Group Theory: Black Music

強烈! マルコム・ジヤネ・トゥリーオー『UMDALI』をはじめ、南アの新しい音楽シーンから良作をリリースし続ける「MUSHROOM HOUR HALF HOUR」の新作は、エルヴィン・ジョーンズやアート・ブレイキーの遺伝子を独自に発展させる南アのジャズドラマー/コンポーザー、トゥミ・モゴロシ率いるグループ・セオリーNEW!

2014年にプロジェクトELOの一員としてJAZZ MANレコードでデビューを飾って以来、シャバカ・ハッチングスのシャバカと前衛的なプロジェクトを行うなど、南アの創造性あふれる音楽シーンを牽引する存在として活躍してきたトゥミ・モゴロシ。そんなモゴロシ率いるアフロジャズ・コンボがこのグループ・セオリーだ。ドラム/ピアノ/ベース/ギター/アルトサックス/トランペットによる六重奏を軸に、9人のクワイアを配した濃密なアンサンブル。悲哀に満ちたブルースと力強い歌声と、熱くしのぎを削るアンサンブル。Max Roach『It's Time』やAndrew Hill『Lift Every Voice』といった名作を思わせる、南アジャズの新たな名作誕生!

Veteran South African drummer Tumi Mogorosi had toured and played sessions with his countrys masters before releasing his solo debut, Project Elo, in 2014. Produced by Nduduzo Makhathini, it combined a jazz quintet and vocal quartet in exploring connections between spiritual jazz and post-bop. A current member of Shabaka & the Ancestors, Mogorosi also co-founded the avant-jazz/noise trio Wretched. On Group Theory: Black Music, Mogorosi extends the modernist connections between spiritual jazz and choral gospel music. He carries the torch for a tradition established by Max Roachs Its Time (1962), Donald Byrds New Perspective (1965), Andrew Hills Lift Every Voice (1969), Eddie Gales Ghetto Music and Black Rhythm Happening (1968 and 1969), and Billy Harpers Capra Black (1973) -- which all employ choirs. Mogorosi leads a quintet, sextet, and a nine-voice choir with soloists. "Wadada" commences dramatically as the horn sections gorgeous modal head frames the wordless choir, which soars above them. Tumi Phekos bluesy trumpet solo is followed by a harmonically expansive alto break from Mthunzi Mvubu (also a member of the Ancestors) as Mogorosi fills, accents, and delivers nearly majestic processional patterns before guitarist Reza Khota offers shard-like chords that introduce a group improv section. "Panic Manic" sounds like it begins in the middle. Trumpet, sax, co-producer Andile Yenanas cascading piano, and Dalisu Ndlazis knotty bassline guide Mogorosis thrumming drum kit as the vocalists contribute passionate modal lines. Behind Phekos solo, Mvubu and Khota engage in intricate interplay. During the saxophonists solo, Yenana adds massive chords and crystalline ostinatos before the choir and horns carry it out. There are two versions of the spiritual "Sometimes I Feel Like a Motherless Child" led by vocal soloists. The first features Siya Mthembu fronting the choir and backed by the trio of Yenana, Ndlazi, and Mogorosi. His baritone ranges over the lyric as the choir frames and then elevates his phrasing. After Yenanas deeply moving solo, Mthembu reenters, singing falsetto in dialogue with the choir. Led by choir and horns, "Walk with Me" evolves from modal jazz to spiritual soul before Mvubu provides a hinge with a killer post-bop blues solo. "Mmama" is an instrumental that reveals the bands intricate, nearly lyrical interplay. "Thaba Bosiu" showcases the choir moving toward vanguard jazz with syncopated phrasing behind the glorious modal communication of the sextet. The second version of "Sometimes I Feel Like a Motherless Child" is sung by longtime collaborator Gabi Motuba. Mogorosis tom-toms rumble under her deep blue, incantatory intro. When she begins delivering the verse, her singing over the chorales backing sounds like it is haunted by history. Motuba alters the lyric, embodying Black experience throughout times passage and the distance traveled in the African diaspora: "Weve come a long way from home..." as Khota, Yenana, and Mogorosi add intuitive support. Group Theory: Black Music is a monumental achievement. Mogorosis considerable talent as a bandleader illuminates the depth and diversity of jazz talent on the explosive South African scene. ~ Thom Jurek