Search - Adonis Rose :: The Unity

Echoing mastery: great horns blowing, rhythm section answeri

Kevin W. Celebi | Greencastle, IN | 12/23/2007

(5 out of 5 stars)

"This recording might as well be called "Nick @ Night, Volume 2." The quintet of Nicholas Payton (tp), Tim Warfield (saxes), Anthony Wonsey (p), Reuben Rogers (b), and Adonis Rose (d), seen here as the leader, was the leading quintet of jazz and especially neo-bop in the 90's and early 2000's. They released albums under Payton's name (Nick @ Night, Gumbo Nouveau, Payton's Place), Warfield (Jazz Is, Gentle Warrior), Wonsey (Open the Gates), Rose (Song for Denise, The Unity), and I believe one under Rogers' too. That's extremely prolific and stable, proving a testament to the savvy and talent of the group.



The Unity is the furthest you'll get from a blowing session. The tunes are carefully arranged and exquisitely performed, with three Rose originals (including the noir-tinged Prince of the Night, from Payton's album Nick @ Night), one by Wonsey, a standard, and two Wayne Shorter compositions. This is a heavy statement by Rose's group, reminding the world of their ability to play the most intense to the most reflective of music and weave the richest textures.



The music is forward-thinking and intense, and it's a shame that this group didn't record even more (in an interview at AllAboutJazz, Payton said that he felt that they took it as far as they could go). Payton is the best trumpeter in jazz today, inheriting the torch from Freddie Hubbard in the 90's and still going strong, this album a testament to his unwavering energy, power, and musical tastefulness. Warfield is bold and daring and never misses the plateau he reaches for, executing harmonic ideas that would make his idols, Trane and Wayne Shorter, proud. Wonsey is a powerful and lush pianist, albeit the most traditional of the group's musicians. Rogers is one of the most in-demand bassists of today, especially with vocalists. And Rose is the most distinctive and recognizable drummer in jazz right now, my drummer brother being able to recognize his presence after the first few beats.



The only problem with the album is its closer. "Smooth Jazz," a boogaloo written by Wonsey, was written as a tribute to the soul jazz of Blue Note in the 60's. However, after 15 seconds, you'll just roll your eyes and realize that the boogaloo style had its time and place: 40 years ago. It sounds dated and hackneyed with syncopated rhythms, however modern Wonsey's harmonies sound during his six minute solo. Hats off to Payton and Warfield, however, who calmly blow the walls down with a perfect mix of soul and tasteful ideas. Upon hearing this track, my brother was frustrated with the group, acknowledging the huge amount of talent and how their opting to close the album with a piece like "Smooth Jazz" does little to show their full (modernist) potential. An embarrassment of riches, you might say.



This album is extremely rare and expensive, having been recorded for the small independent label Criss-Cross. It's a shame that it wasn't given more recognition via Verve, since the group's interpretation of its own music is noble, and it pains me to know that it no longer makes its beautiful music. Listening to this album will pull the listener to the addicting style of this group, with its perfect blend of virtuosity, modern harmonies, and musical beauty. My advice is to collect every single album this group cut, considering how it will lie in the future hall of legends.



The best track is the only standard, "I Remember You." Payton is so careful in his treatment of the melody, performing one of the most masterful ballad solos of his career. Delicate and of the aura of songbirds, this track would haunt the mind for hours if it were the closer and weren't spoiled by the cheesy riffs of Smooth Jazz. The brushes and thick bass notes are interesting, and be warned that its beauty will summon tears from those in blue moods.



Walk into the Chamber of Unity and feel the morning pass as these great rolling sounds (and great BOMBS from Rose's drumset) come from above, below, and spring to the heart and mind in reinvigoration.

"