# CD review: Christian McBride’s New Jawn – Prime – 2023: Video, CD cover

- Link: https://jazzblues.eu/2023/02/26/cd-review-christian-mcbrides-new-jawn-prime-2023-video-cd-cover/
- Published: 2023-02-26T00:04:17+01:00
- Author: https://JazzBlues.EU

**Christian McBride’s New Jawn — trumpeter Josh Evans (Jackie McLean, Cedar Walton,
Rasheid Ali), saxophonist and bass clarinetist Marcus Strickland (Roy Haynes, Jeff“
Tain” Watts, Chris Dave, Bilal, Robert Glasper), and drummer Nasheet Waits (Jason
Moran, Joe Lovano, John Medeski) — is back with their highly anticipated sophomore
album, Prime, the follow-up from McBride’s GRAMMY® nominated group. **

Featuring original compositions from each band member as well as fresh takes on 
songs from Sonny Rollins, Ornette Coleman and Larry Young, this group offers an 
exhilarating space of exploration for the 8-time GRAMMY® Award-winning McBride to
stretch his veteran wings.

Preeminent contemporary jazz artist, ambassador, and impresario Christian McBride
has built his stellar reputation in part by not being easily pigeonholed. Yet, when
McBride unveiled his then-new band, New Jawn, on record for the first time in 2018,
he surprised folks because the music was not filled with the swing and deep groves
he had become known for. Don’t put anything past McBride. Apart from his various
artistic director, educator, and media roles, McBride leads several bands – his 
quintet Inside Straight, his trio, his 18-piece big band, and the experimental Christian
McBride Situation. The 8-time Grammy winner is always seeking a new challenge, and
some go well beyond the mainstream.  So, the seven-year-old New Jawn is a group 
with one rule: no chords.

For the unfamiliar, the name derives from the black Philadelphian slang term _jawn_
meaning “thing,” as in “do your thing.” Some may rather apply it as an alternative
term for avant-garde, as in the ‘60s when the music of John Coltrane, Archie Shepp,
and Pharoah Sanders was labeled “the new thing.”  The band comprises bassist McBride,
trumpeter Josh Evans, saxophonist and bass clarinetist Marcus Strickland, and drummer
Nasheet Waits. All tunes are composed by band members except for Larry Young’s “
Obsequious,” Ornette Coleman’s “The Good Life,” and Sonny Rollins’ “East Broadway
Rundown.” For some, this is a side of McBride’s artistry that may take some getting
used to. Listen carefully though, and you’ll find those same familiar hard-driving
qualities in his bass playing alone together with his bandleader skills where it’s
clear that he’s in charge even though he rarely dominates; instead allowing his 
bandmates all the freedom of expression they need.

McBride’s ‘Head Bedlam” opens and closes cacophonously with its mid-section settling
into a funky toe-tapping groove, driven by the leader’s bass line and Waits’ insistent
beats. Evans chirps in with both jabs and skitters while Strickland struts along
on the bass clarinet. Strickland’s title track which carries both hard bop, Blakey-
like elements, and adventurous free blowing. The composer is on tenor this time,
for a tune with a linear structure around which both Strickland and Evans improvise
which McBride and Waits are locked in underneath, helming the rhythmic ebb and flow.
McBride and Waits each step out with convincing solos that show they understand 
where Strickland was headed with the tune, originally inspired by a battle in one
of the Transformers movies and originally recorded on Strickland’s 2011 Triumph 
of the Heavy, Vol. 2.

Waits contributes to the moody “Moonchild,” a reflection of his childhood growing
up in Greenwich Village. Here Strickland returns to bass clarinet, delivering intriguing
bottom-end sounds in conjunction with McBride who shifts between arco and pizzicato.
The unit is typically thought of as fiery as evidenced by the first two tracks and
Coleman’s “The Good Life,” where Evans is especially blistering. “Moonchild” is 
the opposite, a nice example of explorative restraint as is McBride’s second composition,“
Lurkers,” featuring more stunning arco work and dark tones from Strickland’s bass
clarinet. The pairing of Evans’ trumpet and Strickland’s bass clarinet will conjure
thoughts of other chordless ensemble pairings such as Ornette and Don Cherry or 
more directly, Eric Dolphy and Booker Little. In the spirit of the latter, Evans
composed “Dolphy Dust,” where interestingly, Strickland is on tenor, an instrument
Dolphy rarely if ever played, rather than the bass clarinet. Evans and Strickland
trade vibrant rapid runs but McBride’s pulsating bass and Waits’ inventive kit work
are perhaps even more compelling. In a further nod to history and tradition, they
render Larry Young’s “Obsequious” and McBride’s former bandleader Sonny Rollins’“
East Broadway Rundown” with aplomb, confidence, and adventurism.

A chordless combo is certainly not a new concept. Any jazz lover could rattle off
a dozen or two without hardly giving it a second thought. Yet, New Jawn forges its
own path. Surely, they quote some references along the way, but each track bears
their fresh energy and a willingness to roam freely.

Christian McBride’s much anticipated latest release, Christian McBride’s New Jawn:
Prime, has definitely been worth the wait. It stands as the second of a series that
follows up his similarly named—minus the “Prime”—2018.

This extraordinary and highly-respected bassist and composer who has long been ahead
of his time with his forward-thinking inspiration has again brought together the
cream of the crop musicians who were heard on his previous release. They include
saxophonist Marcus Strickland, trumpeter Josh Evan, and drummer Nasheet Wais.

The brilliant musicians in this piano-less quartet hold equal weight throughout 
with each given plenty of time to stretch out on their own, team individually with
their bandmates, and come together as an ensemble.

On first listening to the appropriately named opening cut, “Head Bedlam,” the reaction
might be, “Wow, really?” It’s out there to be sure, though it then calms down with
the heartbeat of McBride‘s bass—prominent throughout—and then with the entrance 
of Strickland and later Evan, plus the backbeat provided by Wais. “Prime,” the second
selection, remains more light-hearted and melodic and swings with a hard bop state
of mind.

The variations in moods, tempos and a plethora of influential sources are staggering.
Those elements can be realized on the ultra-fast paced “Obsequious” with trumpet
flutters as fast as the wings of a hummingbird pushed forth by the lift of the ever-
tonally magnificent drums of Wais. As always, everyone gets in on this adventure.

Happiness prevails on the Latin-tinged “The Good Life” as each artist takes a turn
to add their voice to the celebration. This dynamic approach—all for one, one for
all—could be considered to be the group’s signature.

1 Head Bedlam
 2 Prime 3 Moonchild 4 Obsequious 5 The Lurkers 6 The Good Life 7 
Dolphy Dust 8 East Broadway Rundown

**Christian McBride: bass (all tracks)**
 **Josh Evans: trumpet (all tracks)** **
Marcus Strickland: tenor sax (2, 4, 6-8); bass clarinet (1, 3, 5)** **Nasheet Waits:
drums (all tracks)**

![Christian McBride's New Jawn - Prime](https://i0.wp.com/cdn.shopify.com/s/files/
1/0550/7871/5613/products/BRO4004CMBNewJawn2cover3000x3000rgb_3000x.webp?w=640&ssl
=1)

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