Drummer/pianist/composer/bandleader Jack DeJohnette turns seventy this year, and his longevity on the scene is only eclipsed by the astonishing variety of settings in which he's worked. Since emerging from his hometown Chicago, the ubiquitous drummer has played with important artists including saxophonist
"
data-original-title="" title="">Keith Jarrett (with whom he still works today). And then there are his wonderfully eclectic Special Edition groupsalways on the cutting edge. Although anyone could hear his crisp technique, what makes DeJohnette such a powerful and profound drummer is his telepathic ability to find the right groovethe vital rhythmic center, the musical middle paththat augments the swing factor of whatever musical context in which he's working.
DeJohnette's gifts as a multidirectional musician are on full display on this nine-track recording that dances and trances in myriad tones and tempos. At this stage of his career, DeJohnette has nothing to prove, drum-wise, so the overall tantric timbre of Sound Travels is mostly mid-tempo, with some ballad selections. But this does not mean that the CD is a snoozerfar from it. Thanks to DeJohnette's uncanny (for an American) mastery of Afro-Latin rhythms and the melodic nature of his drummingmade manifest by his also being an acclaimed pianistthe leader opens and concludes Sound Travels with two solo piano selections: the Asian-tinged, bell-intro'd, "Enter Here," and the reflective, Cape Town-cadenced "Home"a nod to the great South African piano master
"
data-original-title="" title="">Bobby McFerrin's vivid vocalese, the Spain-sketched blues "New Muse," and "Dirty Ground"a Mardi Gras Indian, Big Easy shout-out christened by
"
data-original-title="" title="">Esperanza Spalding that would be welcome in New York's Spanish Harlem or Miami's Calle Ocho. On "Sonny Light" and the title track, DeJohnette delivers a Calypso-coded "big up" to the West Indian-descended Saxophone Colossus,
"
data-original-title="" title="">Luisito Quinteroestablishes the groove, morphing and shaping it, and extending it with such seeming ease and panache that is reminiscent of that old commercial tag line "so advanced its simple." But then, that's what masters like Jack DeJohnette do.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
Go Ad Free!
To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.