Kenneth Whalum III | To Those Who Believe

Kenneth Whalum III | To Those Who Believe
by Brent Faulkner

Reinvigorating the ‘art’ that IS jazz is a tall, if nearly impossible order for the modern jazz recording artist. With the shoes of ‘untouchable’ legends to fill (Parker, Coltrane, Davis, etc.), it is not that often that the jazz enthusiast discovers a ‘new jazz album’ that truly ‘whets his appetite‘ or better yet serves as a ‘pipeline‘ to the future of jazz. With the recent release of the exceptionally well crafted To Those Who Believe, the future of jazz is clearly BRIGHT.

Saxophonist Kenneth Whalum III, the nephew of Kirk Whalum, delivers nothing short of a ‘home run’ on this debut effort. Released December 21, 2010, To Those Who Believe is an album that is sure to make this Whalum a star in his own right. Whalum’s saxophone playing throughout is nothing short of ‘amazing,’ with moments where one easily feels the energy of John Coltrane. Supported by phenomenal musicians Robert Glasper (piano/Fender Rhodes), Derrick Hodge (bass), and Chris Dave (drums), Whalum ‘kills it’ in almost every regard.

“If We Try,” featuring Whalum’s father Kenneth T. Whalum, Jr., opens the album mysteriously, captivating because of it’s unpredictability. The cut possesses a mysterious energy about it, given the fact it evolves slowly, taking almost a ‘stream of consciousness’ approach. Rather than wailing or playing extremely loud dynamics, Whalum takes a subtler, more senstive approach with restrained, beautiful saxophone playing, supported by the cerebral, sound accompaniment of the rhythm section. Unexpectedly, “If We Try” sets the tone of a surprisingly conceptual, innovative effort.

“Hope For Today” clocks in at under three minutes, but is as unpredictable and as captivating as its predecessor. The cut opens with moody piano playing in the low register alongside bass. Chris Dave takes less of a ‘time-keeping’ role in favor of a more collaborative, melodic role on the drums; this aids in creating an ‘atmospheric,’ spaciness about the cut. The highlight is when Whalum, closing in on the two minute mark, wails on the tenor sax, showcasing sheer, raw emotion.

“A Song For Tomorrow” settles into a groove from the onset – a nice departure from the more ambiguous grooves of the first couple of cuts. Here, Whalum ‘lets it rip’ with a superb, overt performance. “Gratitude to Crystal” is more accomplished, finding Robert Glasper serving as ‘the metronome’ with his moody, minimalist, chordal piano lines. Chris Dave uses the drum kit to its fullest, focusing on more ‘melodic’ and ‘complimentary’ ideas (a drum or cymbal fill here or there) as opposed to just establishing a groove. As for bassist Derrick Hodge – his ‘crowning achievement’ just might be the lovely bowed bass at the end, giving this track a different timbre. And what about our star? Whalum takes a beautiful, low-key approach that may not be ornate, but is as captivating and heartfelt as anything else.

“In Search of a Melody” is a brief cut, but finds another great collaboration between talented musicians. This ‘interlude’ leads to yet another brief cut, “So Simple.” “So Simple” is appropriately titled, given the simplicity of the cut. Simple it may be, it is one of the album’s most beautiful performances. Here, Whalum never sounded better, supported by a well crafted accompaniment by Glasper on piano. After two short cuts, “STS” steals the show with an unexpected, straight ahead performance. Glasper’s brilliant piano playing opens up the cut, but is only a foreshadowing of a ‘monster’ solo that proceeds later in the track. Chris Dave uses the full extent of his kit here, with some marvelous drumming here, not to mention Hodge’s superb bass playing. Whalum sounds virtuosic here by all means, with some incredibly remarkable solo lines and nuances.

Title track “To Those Who Believe” does not disappoint, with Whalum making the saxophone sound ‘human,’ much like a ‘sinner asking for redemption for their sins.’ As with the majority of cuts, “To Those Who Believe” reminds one of John Coltrane’s “Acknowledgement Pt. 1” from the classic album, A Love Supreme. “It Was Written,” another ‘home-run’ brings in rapper Common for a guest ‘spoken word’ spot (quite unique and enjoyable). Spoken word aside, the genius truly lies within the musicianship that continues to shine so brightly without a hitch. Ironic the album closes with “Benediction” – of course not! “Benediction” ‘caps off’ an extraordinarily good debut with nothing less than a ‘victory lap.’

What can be said? To Those Who Believe should make ‘believers’ out of everybody who partakes of its ‘musical blessings.’ Jazz enthusiasts and casual fans alike will find an album that keeps ‘the art of jazz’ alive for years and years to come. There are no misses whatsoever; nothing by sheer musicianship and exceptional cuts. Personally, “I’m A Believer” in Kenneth Whalum III’s prodigious talent and bright future!

Brent Faulkner
The Urban Music Scene