By Anthony Camara
Daily Bruin Contributor
New jazz swing, acid jazz, Rare Groove: all of these labels have
been stuck to blues guitarist Ronny Jordan’s sound, and
he’s shunned them all save for one ““ contemporary.
In keeping with the back catalogue of his work, Jordan’s
debut on Blue Note Records, “A Brighter Day,” defies
glib classification by seamlessly interpolating jazz cuts with
urban beats. More importantly, the London-born acid jazz pioneer
manages to justify that contemporary label, as he keeps the
traditionalism of Wes Montgomery close to a progressive,
hip-hop-loving heart.
Although Jordan’s forte is experimentation, the tracks on
“A Brighter Day” stick closer to basic jazz than acid
freakouts. Behind the album’s synth-heavy sound and slick
breakbeats, an organic, guitar-oriented approach lends warmth to
Jordan’s work. This warmth is most evident in
“Aftermath,” where the axeman’s high-octave
chords penetrate a dense acoustic bassline. Not only is the track
among the best in Jordan’s repertoire, but it communicates
the theme of the album without resorting to gimmicks ““ the
bass calls to mind clouds, the guitar, sunshine in the aftermath of
a dreadful rainstorm. Stephanie McKay’s vocals, which take on
a sort of weather-weary fragile beauty, also add to the effect of
the track tremendously.
Jordan doesn’t have a lot of use for conventions, and his
music is all the better for it. While he stays true to his heroes
Montgomery and Grant Green, he simultaneously challenges and
rewards the listener with trips into hip-hop, bossa nova, and
Eastern music. The aptly titled “Mackin'”
features some impressive scratching by turntablist DJ Spinna, while
the title track maintains a distinctly jazzy flow punctuated by
ominous bells and a hip-hop beat. Mos Def even drops a few verses
on a remix of the title track; it works so well, it’ll make
you nostalgic for A Tribe Called Quest.
Jordan also ventures into Latin territory, working up the smooth
“Rio” into a danceable mambo number. Likewise,
“Two Worlds” transcends simple jazz by adding a bossa
nova element to Jordan’s guitar and piano. Perhaps the best
marriage of Latin and jazz on “A Brighter Day” is the
cover of Green’s ’60s classic “Mambo Inn,”
which unites the two genres as well as reconciles Jordan’s
jazz roots with his futuristic stylings.
Even when Jordan is experimenting with music seemingly so far
culturally removed from jazz, he refuses to sound like some
eclectic daytripper sampling the wealth of ethnic music. The
eastern-flavored “New Delhi” utilizes the full
complement of contemporary jazz elements in addition to traditional
Indian instrumentation, employing tablas and spiritual chanting.
Used sparingly and when appropriate, these cultural touches give
“A Brighter Day” a worldlier, more cosmopolitan feel
than other albums that seem to recklessly dabble in
experimentation.
Jordan is just as capable of working within a formula as he is
inventing one. Throughout “A Brighter Day,” he further
refines the acid jazz genre he helped to create in the early
’90s. “London Lowdown” is a lighter track with
all of the requisite spacey synth effects and midi-guitar typical
of Jordan’s art. “Mystic Voyage,” a cover of Roy
Ayers’ song, even features Ayers on vibraphone. Even more so
than the heavily experimental songs, these tracks best document
Jordan’s instrumental skill; on his ’92 album
“The Antidote,” he was largely considered a percussion
prodigy; it is only with “A Brighter Day” that Jordan
finally comes into his own as a truly outstanding guitarist.
However unpredictable Jordan’s music is, one thing is for
certain: this ain’t your father’s sunday morning
jazz.
MUSIC: Ronny Jordan plays at the Roxy Theatre on 9009 Sunset
Blvd. tonight. Please call (310) 276-2222 for more information.