Wednesday, July 30, 2014

Nicholas Payton Numbers Paytone 2014

 
Nicholas Payton takes another shot at retro funk, and misses...
 
Brent Black / www.criticaljazz.com
 
For critics, reviewing Nicholas Payton is like tap dancing in a harmonic minefield. Having previously been criticized for not giving Payton "respect" with my first ever review of his work Bitches, allow me to state that I do respect this Grammy winning trumpet master. Now we have Numbers...Recorded on HIS own label, makes ya think...
 
This shouldn't take long...4 bar vamps that go nowhere. The twelve tracks have no titles, only numbers. The sound of the release is somewhere between a 70's porn flick and a black exploitation film from the same era. Heard this sound before, didn't dig it then and like it even less now. Very little trumpet. I respect Payton, liked his version of Sketches of Spain better than the original and allow me to remind some folks that Payton won a Grammy for playing trumpet - not Rhodes.
 
My Bitches review was called a vendetta and personal attack by some that subscribe to the #BAM movement which is a movement that tanked faster than Hope and Change. How can a first review of any artist be a vendetta? This may be the first review on Numbers and for painfully obvious reasons. There are a select group of musicians working in the New York area that play the angry young black man card while using race as both a reason and an excuse for every aspect of their life - can not have it both ways. There is little doubt when news of this review reaches Payton he will probably launch another cyber attack on my reputation. No one holds the keys to the cultural kingdom and if you are left passing off 40 year old funk as something new then uh...never mind. Payton will argue that I have never been on a stage in New York so I am not qualified to review improvisational music. This absurd argument would be like stating only an Oscar winner can review a film. I respect Payton as a musician. I have no vendetta but I do have an opinion.
 
No rating.