Troy Roberts' Nu-Jive Perspective

Fresh on the heel's of yesterday's Fusiolicious, Oytun Ersan's epic "big band" fusion release, we have sax player Troy Roberts' meaty new quintet sounding nearly as big and just as exciting. Roberts has gathered this "configuration of five best friends around the world" for the third time to create a big and focused sound, a melding of funk, soul and jazz that is just as unbridled as Ersan's release, but unbelievably consistent in its dedication to a supreme groove. This is more jazz than fusion, yet Nu-Jive is very electric in its approach. With Tim Jago's electric guitar, Silvano Monasterios' funky electric piano work and Eric England's slap-happy electric bass, the original compositions dig out more from rock and funk traditions. Only drummer Dave Chiverton, with his thundering rolls and challenging time signatures, brings an element of fusion jazz to the mix. Oh, and Roberts' sax is unusually full and melodic and again introduces more mainstream jazz ideas to the forefront. But this quintet, quite frankly, rocks hard.

This isn't close to jazz/rock, if that's what you're thinking. It's just that Roberts and his crew have such a punchy approach to the music. I've already used the adjectives meaty and full, quite intentionally, because this music is very forward. The best way I can describe it is "this is jazz meant to be played loud." I did play it loud every time I slipped the CD into my digital player, and I think I pissed off the neighbors. I couldn't possibly take the same approach to Kind of Blue or Way Out West--that would be absurd since that type of jazz has its own natural level. But remember the adjective electric? That's the key.

I also mentioned that the quintet consists of best friends from around the world. Roberts is actually from Australia, but he's been living and playing in New York City for some time. I've mentioned the unique relationship NYC has with its sax players, and you hear the same relationship at work here. Roberts' saxophone has that big city voice in play, one that's meant to bounce between the tall buildings and echo through the alleys. It has that urbane feel, that knowing-ness and distinctive edge. His sax is out front most of the way, carrying most of the melodies, and he has a smooth yet firm way of gliding through the notes that walks the edge between those melodies and improvisation.

This quintet, however, works as a singular machine in the way it builds momentum--even in the quieter passages. (Yes, there are a few of those, but they maintain their own level of rambunctiousness.) Individuals do step out according to jazz traditions, but at the same time they're crossing those familiar boundaries. Jago's guitar is the most obvious nomad--some of his solos are very rock-like, even Santana-esque. That's one of the joys of this album, however. As I've mentioned, there's incredible focus here, but the car is being driven really fast and there's quite a few things you'll see out the window if you're paying attention.

Oytun Ersan's Fusiolicious

I think I can sum this album up with a single genre label: big band fusion jazz. From there you can probably get a fairly clear idea of what the jazz bassist Oytun Ersan's new album is all about. Of course that's selling it short. First of all, there's the drummer. Have you ever heard of Dave Weckl? If you know Dave, your ears just pricked up. I have a good friend, a guy I've known for at least twenty years, and he's a rock drummer. He's not famous, but he's good, and he's played with a lot of famous guys--he once even auditioned for Guns 'N' Roses. He once spent a few thousand dollars on a single crash cymbal, so if he's not good he's at least serious. Anyway, I once asked him who his favorite drummer was, and he replied "Dave Weckl." From the look on my face he knew I had never heard the name, So he proceeded to lecture me on the greatness of Weckl, and how my friend had taken several courses taught by Weckl. When I asked him what was so special about the guy, he muttered something about mind-bending time signatures, but eventually he collapsed into a steaming pile of protoplasm trying to put this guy's skills into mere words.

So there's that. Oytun Ersan's new album, Fusilicious, has to be pretty amazing if Dave Weckl's on it, right? Well, for the first couple of listens I was more impressed by Ersan's funky bass lines than Weckl's stunning beats. I'm not dissing Weckl, but this is Ersan's album, so he's free to shine as brightly as he can. (After a couple more listens, I realized it was Wetzl and I started paying more attention to what he was doing.) Suffice it to say that this rhythm section is insane, just flying through these jams at the speed of sound. This is the kind of fusion jazz that never takes a breath, it just goes and goes. It's very intense, but in a fun way.

But here's another thing. I said this was big band jazz fusion, which means there's a lot more performers on stage than just Oytun and Dave. Ersan, who hails from the Turkish side of Cyprus, wanted to gather only fusion "giants" for his second album. We're talking people like sax player Eric Marienthal, keyboardists Gerry Etkins and Gary Husband, and a multitude of guitarists including Dean Brown, Mike Miller, Brett Garsed and Okan Ersan. Throw in a horn section that includes trombonist Gokay Goksen and trumpeter Utku Akyol, and you're all set. Just for a little more texture, Oytan includes a couple of vocalists (Simge Akdogu and Aytunc Akdogu), and even includes a soulful violinist named Karen Briggs. That's a lot of people on stage, playing as hard and as fast as they can. To say Fusiolicious is energetic is like saying the Black Canyon of the Gunnison is a fairly dark and deep hole.

With all of this talent on board, I still tend to gravitate toward those aforementioned two in the rhythm section. Ersan is a wild and wonderful leader with his bass--you know his arrangements are focusing on those driving pulses that have settled deep into the foundation of the music. He is fast as can be. Weckl is a true soulmate, and this release could have been almost as thrilling with just the two of them. But if you haven't heard Weckl in a less academic setting, showing off the importance of percussion fundamentals, this is your chance to hear him cut loose. While there's plenty to love about Fusiolicious, Weckl is just god-like behind the kit. Treat yourself.