Search - Terell Stafford :: New Beginnings

A superstar in the making

Jan P. Dennis | Monument, CO USA | 06/25/2003

(5 out of 5 stars)

"Terell Stafford came up in Bobby Watson's late, great lamented postbop supergroup, Horizon. Not a bad training ground, by any estimation. And he learned his lessons well: a profound sense of the blues, a deep swing, an underlying melancholy albeit lightly worn.His new disc, New Beginnings, marks a major step forward in his career. Following on the heels of the Maxjazz label's huge (and deserved) success of Mulgrew Miller's disc, Sequel, by his newly reconstituted group, Wingspan, New Beginnings presents Stafford in a very attractive setting. There's a similar attention to recording detail, a killer band featuring Miller himself on piano plus two players new to me, Derrick Hodge on bass and Dana Hall on drums, and an intriguing mix of originals, standards, and traditional material.What sets this disc apart from Miller's is the addition of some fascinating guests on various saxes: Steve Wilson, Dick Oatts, and Jesse Davis on alto, and--here's the ringer--Harry Allen on tenor. The latter, especially, acquits himself brilliantly. I certainly wouldn't have thought of him on this kind of fluid post-modern session, but he comes through like a champ.Stafford proves himself quite an accomplished composer, drawing on both the Bobby Watson post-bop repertoire and Victor Lewis' intriguing mix of funk and modernism. Indeed, the high point for me is his three-tune selection, "New Beginnings Suite." The first cut present an edgy, funk-tinged, modernistic number featuring the bubbly e-bass of Derrick Hodge and the groove-oriented drumming of Dana Hall. These two lay down a very appealing rhythmic foundation upon which Oatts, Stafford, and Miller brilliantly solo. Stafford, especially, weaves a very engaging open-trumpet solo steeped in the blues yet completely conversant with the latest developments in funk. Part two, "La Maurier," a slow bossa, is perhaps my favorite cut. Yes, I'm a sucker for this kind of thing, but they pull it off marvelously. Stafford displays his more lyrical side and plays some very engaging unison lines with Oatts, plus a very sensuous solo. The third part, "Berda's Bounce," switches gears totally. A burning boppish number, it features Steve Wilson reeling off what to these ears is his most engaging solo on record. Punctuated by some very tasty walking bass and drum fills, this cut stands out, especially for someone like me who tends to dislike this virtuoso-type approach. Strange to think three such different pieces could form a coherent suite, but they do. How? Each subtly works within and against tradition, forming an attractive new beginning. And it greatly helps that Stafford is all over his horn, especially on "Berda's Bounce," rocketing the proceedings into the jazz stratosphere. Plus, the inclusion of a killer drum solo by Dana Hall greatly enhances an altogether marvelous performance.A word must be said about the traditional material. "Kumbaya," especially, strikes one as irredeemable. Yet with a smart, completely non-sentimental arrangement and clever reharmonization, the tune emerges as a compelling spiritual statement. To me, this is pure genius. I never would've thought this tune could've been salvaged, let alone presented in such a hip and thoughtful way. "He Knows How Much You Care," surely some Deep South spiritual classic, though unfamiliar to me, is similarly transformed. Opening with a glorious gospel/blues into, it gets transformed into a gently bossa-while still, miraculously, maintaining an underlying melancholy. To me, this is the most remarkable achievement of a disc full of wonderful surprises. Dick Oatts, someone whom I've never really liked or appreciated, seems to completely understand the esthetic of this number and delivers a very heartfelt and authentic-sounding solo. And Miller, for whom such material is probably second nature, responds with a gloriously dancing solo. But the highlight is the gently harmonized trumpet/sax outro, with Stafford sounding as mellow as any trumpeter I've ever heard.Bottom line: This is an absolutely killer disc, featuring some of the best and most creative modern jazz to be found anywhere. We are certainly blessed with the continuation of perhaps the most amazing jazz renaissance of any year in memory"

Incredible Trumpet Jazz

David Sharp | St Louis, MO | 02/03/2007

(5 out of 5 stars)

"I second the earlier review. I heard Terrell play in St Louis with a quintet in early 2006 when I purchased this CD at the concert. A few months later, my son (a high school trumpet player) went to a jazz camp at U Missouri-KC with Bobby Watson & Terrell. Two of the nicest people you'll meet...



I play Kumbaya over and over again... creative, haunting, tasteful. The blend between the unison trumpet and sax is incredible. At the gig, Terrell played an incredible version of "Jesus Loves Me". Yes- "Jesus Loves Me". And-- similar to Kumbaya-- he took what is often a musical cliche and transformed it into something rare and inspiring. I'd give anything to have that on a recording."