# CD review: Christian McBride – The Q Sessions 2021: Video, CD cover

- Link: https://jazzblues.eu/2021/05/02/cd-review-christian-mcbride-the-q-sessions-2021-video-cd-cover/
- Published: 2021-05-02T14:04:54+01:00
- Author: https://JazzBlues.EU

**To attract an audience for a jazz record these days, it helps to begin with a 
big idea—a tribute to one (or several!) legends, a conceptual work exploring a thematic
narrative, anything that can translate into talking points or (better still) marketing.**

The loquacious and ubiquitous bassist Christian McBride, whose resume includes longtime
musically consequential associations with Chick Corea and others, has navigated 
these somewhat arbitrary requirements expertly in recent years. A scan of McBride’s
discography turns up deftly executed trio records (both in studio and live at the
Village Vanguard), collections of mostly original post bop (Kind of Brown, from 
2009), hard-swinging big band outings (2020’s For Jimmy, Wes and Oliver, which earns
double points as a three-way tribute) and a long-form work memorializing key figures
and moments in African American history and the struggle for civil rights (The Movement
Revisited, also from 2020). Underrepresented, slightly: something low stakes. Casual.
A good old fashioned blowing session that follows an interesting constellation of
talents as they go exploring. McBride’s done plenty of these, and his approach to
swing rhythm makes him ideal for them. This crisp EP, commissioned by Qobuz, argues
that maybe there’s room for more of this in his mix of projects.

The “big idea” is communicated via the very first notes—a deep, deliberate bassline
that walks into the relaxed confines of “Blues Connotation.” It’s just a few measures
of an easygoing yet businesslike pulse, and all McBride needs to establish the mission:
He’s looking for expansive musical conversation, not perfection, and he underscores
this by leaving the groove-minded drummer Eric Harland lots of room to maneuver.
Guitarist Mike Stern taps into the loose atmosphere right away, crafting a solo 
that weaves gorgeous textural chords into single-note lines that serve acrobatically
away from hard bop convention. Saxophonist Marcus Strickland does much the same,
organizing his ideas into dense clusters and then arranging those into a fire-breathing
peak, the kind you’d hear in the heated waning moments of a late club set. That’s
followed by the standard “On Green Dolphin Street,” which has been subject to countless
overwrought arrangements on hundreds of records. Again McBride creates a foundation
that just plain feels good—thanks to the Hi-Res recording, it’s possible to zone
in on the steady, carefully articulated recurring notes that he uses to anchor the
melody and each of the solos. Naturally that includes McBride’s own dexterous and
marvelously inventive improvisation, which adapts Ray Brown’s still-headspinning
bass techniques for the modern era.

McBride’s original “Brouhaha” closes the set. It was written shortly after Corea’s
passing, and manages the unusual trick of incorporating elements from several different
realms of the pianist’s work. The demanding theme, set to a syncopated post-funk
rhythm, evokes the best of Corea’s Elektric Band, while the open, conversational
exchanges suggest the collaborative spirit of the later Corea acoustic trio, which
featured McBride and Brian Blade. It’s an intricate piece, and at first it sounds
like another exercise in high-concept record making. Then the musicians start to
stretch, and spar with each other, and suddenly it’s a blowing session again.

 1. Christian McBride – Blues Connotation
 2. Christian McBride – On Green Dolphin Street
 3. Christian McBride – Brouhaha

![Christian McBride Releases New EP 'The Q Sessions' - Bass Magazine - The  Future
of Bass](https://i0.wp.com/bassmagazine.com/.image/t_share/MTgwNjY5OTU1MTExMzk2NzEy/
screen-shot-2021-04-29-at-24654-pm.png?w=640&ssl=1)

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