Recording of the Week, Keyon Harrold - Foreverland

When you count Prince, Common, Dr. Dre, J Dilla and the second great quintet of Miles Davis as your focal influences, it's clear that these inspirations could amalgamate into an album comprising the best parts of each... with enough grit. Thankfully, Keyon Harrold’s Foreverland is exactly that: an electric haze of dreamy R&B, cavorting synthetic beats and passionate trumpet-based vocality, all tied together by the proud intentions of its unrestrained merrymaking.

A natural extension of this century’s hip-hop-infused school of jazz, established in previous years by the likes of Robert Glasper (a former classmate of Harrold’s who also appears on the album) and Christian Scott aTunde Adjuah, the musician employs his own steadfast leadership in order to flex the collective strength of this holistic family affair.

A much sought-after session player himself, Harrold makes frequent use of the guest feature spot – the most vital weapon in the nu-jazzer’s arsenal. As if to flash his neo-soul credentials all at once, the record’s supporting cast reaches an astounding level, before you even begin to consider the fact that many of the names featured are amongst some of the trumpeter’s fondest allies and collaborators. Depicting the cream of the crop of today’s R&B world, he calls on vocalists Jean Baylor, PJ Morton, Laura Mvula and Malaya (in that order) who, in turn, each offer their own stellar contributions. Once the American rapper Common sounds off on opener 'Find Your Peace', we know we're in good hands. 

The album isn’t one to shy away from its emotional impulses; in fact, Foreverland makes no vain efforts in wearing its heart on its sleeve. These feelings are best translated through the lyrics and vocal delivery of our guest stars, but that’s not to say you can’t detect them within Harrold’s own virtuosic phrasing either. ‘The Intellectual’ is one such performance where the ensemble huddles together around their leader, who shimmeringly glides his way through with the self-assured sense of standing his ground. Alternatively, the sombre ‘Pictures’ – a breathtaking nocturne featuring keyboardist Greg Phillinganes, a titan of the scene – ventures down streams of lonely yet ultimately romantic vulnerability. It’s Harrold’s delineation of fear that, funnily enough, sets him out as unafraid.

Having gained first-hand experience of the racially-charged intolerance of others when his son was wrongfully accused of stealing a woman’s phone in the lobby of a Manhattan hotel, it goes to show the discrimination and prejudices which, too often in this day and age, still rise to the surface. Foreverland's subsequent motive of resilience is expressed through the themes of self-preservation, compassion and joy. This assortment of moods combine to offer a resolute portrayal not just of Harrold the musician but the father, friend and, not least, the person as well.

Musically, this peaceful album hardly steps one foot out of place as it flows through each honey-dripping track to the next. ‘Beautiful Day’ has all the makings of a golden-era Stevie Wonder track, both in its optimistic style and ebullient substance. With its pitch-bending bass, warm synths and major-to-minor chord progressions, this is Talking Book with an Instagram filter. Meanwhile, the rollicking nature of ‘Gotta Go (Outer Space)’ conveys the astral projection of a trip undertaken by Harrold with the help of some, *ahem*, out-of-this-world comestibles.

Each of these different sources of positivity serve as causes for celebration in Harrold’s life, whether they arrive to him internally or externally. In any case, his gratitude is all-encompassing. Somewhere from the ether, he confides in us his parting message: “You gotta document that love so they know… document everything, take a snapshot of your peace, [of] how to deepen your heart so you know exactly where to find it.”

By and large, Foreverland is a tranquil haven suspended in momentary bliss. Once fragile but now free, it reminds us that, with the right encouragement, we can liberate ourselves from fear and malice if we so choose. Even if we haven't each found a way to dream beyond the negativity that binds us yet, Harrold still believes we can.