Tonic, minor third, fourth, minor fifth, fifth, minor seventh. While this describes the blues scale, such a summation misses the point entirely. The blues is about more than a series of set modes or even emotions. Although often identified with sorrow, the form has always extended far beyond. In light of its historical basis, it had to. Forged from the cries of the downtrodden – first from the field hollers and work songs of slaves then from their freed descendants for whom equality was and is still denied – a singular focus on the depressing would fail to lift the oppressed. Resilience and optimism are a requisite part of the music, whether utilizing the spiritual promise of a better place or more worldly considerations. Few works better express the blues of the contemporary era than Ambrose Akinmusire’s on the tender spot of every calloused moment (Blue Note, 2020). 

Consider “Roy”, a eulogy to fallen friend and mentor Roy Hargrove. As can be expected, it is slow and mournful, seemingly not just of remembrance of the loss of a major figure but also in reflection on the substance abuse issues which Hargrove, and countless others, have struggled with throughout their lives and that have ravished communities. Even in this short and sorrowful tune, however, there is hope as it is under-girded – a point made clear at the minute and a half mark – by the gospel song “The Lord’s Prayer.”  “Hooded procession (read the names aloud)”, which continues the bandleader’s newest piece addressing racial violence, is similarly solemn yet ends the album on a hopeful note of a time when these atrocities can end. “Yessss”  begins as a somber ballad and though it never turns into a completely celebratory anthem, something more accepting and forward-focused still shines through. 

No, the album does not overtly exhibit sonic tendencies common to those of blues ancestors. There are no slide guitar solos reminiscent of the Delta or electric ones of Chicago; there is no guitar at all. Nor does the talented Sam Harris build upon the rich jazz-influenced piano-based blues of New Orleans. Ultimately the castigation of these sounds is intentional as they would not naturally portray Akinmusire’s perspective. Born to parents from Nigeria and Mississippi and raised in Oakland during the crack era of the 1980s, there is no reason for him to sound like Son House, Howlin’ Wolf, Champion Jack Dupree, or anyone else. Instead, various elements from his background appear throughout, rendering it highly personal. 

This is perhaps best exhibited on “4623”. A solo piece, it exposes the trumpeter’s true and raw voice free from other instruments. “Roy” emphasizes his upbringing in the Baptist church while “Tide of Hyacinth” includes Jesus Diaz’s vocal solo in Yoruba, a language spoken by his father and which he heard often during his youth. Although not overtly inspired by hip hop as his predecessor recording, Origami Harvest (Blue Note, 2018), its shadow at times also looms. For instance, the wide and barren synthesizer on “Yessss” evokes Kanye West’s “Say You Will” from 808s and Heartbreaks (Def Jam/Roc-A-Fella, 2008), and certain aspects of Justin Brown’s drums on “Mr. Roscoe (consider the simultaneous)” implicate rhythm sampling. The latter, a tribute to the great Roscoe Mitchell, additionally displays the bandleader’s aptitude towards the avant-garde as do various moments on  “Tide of Hyacinth” and “Blues (we measure the heart with a fist).” The liner notes by the iconic Archie Shepp further attest to this influence.

on the tender spot of every calloused moment successfully proclaims that the features which once made the blues a predominant form are not mere artifacts of history. Today’s version may sound dissimilar and encompass aspects historically associated with other styles; the improvisational focus typically of jazz or creative music and the rhythms of hip-hop, for instance. But these are mere developments along a common trajectory rather than the emergence of something new with no background. Indeed, many of the same societal problems over the years may present themselves differently but are very much still with us even as society tries to correct them. In some regards, there is very little difference between lynchings in the Nineteenth and Twentieth Centuries and cases today where a Dallas police officer murders an accountant who dared to enjoy a quiet evening at home or of rednecks in Georgia killing an innocent young jogger on a quiet Sunday afternoon. While Akinmusire prompts us not to forget the past or present, he also advises we not become mired in them and instead seek a brighter future. As suggested by its title, despite surrounding roughness, we cannot allow our hearts to harden.

on the tender spot of every calloused moment will be released by Blue Note Records on June 5, 2020.

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Tracklist: 1. Tide of Hyacinth; 2. Yessss; 3. Cynical sideliners; 4. Mr. Roscoe (consider the simultaneous); 5. An Interlude (that get’ more intense); 6. reset (quiet victories&celebrated defeats); 7. Moon (the return amplifies the unity); 8. 4623; 9. Roy; 10. Blues (We measure the heart with a fist); 11. Hooded procession (read the names outloud).

Personnel: Ambrose Akinmusire (trumpet (1,2,4-10), Fender Rhodes (3,11)), Harish Raghavan (upright bass (1,2,4-7,9,10)), Justin Brown (drums (1,2,4-7,9,10)). Sam Harris (piano (1,2,4-7,9,10)), Jesus Diaz (percussion (1), vocals (1)), Genevieve Artadi (vocals (1)).