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| 4.331 Ft
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| 1. | Nothing Personal
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| 2. | For Him, For Her
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| 3. | Until
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| 4. | Red-Bone, Netti-Bone
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| 5. | A Touch Of Grace
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| 6. | Summertime
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| 7. | Blackout
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| 8. | The Lost Ones
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| 9. | King Tut
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| 10. | The Message
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| 11. | Montara
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Jazz / Post-Bop; Jazz-Funk
Recorded: Nov 20-21, 2003, The Hit Factory, New York, New York
Blackout
Stefon Harris - vibes
Casey Benjamin - alto saxophone
Darryl Hall - acoustic bass
Terreon Gully - drums
Marc Cary - Fender Rhodes, keyboards
Anne Drummond - flute
Xavier Davis - piano
Pedro Martinez - percussion
Stefon Harris is one of today's brightest young jazz stars. Evolving from one project to the next, Stefon has gathered a new group of musicians, known as Blackout, to help document the music of today. With such personal arrangements and a mix between covers and original compositions, Stefon has produced a highly assessable record that everyone can sink their teeth into. From the Sting cover "Until" to the Latin infused original "Red-Bone, Netti-Bone" Stefon & Blackout has delivered one of the years best and highly anticipated releases of 2004.
Message to jazz fans and lovers of great music: 30 year old Stefon Harris is the most accomplished, innovative and creative vibraphonist-and marimbist-to come down the pike since Milt Jackson and Bobby Hutcherson. Overstatement? PR hype? Naw, son. You see, Stefon has found a way to make music that is nothing less than the aural distillation of the sights, sounds, people, places, events, and culture going down, in and around him. And like his heroes, youngblood's creative muse and artistic vision is activated by what happened to him yesterday, what he's going through today and what he wants tomorrow to be. Exhibit A: Stefon Harris & Blackout's new CD Evolution.
Stefon's fifth album for Blue Note, Evolution showcases a new band and rocks a new sound. The band: Casey Benjamin; alto saxophone, Darryl Hall; acoustic bass, Terreon Gully; drums and Marc Cary; Fender Rhodes, keyboards. The sound: call it soulful ensemble jazz on a melodic R&B tip laced with a grooved down hip hop backbeat.
While that description may sound disrespectful, even sacrilegious to purists, in reality, Blackout's madness is in fact four square in the tradition. "We're looking to find a way of letting go and taking ownership of our music without letting anyone else define it", explains Harris. "We grew up listening to music that thumped. We love jazz and respect it and we think jazz should thump." |
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