That’s far from how the Butcher Brown musicians see Elling, widely acclaimed as the pre-eminent male vocalist in jazz. I feel like Joe Square-Britches coming into this stuff.” I haven’t been paying as much attention to the groove-oriented stuff that younger cats have been developing, except in a cursory fashion – not because I don’t like it, but because I’ve been focused for so long on learning from cats like Prez and Wayne and Dexter Gordon.
It’s enlivening and even rejuvenating in the truest sense of the word. “For those gifted young cats to give me the trust, and to vibe with me and be so enthusiastic about this project, is a great compliment.
Speaking about Fonville and Harrison, Elling is grateful. But even these touchstones buzz with the fresh energy of contemporary jazz-funk fusion. The writing process gave Elling the chance to return to several of his now-familiar passions, such as the Beat Generation, current politics and the interpolation of contemplative poetry into already transcendent ballads. Finally, the seeds busted open and grew into this crazy, weird COVID flower.” The time inside was the hothouse for something new to grow. “The seeds were planted a while ago,” Elling says, “and then the pandemic got both stuck at home. Once the groundwork was complete, Elling and Hunter got together at a converted horse barn in Urbana, Illinois, where they recorded the vocal and solo guitar tracks and mixed it all down.įor all that, Fonville considers this “one of the most organic sessions” he’s ever done, with a surprising lack of hassle or fuss. In their Virginia studio, Fonville and Harrison met with Hunter to hammer out an assortment of grooves and colors at his home in Chicago, Elling took the rhythm tracks and determined whether they called for new melodic narratives or were better suited to existing compositions. To this day, he has yet to meet the members of Butcher Brown in person: with travel confined by the COVID-19 pandemic, their collaboration happened across a distance of roughly 1,000 miles, with Hunter acting as go-between.
There is even a slamming new version of a Tom Waits tune.Įlling has never made an album like this – and he’s never made any album in the way that SuperBlue took shape.
Thanks to newly sprung melody and lyrics from Elling, along with Hunter & co.’s fresh grooves, SuperBlue features all-new songs, innovative takes on compositions from jazz lions Wayne Shorter and Freddie Hubbard, and a raw and stripped-down treatment of “The Seed,” a still-dynamic, decades-old riff on immortality written by Cody Chestnutt. Elling has always been a master of grooves, ranging from bebop to pure pop and progressive jazz to neo-soul, but he’s never filled an album with grooves quite like these.
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It’s a torrent of roisterous funk, indelible beats and all-too-current lyrics that boasts the talents of producer-guitarist Charlie Hunter and two stars of the hip-hop generation: drummer Corey Fonville and bassist-keyboardist DJ Harrison (both of the genre-hopping band Butcher Brown). After scoring his second GRAMMY Award (and 14th nomination) in March 2021, the protean vocalist Kurt Elling hangs an unexpected left turn with SuperBlue for Edition Records.
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