On ‘Atalaya’ Bassist Dezron Douglas Releases Vibrant Mingus Influenced Effort (ALBUM REVIEW)

Photo by Deneka Peniston

Bassist, composer, bandleader, educator, and producer Dezron Douglas has appeared on over 100 albums and is currently the bassist in the Trey Anastasio Band replacing the beloved Tony Markelis. He’s got serious jazz cred too. Douglas is a pivotal member of the Ravi Coltrane Quartet and has also worked with the late Pharoah Sanders. His busy schedule has allowed for other projects such as Makaya McCraven’s 2020 Universal Beings, his duet album with life partner and harpist Brandee Younger, 2020’s Force Majeure, and his solo venture, 2021’s Meditations on Faith. In 2021 he produced and played on Younger’s highly acclaimed Impulse! debut, Somewhere Different. Yet, his last effort leading a full band was on 2018’s Black Lion.  So, this new one, Atalaya, in some respects picks up where that one left off, albeit with a different cast. Saxophonist Emilio Modeste, best known for his work with the late Wallace Roney, and who is brilliant on the recently issued Generations from Steve Turre, joins with keyboardist/pianist George Burton and drummer Joe Dyson Jr. (Pat Metheny, Chief Xian Atunde Adjuah (aka Christian Scott).  Douglas composed all ten tracks. Melvis Santos adds vocals and percussion to “Wheeping Birds.”

The recording is of the high-octane variety, fitting for what Douglas dubs, “The Black Lion rocket ship.” One can’t help but hear the echoes of Coltrane’s Classic Quartet or Mingus’ small combos. It’s not throwback though, it’s just fiery on eight of the ten tracks.  The title track kicks off with simple rim shots and then heavier drumbeats. Douglas and Burton join in and Modeste floats over the whirlwind of rhythm below on soprano, as one who sees it all in keeping with the meaning – watchtower. Burton is the first soloist on “Rosé,” a tune that begins relatively calmly before Modeste takes it into the stratosphere, again on soprano. The first section of “Coyoacán” is jagged and off-kilter, venturing into edgy territory with the saxophonist now on tenor and Burton serving up the piano accompaniment in the vein of the late Muhal Richard Abrams. Shortly after the two-minute mark, the maelstrom ceases and Modeste makes a Coltrane-eque ballad entry as the rhythm trio embraces sensitive accompaniment. 

Douglas takes the intro on “Luna Moth,” which stands out primarily as a pizzicato feature for Douglas on double bass, with lively improvisation all around.  The vocal track, “Wheeping Birds,” with Melvis Santos shows the versatility of these players, Douglas essaying a strong melodic bass line while Burton plays tenderly, surrounding the lovely voice of Santos. The tune rises to a glorious crescendo as Modeste joins in.  The elegiac “Jones Beach” follows, with the quartet engaged in spiritual music, Modeste clearly echoing Trane and Pharoah in his ballad approach. A clear highlight is “More Coffee Please,” a testament to Douglas’ love for only the best coffee, like the music robust, muscular, and charged up. His driving bassline and Modeste’s aggressive stance make for a hard-swinging tune. Not only that, but Douglas has also collaborated with Ria Neri of Chicago coffee company Four Letter Word to create his own blend of direct-from-farm Ethiopian coffees for the release.

Unlike most jazz offerings, these pieces are all in the three-to-six-minute range, putting the emphasis on the musicians to “get in and get out,” making their statements convincingly and economically.  The hard bop “J Bird,” which features all members is the epitome of such, ultimately proving to be a feature for Dyson’s dynamic drumming.  “Octopus” is a resounding electric bass solo piece for Douglas while the closer, “Foligno,” sees Modeste returning to soprano for a yearning melancholy melody that launches Burton into a far more explosive direction, further spurred on by the Dyson-Douglas tandem. 

If one were to cite an example of Black Classical music or contemporary Black music, this falls right into that vibrant, compelling wheelhouse.

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