“Reverence” by Charles McPherson is not just an album; it’s a time machine that takes us back to the golden age of bebop, a tribute to the transformative power of mentorship, and a testament to McPherson’s own musical journey. This journey began when he was just a teenager, stumbling upon the Blue Bird Club in Detroit, where Barry Harris was holding court. The album, recorded live at the Smoke Jazz Club, is a heartfelt tribute to Harris, who was a guiding light for McPherson during his formative years.
The album kicks off with “Surge,” a minor blues number that sets the tone for the rest of the album. It’s like the first drop on a rollercoaster ride - exhilarating, heart-stopping, and a sign of the thrills to come. The fiery solo by trumpeter Terell Stafford is a standout, showcasing the raw energy and passion that defines this album. The swinging waltz “Blues for Lonnie in Three” is a nostalgic nod to the classic sound of the Clifford Brown and Max Roach albums of the '50s, reminding us that McPherson is not just a part of Jazz history - he’s a living, breathing, sax-blowing piece of it.
McPherson’s renditions of the standards “Old Folks” and “Come Rain or Come Shine” are as comforting as a warm blanket on a cold day. His throaty, heartfelt style breathes new life into these well-known tunes, demonstrating his ability to make even the most familiar melodies feel fresh and exciting.
While there are no Harris compositions on this recording, McPherson wrote “Ode to Barry,” the closing track, as a tribute more than a homage. It’s a tune that McPherson wrote, borrowing bits and pieces of some of Barry’s compositions. He tried to capture, musically, the personality of Barry, who was very serious about music, and the playing of music, and improvising and what he considered good taste and high standards for musicality, based on his terms. He was very idealistic, and McPherson just tried to capture that. This track encapsulates the spirit of the album, blending respect for the past with a vibrant, forward-looking energy.
Throughout the album, McPherson’s playing is characterized by a wild, adventurous approach to bebop. He describes himself as a “wild bebopper,” and this spirit of exploration is evident in his improvisations. Despite being in his 80s, McPherson plays with the vitality and inventiveness of a much younger musician, proving that age is just a number when it comes to creativity.
The recording features McPherson’s regular band, with whom he has been working for a few years. The live record captures the spontaneity and the symbiotic relationship between the audience and the musicians. The musicians accompanying McPherson on this album - Stafford, Jeb Patton on piano, David Wong on bass, and Billy Drummond on drums - are all exceptional. Their performances are characterized by a deep understanding of the bebop tradition and a shared reverence for the music they are playing. This is not just a group of musicians playing together; it is a musical conversation between friends, each bringing their unique voice to the table.
“Reverence” is a journey through the musical past and present of one of Jazz’s most respected figures. It is a celebration of the bebop tradition, a tribute to a beloved mentor, and a showcase of the talents of a truly exceptional group of musicians. This album is a must-listen for any Jazz fan, offering a unique insight into the mind of a master musician who continues to push the boundaries of his craft. McPherson’s “Reverence” is indeed a fitting tribute to the past, a vibrant snapshot of the present, and a promising glimpse into the future of Jazz. It is a testament to the power of music to transcend time, to honor those who came before us, and to inspire those who will follow in our footsteps. In the end, “Reverence” is not just about music; it’s about life, legacy, and the enduring power of art. So, buckle up, you’re in for a wild ride!
“Your eyes can tell you right notes if you know harmony, but your ears — if you got some — will tell you the best notes out of the many right notes. It’s up to the melodic ear to eke out the greatest four or five notes for the moment. That’s when the phrasing and rhythm comes in.”1
— Charles McPherson
Ethan Iverson. “Charles McPherson and Steve Coleman on Charlie Parker”. DO THE M@TH.