Bob marley instrumental in Jazz Instrumental Music

"Concrete Jungle: The Music of Bob Marley" (03/28/2006) Jazz Instrument Alexander, Monty, Telarc DistributionPersonnel: Monty Alexander (vocals, melodica, piano); Monty Alexander; Wendel Ferraro, Panchago Christian, Wendell "Junior Jazz" Ferraro, Wayne Armond (vocals, guitar); Vincent Hines (vocals, banjo); Ural Grodon (vocals, cajon drums); Luciano (vocals); Othniel Lewis, Othniel "Otty" Lewis (keyboards); Glenroy Browne (electric bass); Hassan Shakur (bass guitar); Rolando Alphanso Wilson (drums); Loris Lawrence (percussion); Dean Fraser (saxophone); Dwight Richards (trumpet); Delfeayo Marsalis (trombone); Courtney Panton (electric bass); Herlin Riley (drums). Audio Mixer: Robert Friedrich. Liner Note Author: Roger Steffens. Recording information: Tuff Gong Studios, Kingston, Jamaica (09/19/2005-09/23/2005). Photographer: Elaine Martone. The Jamaican-born veteran jazz pianist Monty Alexander continues the series of tributes to the music of Bob Marley he began with 1999's STIR IT UP on this reggae-oriented set recorded at Marley's Tuff Gong studios. He's joined by an all-star cast, including the singer Luciano and the trombonist Delfeayo Marsalis, on a set that includes the bubbling, upbeat "Africa Unite," a subtly swinging "Crazy Baldheads," and the funky, mento-influenced "Three Little Birds." Monty Alexander has had significant success in recent years with his light, jazzy settings of vintage reggae songs, and while surely no one would begrudge him his enjoyable duo performances with guitar great Ernest Ranglin or his swinging updates of old rocksteady love songs, by covering the songs of Bob Marley he's opening himself up to criticism for turning what were meant as militant songs of protest into easy listening for well-to-do Babylonians. On the other hand, just because it's easy to listen to doesn't necessarily mean it's simpleminded: his highlife-flavored introduction to "Africa Unite" segues nicely into a rhythmically tough and surprisingly faithful setting of one of Marley's best repatriation anthems, and his bouncy take on "Simmer Down" nicely recalls the Wailers' wonderful early days as a ska band. But best of all is his quiet but intense arrangement of "Babylon System," a rare interpretation of a Marley song that reveals both the anger and the simple heartache that lie at the center of the song -- on "Babylon System" you could hear Marley weeping for the wicked as well as crying out for justice for his people, and that anguish is brilliantly exposed in Alexander's arrangement. Elsewhere, a mento band massacres "Three Little Birds" and the inevitable "War" sheds no new light at all on what was always one of Marley's weakest compositions in terms of pure music, but overall this is an insightful and deeply enjoyable album. ~ Rick Anderson

"Stir It Up: The Music of Bob Marley" (05/25/1999) Jazz Instrument Alexander, Monty, Telarc Jazz ZonePersonnel: Monty Alexander; Steve Turre (trombone, conch shell); Dwight Dawes (keyboards); Robert Angus, Derek DiCenzo (guitar); Trevor McKenzie, Glen Browne, Hassan J.J. Wiggins (bass); Sly Dunbar, Rolando Wilson, Troy Davis (drums); Desmond Jones (percussion). Recorded at Avatar Studios, New York, New York from October 10-12, 1998. Includes liner notes by Monty Alexander, Dermot Hussey and Neil Tesser. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Monty Alexander (piano); Steve Turre (trombone, conch shell); Dwight Dawes (keyboards); Robert Angus, Derek DiCenzo (guitar); Trevor McKenzie, Glen Browne, Hassan J.J. Wiggins (bass); Sly Dunbar, Rolando Wilson, Troy Davis (drums); Desmond Jones (percussion). Recorded at Avatar Studios, New York, New York in October 1998. Includes liner notes by Monty Alexander, Dermot Hussey, Neil Tesser. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. How do you reconcile a harmonically basic, rhythmically upside-down idiom like Bob Marley's reggae with the bop-derived environment in which pianist Monty Alexander usually works? Indeed, Alexander prefers not to choose, gambling audaciously by combining a six-piece Jamaican reggae rhythm section, the Gumption Band, with a three-piece jazz rhythm team. That makes for an interesting tussle; one rhythm section surges in front of the other and vice versa in a constant battle for supremacy (the Gumption Band usually comes off as the more dominant force). Sometimes Monty is limited to just a single right-hand line ("Is This Love?"); a '90s equivalent of those '60s albums where mainstream bopsters restrained themselves trying to cover Top 40 tunes. Not until "Stir It Up," which sounds a bit like Ahmad Jamal getting into the reggae groove, does Monty at last sound like a melodically free man. "No Woman, No Cry" ignites midway with a good fusion of a pure reggae groove and some harmonically advanced jazz, "So Ja Sah" has a swinging union of the two sections that also respects Marley's unusual rhythmic concept, and there is a hot remix of "Could You Be Loved" as a bonus track (with master drummer Sly Dunbar). Guest trombonist Steve Turre seems right at home with the reggae gait on "Running Away" and gets a straight-ahead bop solo in a slightly frenetic "I Shot the Sheriff." There isn't any doubt that Alexander loves Marley's music -- listen to his simple, touching Marley elegy "Nesta (He Touched the Sky)" -- yet this attempt to pay homage only comes together in patches. ~ Richard S. Ginell