Review: Etienne Charles’ ‘Gullah Roots’

Trumpeter/percussionist/bandleader/composer/educator Etienne Charles is mostly known for his Creole Soul band and orchestrations. On Gullah Roots (Culture Shock, 2025), the Trinidadian explores another culture with a rich history in Africa and the Trans-Atlantic slave trade between the sixteenth and nineteenth centuries. Gullah culture – also called Gullah Geechee – resides in a narrow strip of the Lowcountry, mostly on islands, from North Carolina to Georgia. If you’re able to buy a physical copy of the album, the liner notes will provide a great overview of the history of the Gullah culture. 

Awareness of this culture has likely grown in recent years, at least in jazz circles. Charles’ Gullah Roots adds to this legacy that includes the Grammy-winning band, Ranky Tanky and albums from its collaborators, drummer Quentin E. Baxter and trumpeter Charlton Singleton.  There is also the comprehensive project, Low Country (Ropeadope, 2023), which featured the Gullah singers and storytellers Gracie Gadsen, Rosa Murray, Joseph Murray, and Ron Daise, alongside composer/trumpeter Matt White, saxophonist Chris Potter, and percussionist Quentin E. Baxter. Baxter is also a co-producer with Charles on Gullah Roots, as well as a musical contributor. 

Charles became somewhat familiar with the Gullah culture in his native Trinidad. But it was not until the Savannah Music Festival commissioned him to compose and perform for its 2018 edition that he fully immersed himself in it. Four years later, the trumpeter recorded Gullah Roots with an ensemble featuring altoist Godwin Louis, pianist Christian Sands, bassist Russell Hall, drummer Harvel Nakundi, and in post-production, a large coterie of guests, mostly vocalists. By that time, Charles had added an original, “Weeping Time,” and a stirring vocal arrangement of the Gullah gospel classic, “Kumbaya.” 

The opening title track features percolating Caribbean percussion, a Charles hallmark of searing trumpet, and the ensemble conjuring wild, danceable energy morphing to calmer sections and then back. The piece serves as an overture to what follows. Renowned bassist Hall takes the intro to “Bilali,”music stemming from North and West Africa, featuring Samir Langus on guembi, a Gnawa 3-string instrument, and krabeb (Moroccan castanets), with guitarist Alex Wintz adding resounding lines.    

“Watch Night” coming in two parts, reflects on a tradition, also known as Freedom’s Eve, dating back to 1862 when President Lincoln signed the Emancipation Proclamation. The first part, “Prayer,” features a gorgeous chorale arrangement. The joyous “Ring Shout” is powered by interlocking rhythms and washboard percussion, the latter from Baxter, all leading into an exuberant vocal chorus of four, singing “Freedom Day.” Louis and Charles weave in their animated solos while Sands plays roof-raising piano.   

Charles acknowledges more historical moments in “Weeping Time”  and in his two-part “Igbo Landing.”  The former, a cross between mournful and angry, is inspired by the sale in 1859 of some six hundred slaves in Savannah. It’s meant to shed light on other tragedies and genocides, led by Charles’ deeply expressive trumpet. “Igbo Landing” also exudes sad and dark tones from Louis and Charles with robust bass from Hall. It commemorates the story of seventy African captives who, rather than accepting slavery,  committed mass suicide off the coast of St. Simon’s Island, Georgia. The piece grows in intensity as it evolves.  Baxter is prominent in percussion in Part 2, where Louis also shines.  “Gullypso” is the tune most listeners will associate with Charles’ Creole Soul stylings as he deftly merges his own Caribbean culture with that of the Lowcountry. 

The album closes in the only way it could, with a stirring choir version of “Kumbaya.” Mykal Kilgore leads a choir in New York, where the overdubbed vocals were recorded. Charles authored an arrangement far different than the traditional version, one where he initially envisioned a male choir. The choir is interspersed with the ensemble delivering triumphant, celebratory tones, leading to the female voices of Olanna Goodeau and Chenee Campbell joining the males. It’s a stunning reimagining of a familiar song.  

Etienne Charles proves the diaspora is wide. Africa meets the low country, which meets the Caribbean. Although Charles stepped slightly away from his comfort zone, he brought it all together masterfully.   

‘Gullah Roots’ is out now on Charles’ Culture Shock imprint. It can be purchased on Bandcamp. Charles will be performing at the Newport Jazz Festival on Sunday, August 3, 2025. More information is available on the Festival’s website.