Jazz drummer ventures onto a limb

By D.S. Martin and ChristianWeek | October 1, 2009

What is a famous jazz drummer doing recording an album as a singer-songwriter? That's exactly what Brian Blade has done for his latest release, Mama Rosa.

Musically, it's hard to imagine this is the same drummer from the Brian Blade Fellowship, or from the Wayne Shorter Quartet. Nowhere on this album can brass or woodwind instruments be heard. Here he's a vocalist, a guitarist, a pianist, and (oh yes) he adds drums on six of the 13 tracks—hardly what you'd expect on a drummer's project. You won't even hear him showcase his drumming ability as he does on some other people's records.

Brian Blade is also known beyond jazz circles, having played with such major artists as Emmylou Harris and Bob Dylan. He began to learn to be a diversified player, drumming at his father's church, Zion Baptist in Shreveport, Louisiana. In an interview with www.jazz.com, he says that's where he learned to serve the song, rather than "some show or entertainment.

"I feel like every time I play, I'm in that place, even in an unconscious way," he said, recalling playing in a worship service. "I think it gave me a certain focus to hopefully get out of the way."

After three instrumental jazz releases, this new album is often reminiscent of Neil Young, due to Brian's haunting understated vocals and the way he competently slips from folk to tasteful rock sounds. Daniel Lanois contributes his Firbird guitar to such tracks as "Mercy Angel" and "Her Song," with just enough bite to further the comparisons to Young. Even though Lanois is not the producer, his sonic influence is felt throughout the CD. The arrangements also owe something to Brian having first listened to, and later played with, Joni Mitchell.

Two members of the Fellowship—pianist Jon Cowherd and bassist Chris Thomas—appear on Mama Rosa, although the personnel vary from piece to piece. Steel-player Greg Leisz plays on a couple of tracks and Kelly Jones adds beautiful harmony vocals on three.

Mama Rosa is a very personal CD about faith, family and friendships. The title, which refers to Brian's grandmother, comes from the opening line of the opening track. "After the Revival" is written from his mother's viewpoint, as she is awaiting the birth of her first son—Brady Blade Jr.—and awaiting the return of her husband from revival meetings.

For Brian, Mama Rosa is like sharing his diary—songs about life in Shreveport; songs about when he moved to New Orleans to study music in 1988; songs that express his personal views on justice and liberty. The CD closes with two ambient instrumentals—"All Gospel Radio" and "Psalm 100."

For years Brian had some of these songs as four-track demos at home, but hadn't planned to do anything with them. At the encouragement of Lanois and with his own mind questioning—"What does God expect of me? Maybe someone else might find some inspiration in the songs?"—he moved forward. A few of the original recordings are included unchanged because they didn't think they could improve upon them.

His faith comes naturally through in these songs, because they are simply songs about his life. That's why the line, "I was raised to know the ways of Jesus," doesn't feel preachy. "At the Centerline," for example, begins with the serenity prayer of St. Francis of Assisi, which he saw on a plaque on his grandmother's wall, growing up.

In the Lanois film, Here Is What Is, Brian says, he doesn't view music as divided into sacred and secular. "It's all so connected." he says. "It's always praise."

Mama Rosa doesn't seem like a natural progression. Even so, I believe he has even more to contribute as a singer-songwriter than he has already given us as a session player and jazz drummer. I am excited to anticipate what Brian Blade will bring us.