by Michael Harkin (XLR8TR)
Those familiar with Theo Parrish likely know that the Detroit
producer cultivates the cosmo-spiritual in everything he does, from his
original productions to every cut he plays in his DJ sets. How
appropriate it is, then, that he was asked to put together a mix of his
favorite tracks from a most spiritual record label: Black Jazz, which
operated for six years out of Oakland, California in the early '70s.
During its run, the imprint focused primarily on what it described as
"African spiritual jazz," often with a fusion or funk bent to it, the
label's sounds reflecting the culture of the then-recent civil rights
movement.
No stranger to jazz, funk, or fusion, Parrish came back with Black Jazz Signature,
his entry in a series of Black Jazz mixes issued by Japanese label Snow
Dog, which has been reissuing the Black Jazz's actual back catalog as
well. Previous contributors to this mix series include Japanese DJs Muro
and Mitsu the Beats, as well as the BBC's Gilles Peterson. Between 1971
and 1976, Black Jazz released 20 LPs, and Parrish dug through and
employed the actual vinyl to produce this 77-minute mix. The quality of
the music on this collection was almost inevitably going to be strong,
considering the label's very consistent (and rather limited) output.
This does not, in any way, diminish the savviness and coherence of
Parrish's selections, which sit together with disarming neatness. Black Jazz Signature
is pieced together such that, even though six different artists feature
here, the mix has the feeling of a continuous, subtly shifting jam that
continually stirs and stimulates, much like Parrish's sets behind the
decks.
Of the compilation's 12 tracks, four are by The Awakening, a group
whose tracks are some of the most rousing, unhinged, and "free" feeling
of the set. The outfit hailed from Chicago, where Parrish grew up, which
perhaps partly explains the affinity he apparently feels towards them.
Three consecutive Awakening tracks form the center of this mix, peaking
early with the crazed saxophone and drum patterns of "March On." The
clean lead guitar playing on Calvin Keys' "Criss Cross," an excellent
cut of jazz-rock fusion, is underscored by keyboards and a rhythm
section that produce a syrupy, potent groove. Parrish's two selections
by Rudolph Johnson, even though he's one of the more traditional-feeling
artists here, are particularly strong, with quietly intoned vocals
riding the rhythms of the piano, bass, sax, and drum ensemble in a
deeply affecting way.
Prior familiarity with Black Jazz, or the more broad realm of jazz from this era, isn't at all necessary for enjoyment of this disc. Along with the previous mix releases in this series, Black Jazz Signature seems intended to shepherd people toward the Black Jazz reissue series. It no doubt does a terrific job doing just that, but it stands nicely by itself as a personal "best of" and a great DJ mix. Fans of Parrish—and anyone receptive to this sort of jazz, really—will very likely appreciate what's on offer here.
Prior familiarity with Black Jazz, or the more broad realm of jazz from this era, isn't at all necessary for enjoyment of this disc. Along with the previous mix releases in this series, Black Jazz Signature seems intended to shepherd people toward the Black Jazz reissue series. It no doubt does a terrific job doing just that, but it stands nicely by itself as a personal "best of" and a great DJ mix. Fans of Parrish—and anyone receptive to this sort of jazz, really—will very likely appreciate what's on offer here.
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