Nicole Mitchell’s Black Earth Ensemble
Black Unstoppable
Delmark DE-575; Delmark DVD 1575
By Bill Shoemaker
On Black Unstoppable, flutist Nicole Mitchell exemplifies the comprehensive populist stance staked out by Cohran and the AHE, addressing issues of identity and community with rallying compositions that employ idioms clearly rooted in the progressive jazz of the ‘60s and ‘70s. In lesser hands, several of Mitchell’s composition would be merely facile; but, the flutist and her cohorts in this eight-person edition of Black Earth Ensemble succeed in giving the music an unforced sense of urgency or celebration, as required. Elsewhere, quoting “Down by the Riverside” would sound contrived; but David Young’s usage of it in his fat-toned flugelhorn solo on the buoyant “The Creator Has Other Plans For Me” has an offhanded piquancy that rings true. Conversely, tenor saxophonist David Boykin’s snarls and growls give similar materials a purposeful, momentary edge instead of blunt-instrument force. Together, with the leader’s capering C flute and enveloping alto flute, they form a well-balanced front line, and they repeatedly find satisfying ways to complement each other. Much the same can be said of the interplay between cellist Tomeka Reid, guitarist Jeff Parker and bassist Josh Abrams; whether the issue at hand is the horn-punctuated, string-fuelled flail of the title piece or the shifting rhythms and phrase shapes of “February.” At every turn, drummer Marcus Evans lends unobtrusive support, and judiciously picks his spots to move to the foreground of the music, if only momentarily. On the three tracks featuring the powerfully soulful singer Ugochi Nwaogwugwu, Mitchell demonstrates a sure touch with materials to highlight the communitarian messages; the affirming “Love Has No Boundaries” is a mid-tempo blues with a jumping revivalist refrain; “Life Want You To Love,” a call to young women for sexual responsibility, glides on an West African groove; the mix of supple melody, dramatic chord progressions and reggae tinge on “Thanking The Universe” provides an uplifting conclusion to the proceedings. Mitchell and Young’s vocals blend well with Nwaogwugwu; given Mitchell’s gifts as a songwriter, the three voices could probably carry an album on their own.
–Bill Shoemaker