The jazz world was left reeling when Roy Hargrove, a virtuoso trumpeter and two-time Grammy winner, passed away in 2018 at the age of 49. Hargrove's untimely death sent shockwaves through the jazz community, leaving a void that many felt could not be filled. His unique ability to blend traditional jazz with contemporary sounds, his generous spirit in mentoring young musicians, and his frequent appearances at jam sessions made him a beloved figure in the jazz world. Losing Hargrove was not just the loss of a great musician, but also of a binding agent in jazz, someone who connected musicians across different styles and generations.
Ten years before his death Earfood (2008) was released, resonating strongly with jazz fans because of its blend of traditional hard bop and modern jazz. This bridging between genres gave the album a timeless quality, becoming a staple record in many jazz musicians’ education. Joining the trumpeter on the album are Justin Robinson on alto saxophone and flute, Gerald Clayton on piano, Danton Boller on bass, and Montez Coleman on drums. On this album, Hargrove returned to his musical roots with his mission evident: “My goal in this project is to have a recording that is steeped in tradition and sophistication, whilst maintaining a sense of melodic simplicity.”
Image: Frédéric Ragot
Beginning with Cedar Walton’s “I’m Not So Sure”, a complex melody that is meticulously navigated by the frontline of Hargrove and Justin Robinson on alto sax, both take furious and exuberant solos that complement the composition. On “Brown” the rhythm section shines; the bustling of Boller’s bass and Coleman's intelligent interplay backs a lyrical outing by Gerald Clayton on piano.
Perhaps a defining track of the album and Hargrove’s legacy is “Strasbourg / St Denis“, a reference to a Paris Métro station with the music aiming to convey the scene of this Parisian spot. Compositionally, the song incorporates elements that are soulful, funky, groove-based and an intertwining of genres. Relatively simple harmonically, the real magic happens with a unison melody before a split that leads to a playful descending call and response between saxophone and trumpet. Kicking off the solos is an explorative and percussive deliverance from Clayton, subsequently followed with an eloquent and inspired outpouring from Hargrove. As far as modern jazz standards go, “Strasbourg / St Denis” throws its hat into the ring for contention, omnipresent at jam sessions, radio plays and as a first foray into jazz for young musicians.
Image: Mark Sheldon
Turning to “Starmaker”, a Lou Marini original that lowers the volume with a beautiful airy quality, invokes similarities to Herbie Hancock’s “Maiden Voyage” rhythmic pattern. The musicianship across the band is sublime; each note, phrase, and section are carefully curated to culminate in a sea of mesmerising ideas. While jazz often celebrates musicians for their fast-paced, technical prowess, Roy Hargrove (though certainly capable in that area) possesses an underappreciated gift for ballad playing, a skill he shows beautifully on tracks like "Rouge" and "Divine". Hargrove's soft-touch work showcases his ability to evoke mood through his instrument; a combination of poetic improvising and manipulation of his trumpet.
R&B and hard bop fuse on “Mr Clean” whilst the band’s intensity peaks on the shuffling “The Stinger” and laid-back swing of “Style”, both Hargrove originals. Closing the album is a live recording in Austria of Sam Cooke’s “Bring it On Home To Me”, a bluesy and soulful rendition that captures the essence of tradition, sophistication and melodic purity.
A career cut short, but one that laid the groundwork for musicians to venture into other genres, contributions to landmark albums like D'Angelo's Voodoo, Erykah Badu's Mama's Gun, and Common's Like Water for Chocolate heralded a transformative era in music. These collaborations not only re-invigorated Neo-Soul, but also forged a new relationship between jazz and contemporary genres, transcending the limitations of sampling.
Roy Hargrove's trumpet may have fallen silent, but his vibrant spirit continues to echo throughout the jazz world, with Earfood a mere snapshot of an innovative voice at his peak.
