Karl Denson’s Tiny Universe | Brother’s Keeper

Karl Denson’s Tiny Universe – Brother’s Keeper

Lenny Kravitz, Minor Records, Greyboy All Stars, Tiny Universe.  These aforementioned artists and underground jazz label are all connected with the musical timeline of jazz/funk groove master Karl Denson.   When Denson established his big break with Lenny Kravitz on Let Love Rule in the late eighties, there would be no doubt that his solo career would be eminent.  He took his supporting role with Kravitz so seriously that he definitely took a piece of the forward thinking musician with him throughout his career.  Somehow throughout his various configurations and collaborations, Denson always found away to share his many musical voices in an intriguing way; whether with acid or acoustic jazz, retro soul, funk, reggae or a pinch of rock and pop to boot.   Since breaking from Kravitz, there has been a restless spirit lurking inside Denson to keep his music accessible no matter if it was as a solo act or in tandem with a small group or as a guest artist (i.e. Blind Boys of Alabama). That asset can be classified as a good thing even for the sake of not always reaching a higher commercial artistic status.  Yet no one can argue that the San Diego native upheld a strong belief system to attract a huge audience with his solid music making principles.       

After his tenure with Kravitz, Denson signed with the German-based jazz company Minor Music (who also recorded two of Densons major inspirations Fred Wesley and Maceo Parker) in a series of recordings throughout the nineties.  Tapping into his love for jazz’s earlier roots, Denson covered hard bop, blues and free jazz predominately with his own compositions on Blackened Red Snapper; Chunky Pecan Pie, a trio setting with Jack DeJonnette and Dave Holland along with Maceo Parker disciple Pee Wee Ellis; and Herbal Turkey Breast.   The latter featured a tribute to Yusef Lateef and a cover of Charles Mingus’ nod to Lester Young – “Goodbye Pork Hat.” Of course, Denson’s respect for the groove and nothing but the groove was fulfilled in partnership with Wesley on four discs.  Through his Minor Music accomplishments, however, was one of Denson’s crowning periods with The Greyboy All Stars, co-founded with the band’s inspiration and namesake DJ Greyboy. 

The All-Stars only recorded four discs but certainly was atop force in the so-called acid jazz period in the U.S. with their boogaloo style that was very popular in the east coast during the sixties – a wonderful marriage of Cuban rhythms with various urban genres.  However, these west-coast All-Stars from San Diego was an extremely competent unit that exercised their jazz expertise beyond just hard-hitting grooves, especially on the 1997 release A Town Called Earth.  The group parted ways until reuniting a decade later for What Happened To Television. In the meantime, Denson was never fazed about what he could bring to the table next.  His solo disc Dance Lesson#2 (2001) on the groundbreaking jazz label Blue Note blended the best of the All-Stars, his traditional jazz offerings with Minor Music, and some engrossing turntable skills from DJ Logic.  A trio outing, KD3, continued Denson’s relay of the jazz grab bag with the 2007 disc Lunar Orbit (Dig).     

If that was not enough, there is Karl Denson’s Tiny Universe (KDTU), a collective that manages to keep funk and jazz grooves as the center point with elements of rock and hip-hop. KDTU’s debut in 1999 was followed by Bridges in 2002 and their 2006 EP Once You’re There, all showcasing Denson’s raw voice that lends a Gil Scott-Heron soulful poetic touch from inner beauty of one’s soul to social injustice.  The latest from KDTU – Brother’s Keeper lessens the jazz meter and is the most accessible recording in Denson’s multi-faceted career.  This entire CD is engaging as he channels a bit more of the Lenny Kravitz retro rock/soul/psychedelic vibe.  Yet Denson’s intense tenor voice, swift woodwind lines, various shapes of grooves and artistic imprint through the years assures Brother’s Keeper remains his unique musical painting.

The opener and first single – “Shake It Out” cries the spirit of Motown and the sixties disco soul smash from The Capitols “Cool Jerk.”   Fans of the funk/soul style of la Sharon Jones & The Dap Kings should be diggin’ “Where It Counts.”  Issues dealing with the Christian faith dominate “The Drums of War” and the roots reggae flowing “Mighty Rebel”; both penned or co-composed by Jon Foreman from the band Switchfoot. &nbs
p; The title track about watching each others’ back in easy and hard times is broken into two parts; the latter rubbing that blues/jazz groove in.  “Expressions” and “Empty Soul” press on the theme of not taking our freedoms for granted.

Brother’s Keeper may be in a bit more in the mainstream for Denson compared to most of his musical portfolio, and this is Denson’s biggest label offering since Dance Lesson #2.   That aside, it is about high time Denson deserves a higher platform because of his long-suffering work ethic with mostly independent labels and he receives another opportunity for an expanded fan base since his days with Greyboy Allstars.  I am sure Kravitz is smiling down and nodding his head to the grooves from his former sideman. 

Peggy Oliver

The Urban Music Scene