Recently I had a conversation with a pianist about his time playing with Wayne Shorter. He spoke highly of the impact that the ultra respected Shorter had on him. During the conversation, the artist revealed how Shorter had challenged him to play beyond the charts, indicating that he wanted the artist to bring his own experiences to the music. Shorter voiced his approval during a later performance, when the artist played a series of notes, which mimicked the sound of a horse. Shorter looked at the artist with a nod of approval and stated, “Yeah, that’s the SH*T, that’s the SH*T.” Last year, a similar message was communicated to me when I spoke with another musician, a young rising star in the jazz world, fresh from a recording session with Ornette Coleman. He mentioned that Coleman suggested to him to “play life!”
I’m not sure at what juncture in the career of Ronnie Burrage this message was transmitted to him. It could have happened before he was ten years old. By that point, he had already stood on stage with Duke Ellington. Ronnie’s one of the Kats that when you say he has played everywhere with everybody, it’s true. Surely, his encounters with hundreds of established musicians gave him the opportunity to embrace the lesson. So, it could have happened during his time with Woody Shaw, Jaco Pastorius, Archie Shepp, McCoy Tyner, Lester Bowie, Arthur Blythe, Joe Zawinul, or the World Saxophone Quartet. It could have also happened while he was part of Wayne Shorter’s projects. Like I said, I’m not sure when the lesson to “play life” (meaning to play your experiences, to play from your soul, to be raw, to play with passion) was transmitted, but I do know it was indeed learned.
Spirit Guides / Truth and Love Music speaks to that lesson. Ronnie demonstrates this on his original tune “A Peace for My Mother.” Listen to the sincerity of his vocals linking with the rhythms he lays down on the drum. He’s channeling something deeper, a profound connection with past experiences. I’ve been blessed to witness music in many settings over the years. It’s always interesting for me to see it being produced in a studio, because I enjoy viewing the creative process. Part of the beauty of “A Peace for My Mother” was the organic nature of the production. Ronnie agreed to bring a drum to the radio station and allowed us to record him. The idea was to capture a few improvised moments to air during our conversation on my radio show “The Bridge” that night. Ronnie’s mesmerizing performance validated his endorsement by Korg (the musical instrument manufacturer), a position he’s held for over 30 years. What he created became more than just improvised interludes for the radio show. Ronnie settled behind his drum and enlisted the help of the piano in our recording studio. He sang, utilized his Wavedrum, and played the piano, all at the same time. It should be noted that several of the tracks on this disc feature Ronnie’s ability to multitask (simultaneously play drums, percussions, and keys). Ronnie and Jack DeJohnette were pioneers in this area. Ronnie was also adventurous enough to take his multitasking to the stage and incorporate it into his live performances. Witnessing Ronnie work his magic in the recording studio at WRTI was beautiful. Creating a ballad that would ultimately be dedicated to his mother… well, that’s priceless.
Following “A Peace for My Mother” with “Words That Build Bridges” sets the tone for an incredible ride. My personal favorite, this song grabs hold of you and takes you for a journey through consciousness. The celebrated poet Quincy Troupe brings the noise, with guitarist Kelvin Bell and Ronnie creating a groove so memorable that I guarantee you will find yourself humming it regularly after a couple of spins.
The feel of “New Vibe Africa” is beautiful and is the perfect complement to the surrounding selections. The trumpet work on this track is absolutely wonderful. Ronnie Burrage’s uncle, Rasul Siddik, who Ronnie sites as a primary reason he is “in the music so deep”, performs it. Ronnie’s Uncle Rasul played a significant role in his adolescent development by exposing him to many of the greats (including Freddie Hubbard and Tony Williams) and providing a heavy dose of encouragement and love.
“Ubiquitous” didn’t take much time to win me over. Its world influences, dominating rhythms, and synth magic really create a nice groove. The presence of the flute and the power of the drums bring this track to life in a special way. The improvised, freestyle feel of the track “Scat Daddy” represents the genre-crossing diversity that Ronnie possesses, as well as how unique a talent he is. Celebrated saxophonist Sonny Simmons’s contribution to this selection is an excellent accompaniment to Ronnie’s vocal expressions and yet another highlight of the CD. In addition, the introduction of three talented wordsmiths (Equille Williams, Ugo Onyianta, and Drew Jackson) gives this tune life by meshing Ronnie and Sonny’s bebop styling with the hip hop/rap aesthetics of Burrage’s three students.
The second half of the disc is consistent with the quality that is present in the earlier selections. Compositions like “Switchin in the Kitchin” and “The Architecture of Language” are reminiscent of The Last Poets and makes one wonder how in the hell Q.K.R. has remained so obscure. “Cyberspace” features one of Philadelphia’s best-kept secrets, guitarist Erik Sayles. This track conjured a one-word response upon initial review; that word is “nasty!” “Spirit Guides,” the title composition, once again features Sonny Simmons. His playing on this track has philosophical meaning. As Ronnie said, the track showcases “the effervescent satin of Sonny Simmons’s English horn and alto, giving a haunting wave of joyful melody against this Caribbean twist of a loop (where I play kalimba, djembe, various idiophones, vibes, steel drum, and clicks). Sonny brought the magic. This song represents how life and history repeats itself (hence the loop), but our Spirit Guides give us a new look when we follow them- giving us the edge to mold the repetition into a forward place untouched… another dimension so to speak.”
As a radio host for close to twenty years, and a recognized music addict since my single digit days (when I coerced Aunt Margie into giving me her 45 single of James Brown’s, “Say it Loud”), I’m still blown away when I encounter a recording that is solid from start to finish. A few that come to mind include: “A Love Supreme” (John Coltrane), “Chicago Transit Authority” (Chicago), “Bitches Brew” (Miles Davis), “Child of Troubled Times” (Quite Sane), “Plantation Lullabies” (Meshell Ndegeocello), “It Takes a Nation of Millions” (Public Enemy), and “Band of Gypsys” (Jimi Hendrix). As you journey through the early selections on this CD, you begin to wonder, “Can the rest of the project feel this good? What is the next track going to sound like?” When you’re about six tracks in you’re thinking, “Damn! Okay, even if the last few tracks are not as hot…” But, by the time you reach the end of this recording, you feel like you have met the person you plan to spend the rest of your life with. If you already have a spouse, you’re better off not mentioning your love for this project to them. Instead, recite under your breath, “Yeah Ronnie, that’s the SH*T, that’s the SH*T.”
J. Michael Harrison
WRTI Philadelphia
www.wrti.org/thebridge
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