As grassroots resistance against the lockdown gains momentum and more parts of the country declare themselves free territory, we will soon have unprecedented opportunities to remake our world. As lockdowner governors are voted out and driven from office, we will have plenty of chances to give force of law to the hope kindled by the pro-freedom, Black Lives Matter and Metoo movements. On his powerful, purposeful, evocative new concert recording Live From the Prison Nation – streaming at Bandcamp – trumpeter Alonzo Demetrius addresses the ongoing need to put an end to the New Jim Crow.
This is a suite in the Ellington tradition, with stern echoes of Mingus and also the shadowy intensity of Darcy James Argue at his most concise. The opening track, Expectations begins with a troubled, suspenseful pedalpoint behind narrator’s Angela Davis’ commentary on what to do with prisons: she wants to abolish them. From there the group rise to an anthemic descending riff and then allusive variations, the bandleader shifting from somber to triumphantly fluttering, echoed by tenor saxophonist Yesseh Furaha-Ali. Pianist Daniel Abraham Jr. and bassist Benjamin Jephta maintain a low-key, mysterious presence as drummer Brian Richburg subtly raises the ante. The sudden shift to Abraham’s moody solo as the horns drop out is stunning.
Likewise, the group waft and simmer through The Principle, a haunting, allusively modal tone poem of sorts, the bandleader’s trumpet awash in reverb and digital sustain until he finally cuts loose. There’s a fade up and then out of Yesseh’s Interlude, a brief, thoughtful Furaha-Ali solo.
“It is only movements that bring change…movements work,” author and wrongfully convicted death row prisoner Mumia Abu-Jamal reminds in his voiceover for Mumia’s Guidance, a similarly brooding backdrop with soulful, low-key trumpet and sax solos. “We live in an era where the very notion of a movement sems strange or oddly out of time. That is so because over the last half century, the state has worked hard to disappear the memory of the movements of the 60s or for that matter any other time in us history. It has utilized the the media, the academy and public schools to present a false and misleading historical narrative to confuse people so they cannot see how movements grow, interact, swell and finally present such position unto the public square..”
Demetrius closes the album with his most epic composition, the anti-police brutality tableau F.O.O. Shit. The group rises ominously over sounds of community-building in the streets; Jephta’s pensive four-chord electric bass riffs anchor and then launch a tightly clustering, expansive sax solo. A sinister tritone flourish from Abraham signals that there’s plenty of trouble ahead and work to do as Jephta booms in the distance, Demetrius shifting from grim, Middle Eastern-tinged allusions to spacious, reflective, Wadada Leo Smith-like motives. The slow upward drive backs away just short of a conflagration
This isn’t just one of the best and most relevant jazz albums of the year; it’s one of the best and most relevant albums of the past several years, period. And if Demetrius hadn’t had the presence of mind to record this show, today he and the band would have to make the long trip to Florida, or South Dakota, or Council, Idaho to make the album. That’s how twisted this country became in 2020.