Kirk Whalum | The Gospel According To Jazz: Chapter III

Kirk Whalum | The Gospel According To Jazz: Chapter III

Kirk Whalum was surrounded by music in his household growing up whether singing in the church choir or learning the fine points of jazz from his two uncles who played professionally.  And he never took that gift for granted to this day.  He has used his extraordinary gift to play with urban music greats like Bob James, Nicole C. Mullin and Luther Vandross.  One of his calling cards was a brief but soulful solo on Whitney’s signature hit, “I Will Always Love You.”  Like fellow jazz players such as George Duke, Allen & Allen, Angela Christie and Jonathan Butler, gospel music plays an integral role in their faith.  The 2001 disc, Hymns in the Garden, reworks classic worship hymns without the smooth jazz synthesizer trappings such as the Dixieland blues drenched “Just a Closer Walk with Thee” and a classy piano trio sound on “I Must Tell Jesus.”  Whalum was also featured with gospel rapper Mr. Del on the foot-stomping “Chuuch.” 

Then there is the trilogy entitled The Gospel According to Jazz.  It is really no secret that throughout black history, gospel and jazz have been always been intertwined (i.e. Duke Ellington’s Sacred Music Series).   This ambitious project raises the praise and worship service to astounding heights.  Chapters I (made before Hymns) & II are shear jazz canvasses of Latin, bebop, hip-hop, R&B and contemporary gospel.  Now eight years later, Chapter III has finally been fulfilled.  Whalum’s indisputable love for communicating jazz with gospel is just one side to this multi-faceted musician.  

Whalum grew up in one of music’s hotbeds.  From blues to rock and all things in between, the city of Memphis was the birthplace of B. B. King, Elvis and Johnny Cash, and many influential artists.   The city’s history was certainly attractive to aspiring musicians like Whalum.  First starting on drums, he eventually switched to saxophone by junior high.  He then concentrated on jazz while in high school.  Thanks to a scholarship, Whalum traveled to a well-respected jazz mecca – Houston, the home of Texas Southern University.  After graduating, he did not immediately pursue music.  Strangely enough, it took a car accident for Whalum to reevaluate his future.  In 2003, he began a long musical relationship with Bob James.  Though he is not considered a jazz musician in the traditional sense, his respect for heroes like roots players Dexter Gordon and Miles Davis has pushed him to be one of the most recognizable modern day artists.   

On Chapter III of The Gospel According to Jazz (recorded in 2007 at Reid Temple in Glenn Dale, Maryland), Whalum and company including several entrusted family members, draw us into a relationship with God with a unique perspective.  There are several highlights worthy of mention.  The fierce New Orleans rhythms of “Fit to Battle” brings Kirk’s uncle Hugh‘Peanuts’ Whalum and nephew Kenneth Whalum III to the horn line and a riveting drum line, courtesy of Sean McCurley.  “Ananias & Sapphira,” named after characters in the book of Acts, is set-upin with an exquisite, unaccompanied acoustic bass solo by Reginald Vealwith a middle-eastern flair.  Once the song picks up speed, trumpeter Aaron Broedus’ dexterious trumpet and Kirk’s explosive sax are supported by a snappy Latin foundation from percussionist Lenny Castro and McCurley.  For those who remember “Because You Loved Me,” the pop smash by CelineDion, George Duke extends the piano table from gentle strokes to thunderous chords that stir hallelujahs throughout the Reid Temple building.   “Make Me a Believer,” recorded and co-composed by Luther Vandross, possesses all the qualities of Vandross’ smooth tenor, thanks to Kirk’s brother Kevin Whalum.  Yet the tweaked lyrics clearly emphasize believing in the Word of God.  Kirk pulls still another R&B rabbit of the hat with “You Are Everything;” first with the stellar guitar work by Doc Powell.  “AfricaJesus Africa” mixes a pseudo reggae beat along with a brief history lesson covered by Kirk’s cousin rapper, Caleb the Bridge.  The funk soul classic “Running Away” is an interesting teaching moment about how running closer to Jesus.  Kevin Whalum redefines this Frankie Beverly & Maze hit by sharing some crisp scat exchanges with the house band.  But it is Hugh Whalum’s sincere reading of a remarkable pop standard “Smile,” doubled up with the gospel/R&B tinged God Has Smiled on Me; that tugged at my ears the most.

Now that Chapter III of The Gospel According to Jazz is finally fulfilled, I highly recommend this Top Drawer DVD/CD.   After experiencing the depth of the Whalum’s stellar family and a solid cast that also includes organist Jerry Peters and vocalist/keyboardist John Stoddart, Kirk should strike a chord for both gospel and jazz fans alike.