John Coltrane, Chet Baker, Miles Davis, Herbie Hancock, Wayne Shorter—just hearing these names can evoke memorized melodies. Beyond their enduring influence on jazz, these musicians share a profound connection through the revered Blue Note Records. The institution was established by immigrants Alfred Lion and Max Margulis in 1939 and went on to stay ahead of the times by recording artists whose compositions were deemed too experimental and confusing by others.
For decades, Blue Note has been cultivating artistic prowess, quality and coolness. And beyond setting the standards of musical excellence, the label revolutionized album art. Through the work of graphic designer and photographer Reid Miles, Blue Note initiated a new culture of visually striking cover art that matches the feelings jazz gives.
In celebration of its 85th anniversary, the label has arranged an acclaimed quintet of modern day recording artists and sent them on an extensive 35-day tour. The band is composed of pianist and musical director Gerald Clayton, saxophonist Immanuel Wilkins, vibraphonist Joel Ross, bassist Matt Brewer and drummer Kendrick Scott.
“We’ve all played in other iterations with each other before but never as a full ensemble in this configuration,” Wilkins tells the Weekly. “Every night is a highlight just in terms of getting closer, musically, and figuring each other out on the bandstand.”
Wilkins says the set is a collection of songs from each band member which opens the opportunity to learn each other’s writing style. Rather than covering the greats, Clayton chose to focus on original tracks. Improvisation is at the core of jazz and each show varies from the last.
When asked about the challenges of onstage improvisation, Wilkins says, “I’m trying my best to be like water and shift with whatever parameter I’m being given, to make music that feels like we’ve been playing together for a lifetime.” And instead of faking the funk when something goes wrong, Wilkins says the players naturally default to verbal communication and just ask for more piano or drums. This pause gives new life to the music and adds an honest flair to the already candid and risk-taking performance.
Independent labels like Blue Note have been distinguishing variations of jazz that appeal to all audiences. From the complexities of bebop to experimental avant-garde and bluesy hard-bop style, there’s something for everyone in jazz, especially today.
“Jazz is having kind of a renaissance right now,” says Wilkins. “There’s a lot of young musicians playing and it’s just becoming cool again.”
As a touring musician,he’s witnessed a shift in the scene in major cities. There’s an influx of younger people and people of color embracing the genre in a new capacity, and becoming the active audience members that jazz needs to thrive.
No matter one’s introduction to these soulful sounds, the first impression is lasting and borderline addictive. The Blue Note Quintet’s tour is bridging the past and present through sound, offering the chance for veteran and new listeners to be swayed by the music that honors historical roots while fusing modern innovation.
In jazz music theory, the solo is the height of arrangement, and there’s room for each instrumentalist to show out. ”There’s a beautiful ego in that,” says Wilkins. “But the solo can only shine when the supporting band members are strong—as much as it is about the ‘I’ it’s also about the ‘we’.”
THE BLUE NOTE QUINTET March 2-3, times vary, $49-$85. Myron’s, thesmithcenter.com.
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