Greg Tate's Burnt Sugar extends what Miles
Davis started with "Bitches Brew."
The Sweet Funk
of Burnt Sugar
By Robin D. G. Kelley
SeeingBlack.com Cultural Critic
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If the history of music is a struggle for freedom,
imagination, the liquidation of all barriers and boundaries, then
the future is here. Greg Tate's latest project, "Burnt Sugar (The
Arkestra Chamber)" is the big band of the new millenium.
Flexing at times to over a dozen on the bandstand, "Burnt Sugar"
is a kind of gypsy band of young musical masters (regulars and guests)
who mess with all manner of electric and acoustic instrumentsMichael
Morgan Craft, Rene Akhan, Kirk Douglass, Vernon Reid among the electric
guitarists, Nioka Workman working the cello, Suphala on tablas,
drummers Swiss Criss and Qasim Naqvi, Vijay Iyer on piano, Bruce
Mack synthesizing, bassists Jason di Matteo, Jared Nickerson, Maximina
Juson, Lewis Flip Barnes on trumpet, Micah Gaugh on tenor, a flock
of floutists including Atiba Wilson, Monet Dunham, Satch Hoyt, various
vocalistssingers, poets, moaners and hummersranging
from Justice X, Lisala Beatty, Eisa Davis, Shariff Simmons, to Latasha
Natasha Diggs, and DJ Mutamassik on the "wheels of steel," and still
too many music-makers to mention.
Burnt Sugar is Tate's extension of "Bitches Brew,"
what we might call his homage to Miles Davis. And he is committed
to building on what Miles started in the late 1960sgroove-based,
funky, free improvisation rooted in a true musical conversation
rather than a dozen cats all talking at once. Tate, who plays guitar
but primarily occupies the conductor's spot, moves his musicians
in and out of the groove in the manner of a DJ. What the artists
bring to the groove, however, is improvised, generating fresh spontaneous
responses from other instrumentalists/voices as well as from Tate
We can hear the process so clearly on "Sirens of Triton"
from Burnt Sugar's debut album, Blood on the Leaf (2001).
After calling for Vijay Iyer's spare, funky acoustic piano solo,
Tate gradually surrounds him with rich, thick textures from electric
guitars, synthesizer, and electronic and acoustic percussion. "Gnawalickenlallibella"
opens in 6/4 time with Iyer's steady arppegios overlaid with "choked"
staccato lines from electric guitar and synthesizer, giving the
song the feel of needle on vinyl. Three minutes later here comes
Swiss Chris banging out drum n' bass beats, until Tate moves the
band into another mode where the guitars sound like sitars playing
scales reminiscent of an Indian raga. The amazing thing about Tate's
concept is the way it draws on aesthetics of sampling and yet it
is completely improvised instrumental music.
Burnt Sugar's follow-up 3-CD release, That Depends
on What You Know, has really thrown a wrench into the increasingly
calcified "jazz canon." "Two Bass Blipsch" from disc 1 (an obvious
reference to John Lewis and Dizzy Gillespie's "Two Bass Hit") opens
with Vijay Iyer playing the piano strings with such rhythmic precision
that it sounds like it's been "looped"; once Tate brings the drums
in percussion becomes the improvisational driving force. While everything
is improvised, Tate uses conduction to create particular conversations
and dialogues, as in the way he brings out Eisa Davis's voice interpolating
The masterpiece in all this innovative music is their
thirty-eight minute "Fubractive Since Antiquity Suite." Built on
a repeated North African-sounding chant that is "remixed" or rather
"reconducted" several times over in different rhythms, tempos, instrumentation,
it too is completely improvised while conveying a kind of turntablist
texture or sensibility. Tate understands that rhythm is everything,
it's the lifeblood of the music; it's the rhythm that drives the
entire suite. Part III, for example, is an exciting contrapuntal
marriage between drum n' bass rhythms, piano obligato, Vernon Reid's
monster solo, nicely interrupted by a bass line that travels from
the Dirty Dozens brass band to old school (read: Negro) 50s Rock
and Roll to heavy funk to heavier metal. Segue into Part IV, a dense
funk groove with a lot of conduction going on. As a result, we hear
in the final section of the suite what Miles always tried to achieve
when he told his band members to improvise by asking a question
and then answering it.
We also hear something else: that sampled music and
computer programs will never replace live musicians playing tonal
instruments, for the spontaneity, experimentation, imagination,
and the wonderful mistakes improvisation generates can never be
replaced. New technology can certainly enrich possibilities for
new modes of improvisation, and it has already shaped the way musicians
with open ears have approached improvisation. But there's no substitute
for the raw, natural smell of burnt sugar.
-- August 29, 2002
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