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There are lots of sonic colors in the musical spectrum and Ron Blake has them perfectly placed on this exceptional 2-CD set for Mack Avenue Records called SONIC TONIC. With the help of a full array of talent from all corners of the musical spectrum, Blake fills you up with his very potent ‘sonic tonic’ on 11 great songs. They combine music for the soul, spirit, heart and mind with his exceptional sound and innovative production values that will definitely have your tone center feelin’ right. Produced by Meshell Ndegeocello, SONIC TONIC traverses the multi-textured terrain of the jazz landscape, fusing funk, Latin and Caribbean rhythms with the more traditional jazz sound that marked last year’s critically acclaimed release, LEST WE FORGET. Sonic Tonic is Potent
by Paula EdelsteinPE: You have maintained such integrity and a consistent level of quality with all of your releases, but SONIC TONIC is definitely your masterpiece. Wow, what a great recording. Congratulations Ron. How did your artful collaboration with Meschell Ndegeocello come about?
Ron: Thanks, Paula. I began discussing music with Meshell back in the late 90's when we first met, shortly before I left Roy Hargrove's band. I always liked the sound of her recordings and her music. After we had worked together on the RED HOT + RIOT and 'DANCE OF THE INFIDEL projects, I started working with her new band, Spirit Music Jamia, last spring. I think we both realized that there was a chemistry that had been simmering for a long time, so I seized the opportunity to invite her to work with me on SONIC TONIC. Once we had several meetings about the project, I was really happy that she agreed to produce the session.
PE: All of these songs capture and involve the listener from start to finish and definitely tell their own story in regard to your musical growth, influences and composing goals. Let’s talk about some of the songs and the inspiration for some of them.
Ron: Tough question. When I compose it's usually with a specific idea, ensemble, or feel that I'd like to create. For example, “Pissarro's Floor” is a composition which took on a completely different shape and sound once I started thinking about it in the context of this recording. So I have to say that I don't always begin with the end product in mind. I like to get ideas (themes), transitions, or even grooves and see how they develop organically. I was rewriting some of the songs right up to the session. With “Pissarro's Floor,” once the song was recorded and I had time to listen to it, the title came to me as I reflected on what the song meant in this new context. Some other songs that were new to the session, like “Sonic Tonic,” have reference to a feeling.
I heard a lot of pan music (steel drum) growing up, and the main theme is very reminiscent of a pan line playing calypso. Then I added more of a (I should say Terreon helped add!) funky, reggae groove to expand the overall sound of the song. The bass line is the main part in the song that is repeated throughout, and that helps tie everything together. So I'm thinking less of a song form that is utilized primarily as a vehicle for improvisation and more of specific parts for each musician, working through sections with a jazz sensibility as well as maintaining the elements of certain parts present throughout. It just has to feel good first and foremost, then everything else is put in a better space to be heard. “Chasing The Sun” and “Your Warm Embrace” is really one song with a coda, and the transition of the coda helps tie the high energy swing of the first part (“Chasing The Sun”) with other material on the recording. “Your Warm Embrace” refers to the sun's embrace as well as the embrace of a loved one after being on the road. The titles often come after the song is developed, but that's not always the case. So I was thinking of the big picture in terms of how I could get to the things I wanted to say on my horn, but having the compositions as the main focus on this recording.
PE: “Invocation” has a beautiful, serene, spiritual feeling that corresponds to your reflective nature. What inspired it?
Ron: “Invocation” is just as the title suggests. I think the song reflects the possibilities of faith and what it can do for one's life. I originally wrote it around the same time as “Pissarro's Floor” and it was never released as a commercial recording. Again, new sections were added to it for the session, and with the opportunity to have several rhythm sections perform it, I had ample material to select from and tough decisions to make. I wanted to create a spiritual feeling and I think we got there.
PE: You are a technically polished saxophonist with an expansive range. At times you make your tenor sound very much like John Coltrane’s. Is this a matter of technical virtuosity or do you have to use certain reeds and mouthpieces to capture that feeling, sound, and warmth?
