The Spirit Music Jamia: Dance of the Infidel (2005)

She Just Wants to Give Gratitude!
Meshell Ndegeochello
The Spirit Music Jamia: Dance of the Infidel
Shanachie Entertainment

review by Sharron McLeod

[What is jazz in the 21st century?] Some musicians play music. Others lead or execute a vision of music. Meshell Ndegeochello Bashir Shakur proved a long time ago that she wasn't afraid to be different, forging her own path from the start of her career.

But despite one’s enjoyment of this record or respect for the growth and direction of Ndgeochello, there are many inconsistencies in this recording that don’t make for a uniform product. Yet, that doesn’t make it a bad product. Can we really be surprised when an artist of such diverse talent and versatility chooses to do something that represents the different things she does?

The truth is that most of us aren’t comfortable giving an artist a chance to prove she can do all she can do. On this project, Ndgeochello doesn't play her instrument on all tracks, but opts for taking the leadership role through composition, arrangement and production. When she does play Meshell does what she does so well for so many others (Roy Hargrove, Steve Coleman and David Bowie to name a few); She selflessly holds down the groove or she has bassist Mathew Garrison to play with her or in her stead.

While she doesn’t leave her past totally behind, Dance of the Infidel mostly recalls the electric direction in jazz of the early 1970’s, influenced by Miles Davis. (Remember the Jack Johnson album?) This recording has ostinato like grooves and blues structures, allowing for freely played instrumental performances from the musicians and giving them space to explore their improvisations.

This music could not be made without the trust created by Meshell and her stellar lineup of musicians. Here she enlists: the Coltrane Legacy with the sons of John Coltrane and Jimmy Garrison, Oran Coltrane and Matthew Garrison; the Miles Davis alumnus of Jack De Johnette, Kenny Garrett, Wallace Rooney and Mino Cinelu; the avant-garde influence of father son duo Oliver and Gene Lake; and solo harmonica player Gregoire Maret.

The vocal tracks and singers are all very varied in style and nature though Meshell doesn’t give us benefit of her own unique vocal stylings. Ndgeochello gives her infamous in-the-pocket groove (for those who miss it) to create the audio watercolour Aquarium sung by Sabina of Brazilian Girls. It’s the most commercial track on the CD, and the most out of place if you mind that sort of thing. Cassandra Wilson performs the sensually intimate lyrics inspired by the biblical Song of Solomon on the acoustic The Chosen. And the role of the bass is omitted altogether on the gospel treated Heaven sung by Lalah Hathaway (daughter of Donny) who also supplies some very hip vocal arrangements.

So with these challenges of pop, jazz, smooth or rock presences, how does an established artist get support for doing a project like this? Industry insiders raved about it before its release, but Ndgeochello still had no label interested in releasing it. (One record company rep that shall remain nameless said that it was a great recording, but that they weren't releasing it.) Dance of the Infidel went on to have its release date pushed further and further back. Finally Meshell released Dance of the Infidel on her own Revolutionary Jazz Giant label, distributed through Universal Music.

Some may want the things that worked so well for her AND us in the past. I would beg them to have an open mind and not rely on the tried and true past but the more unknown and exciting listening possibilities for the future.

[Perhaps some listeners are willing to give this project a chance after all? Meshell Ndegeochello presents The Spirit Music Jamia: Dance of the Infidel was recently nominated for a Grammy Award for best contemporary jazz album.]

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