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ARTS
[ Friday, Feb. 4, 1994 ]

Classic jazz
The Charlie Hunter Trio exhumes a sound meant for showcasing

Collegian Arts Writer

Jazz is back, and it's better than . . . well, it's as good as ever. After all, how can you beat Duke Ellington?

I, for one, am glad to see a revival of one of the best musical periods in American history. The Harlem Renaissance -- which incorporated the beginnings of jazz as art moved away from a primarily white base -- brought us some of the most original music and literature in years; but it ended too soon.

After spending almost 25 years in musical limbo, quality jazz has returned to the American mainstream with hip-hop bands such as De La Soul, Digable Planets, Disposable Heroes of Hiphoprisy and Us 3.

And now the Charlie Hunter Trio.

Charlie Hunter, the original guitarist for the Disposable Heroes, and his band enchant listeners with a slightly different style of straight lyric-less jazz bringing to mind the classic styles of early jazz.

Originally, I thought the lack of lyrics would really cost the band. Several songs beg for the emotional outlet that words could provide, but after listening several times, I figured it out . . .

. . . People listen for lyrics. They remember them. They concentrate on them rather than on the music itself. But this album doesn't need lyrics -- the music is the showcase.

The sweet, mellow sound created by guitarist Hunter, saxophonist David Ellis and drummer Jay Lane lets you just sit back, close your eyes and listen. After a while, you realize you're tapping your foot and nodding your head to the beat and you're about as relaxed as you can legally get.

Although the group is named after Hunter, Ellis dictates the flow of many of the songs. From a muffled, barely audible sax that lulls you into jazz-induced hypnosis to an all-out solo that might just wake you from it, the band could just as easily be named the David Ellis Trio. But, as Shakespeare alluded, the name really doesn't matter -- this music is sweet.

Early jazz was eventually engulfed by the mainstream before it disappeared entirely. If there's any justice in the world, the modern resurgence of jazz and the mixing of jazz and hip-hop won't suffer the same fate.

 

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