Ron: Sound for me is a product of everything that you hear. I think my sound is changing now, and I don't know exactly where it will be next year or next month. As far as technical aspects, I mainly practice trying to play in tune, although i don't think that's as important as saying something with your instrument. But it is a bonus! For me, I used to focus on having a big sound, whereas now I want different colors, inflections, and articulations to shape my stories. As far as setups, I'm still using RICO Jazz Select reeds. My mouthpieces are now LeBayle, horns Keilwerth. As long as I'm breathing, I'll probably spend time trying to achieve a high level of performance on my instrument.
PE: “Chasing The Sun” definitely captures the connection humans have to the vibrant energy of the sun. There have been many studies done on the subject and your work on this song serves to further that concept. Each time I’ve seen you perform, you’ve always been vibrant, energetic and creative. But Ron, on the flip side, are you inspired to write songs that are melancholy or gloomy when exposed to that kind of “down” environment or would you tuck those “inspirations” away in a drawer until a movie producer hired you to write melancholy mood music for a soundtrack. (Smile)
Ron: Funny. No, I have plenty of melancholy to write about. It just so happens that I liked other material for this recording that I felt was more fitting. I mean, Michel Legrand's melodies evoke so many different feelings without the lyric, and I seem to keep finding more that I like. I recorded one of his songs on LEST WE FORGET as well. I do look forward to the opportunity to write for film in the future, though. That has always been an interest, and I think I hear music in a visual context when I play and write, so...
PE: On SONIC TONIC you have brought together many great musicians and bandleaders in their own right in an array of settings – from duets to octets and together you all traverse the multi-textured terrain of the jazz landscape. Why did you choose to use various formats instead of a core quartet?
Ron: Again, working with Meshell really opened me up to a new way of recording. And Mack Ave. was very supportive. Recording with a core group gives you the chance to present a group sound, which works great for a lot of jazz recordings. SONIC is more about the music, though, and it required trying different combinations to achieve the right texture for each song. And I didn't want to make a recording that sounded the same from top to bottom. I've done that and wanted to do something different.
PE: You’ve given “Tom Blake” more of a calypso feeling on this revisit. What does this particular song mean to you?
Ron: My father has been very inspirational to me over the years. I chose to revisit the song as a testament to him after his recovery from a long illness. And the calypso is there because, hey, he's an island man!
PE: We’re so pleased to hear of his recovery, Ron. This CD is so versatile and really keeps the listener entertained. There’s nothing worse than popping a CD into the player and every song sounds exactly the same! Whether you’re exuding a romantic Latin feeling as on “Dance of Passion,” or emanating a subtle, melodic ballad, as on “Pissarro’s Floor,” all of the music is excellent. How many songs DIDN’T MAKE the cut?
Ron: There were three other songs that didn't make it to the CD. But we didn't feel they were absolutely necessary to the overall presentation.
PE: Ron, your collaborations as a sideman in Spirit Music Jamia, Christian McBride’s Band, and with Yerba Buena, plus leading the various incarnations of the Ron Blake Quartet, have garnered critical acclaim around the world. Tell us a little more about your appearances with Meshell Ndegeocello’s band SPIRIT MUSIC JAMIA. What instruments do you play in her band?
Ron: In Spirit Music Jamia, I'm still working out the setup. I play baritone, tenor, and soprano saxes, as well as flute sometimes. Meshell loves the baritone sax, and after hearing me with Yerba Buena, she asked me to bring that out as well. I'm usually playing alongside another horn player, so it just depends on that as well as the way the music continues to develop in performance.
PE: As a final thought, when will your fans hear the music from SONIC TONIC in concert?
Ron: I plan to do some performances in the summer in between the Spirit Music tour, then I'll probably start more regularly in August to perform with the SONIC TONIC Band. Visit my site for the schedule at www.ronblakemusic..com.
Ron: Thanks so much Ron. We really appreciate the conversation. Good luck with SONIC TONIC and with all of your creative endeavors.
Reprinted with permission of...
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