Whoever says jazz is dead clearly has not heard Alonzo Demetrius. The young trumpeter not only has language on the instrument and paired it with electronic effects, but he is also an amazing composer. His live recording “Live from the Prison Nation” is as real as it gets. The performance put on by his group is nothing short of spectacular, and the organicness of the live performance makes it even more exciting to listen to. He is joined by Yesseh Furaha-Ali on saxophone, Daniel Abraham Jr. on piano, Benjamin Jephta on bass, and Brian Richburg Jr. on drums. It is the first instrumental record produced by Onyx Productions outside of the amazing projects recorded by founder and legendary drummer, Ralph Peterson Jr. The fact that maestro Peterson is releasing this album on his label is a testament to the greatness of this amazing musician and his collaborators.
“Expectations” starts with the strong-willed voice of Angela Davis and then Demetrius’ trumpet comes into the texture along with his band. The music is filled with a sense of earnestness and is always looking forward. The exchange that takes place between Demetrius and Furaha-Ali is simply amazing and filled with virtuosity. Then the two link up in unison to send off the piano solo played by Abraham which starts as pensive and quickly builds to a crescendo. The declaratory theme comes back in before fading out with a piano vamp that the listener will recognize from the beginning.
There is a dark, unsettling atmosphere that hangs in the air upon listening to “The Principal.” The unsettling vamp that Demetrius plays over along with the effects he implements sets the stage perfectly for when the band finally comes in together. It’s a slow tempo that at times feels as if it is going out of tempo and fills the listener with a sense of anticipation. While this is the only selection on the album that is not composed by Demetrius, it definitely shows the young composer’s ability to program music into a story that flows from start to finish. Not one to keep the spotlight to himself, Demetrius allows a feature to further highlight Furaha-Ali’s amazing talents in “Yesseh’s Interlude.” The saxophonist displays amazing technique and an abundance of melodic ideas. “Mumia’s Guidance” is a tastefully orchestrated piece that fits with the pre recorded speech of political activist Mumia Abu-Jamal. Much like the aforementioned iconic figure, the music embodies a revolutionary state of mind. The strongly stated melody is a glistening beacon of light for those striving for change. The words and the music entangled together into one, seamlessly flowing together. It is a masterpiece that at the same time is a call for social justice and leaves the listener reflecting on the sounds of the music as well as the social landscape in which it was derived.
The title of F.O.O. Shit no doubt stands out and grabs the attention of the listener. It’s as if to say, “Hey! Pay attention!” “F.O.O. Shit Intro” is a simple melody over the chant “This is what community looks like!” and it stirs the fighting spirit. “F.O.O. Shit” is a memorizing and exciting climax to this incredible project. Furaha-Ali takes house with a fiery solo followed by Demetrius’ effects trumpet playing, which is full of ideas and the sound effects implemented provide for a breath-taking sonic journey. The communication between all the band members is at times telepathic, much like the rest of this album. Demetrius has definitely assembled a great crew of musicians to bring his artistry to life, and the message is one that I hope people will take the time to listen to and reflect on. I look forward to many great things to come from this amazing artist.
For further information on Alonzo Demetrius, please visit his website
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