (Landmarks, 2014)

The track is a leading piece from the Grammy-nominated album “Landmarks” co-produced by Blade and Cowherd.
Brian Blade kicks off “He Died Fighting” with a subtle beat, setting the tone for an emotionally charged opening as the Fellowship Band steps in. Pianist Jon Cowherd meshes with Blade’s captivating rhythm while saxophones shift from reflective undertones to intense, conflict-driven sounds. Saxophonists Myron Walden and Melvin Butler harmonize like the fiery combat, guided by bassist Chris Thomas towards a dramatic revisit of the main theme. This complex improvisation rewards repeated listening with fresh emotional and intellectual insights.

The ablum is the Fellowship Band’s first Blue Note album since their 1998 debut and 2000 sequel “Perceptual”. Seven out of ten tracks were recorded at Blade Studios in Shreveport, Louisiana, founded by Brian’s older brother Brady.

Ark.La.Tex. (Landmarks, 2014)

“Ark.La.Tex.” in the album “Landmarks” by Brian Blade Fellowship is a distinct piece that brilliantly ventures into uncharted territories in jazz.
This song stands as a stark contrast, embodying the precision and expressiveness often associated with contemporary jazz, and directly mirroring the album’s more explicit facets. It is propelled by a raw noir theme that steadfastly declines to resolve at the downbeat; an ostensibly unassuming method to execute such a fixed riff, yet it harmoniously aligns with the overall tonality of the album.

Even when The Fellowship Band infuses heat into this theme, creating a lush and potent polyphony of saxophone lines and intricate melodic contours, the composition consistently reverts to its root motif.

Duality (Body and Shadow, 2017)

“Duality,” found on Brian Blade Fellowship’s fifth album “Body and Shadow,” comprises two distinct sections that contrast with each other. The initial portion showcases a lengthy and exuberant piano solo performed by the composer. In the latter half, the spotlight shifts to alto saxophonist Myron Walden, who delivers an electrifying solo performance. Blade’s distinctive style, characterized by a restless empathy, infuses the second section with intensity, building up to a blazing crescendo.

This composition not only represents the superior standards that the band has set and met over an extensive period, but it also serves as a brilliant display of their musical prowess. The piece stands as proof of Blade and the Fellowship’s unwavering commitment to quality and their capability to consistently produce standout performances, embodying the band’s exceptional skill and unwavering passion for the craft.

Traveling Mercies (Body and Shadow, 2017)

“Traveling Mercies” is a beautifully melodious track, reminiscent of a folk song, delivered through the soothing tones of an alto saxophone. It’s punctuated by an appealing bridge, all enrobed in mournful harmonies, Blade’s extraordinary percussive hues, and Cowherd’s subtly inspirational gospel-infused piano prompts.

The album “Body and Shadow” distinguishes itself as it encapsulates the collective journey of the band over two decades. Their shared growth, mutual understanding, and deep bond are reflected in each note they play.

(header image credit: wikipedia - Brian Blade Fellowship)