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Customer Reviews of New Beginnings

His new disc, New Beginnings, marks a major step forward in his career. Following on the heels of the Maxjazz label's huge (and deserved) success of Mulgrew Miller's disc, Sequel, by his newly reconstituted group, Wingspan, New Beginnings presents Stafford in a very attractive setting. There's a similar attention to recording detail, a killer band featuring Miller himself on piano plus two players new to me, Derrick Hodge on bass and Dana Hall on drums, and an intriguing mix of originals, standards, and traditional material.

What sets this disc apart from Miller's is the addition of some fascinating guests on various saxes: Steve Wilson, Dick Oatts, and Jesse Davis on alto, and--here's the ringer--Harry Allen on tenor. The latter, especially, acquits himself brilliantly. I certainly wouldn't have thought of him on this kind of fluid post-modern session, but he comes through like a champ.

Stafford proves himself quite an accomplished composer, drawing on both the Bobby Watson post-bop repertoire and Victor Lewis' intriguing mix of funk and modernism. Indeed, the high point for me is his three-tune selection, "New Beginnings Suite." The first cut present an edgy, funk-tinged, modernistic number featuring the bubbly e-bass of Derrick Hodge and the groove-oriented drumming of Dana Hall. These two lay down a very appealing rhythmic foundation upon which Oatts, Stafford, and Miller brilliantly solo. Stafford, especially, weaves a very engaging open-trumpet solo steeped in the blues yet completely conversant with the latest developments in funk. Part two, "La Maurier," a slow bossa, is perhaps my favorite cut. Yes, I'm a sucker for this kind of thing, but they pull it off marvelously. Stafford displays his more lyrical side and plays some very engaging unison lines with Oatts, plus a very sensuous solo. The third part, "Berda's Bounce," switches gears totally. A burning boppish number, it features Steve Wilson reeling off what to these ears is his most engaging solo on record. Punctuated by some very tasty walking bass and drum fills, this cut stands out, especially for someone like me who tends to dislike this virtuoso-type approach. Strange to think three such different pieces could form a coherent suite, but they do. How? Each subtly works within and against tradition, forming an attractive new beginning. And it greatly helps that Stafford is all over his horn, especially on "Berda's Bounce," rocketing the proceedings into the jazz stratosphere. Plus, the inclusion of a killer drum solo by Dana Hall greatly enhances an altogether marvelous performance.

A word must be said about the traditional material. "Kumbaya," especially, strikes one as irredeemable. Yet with a smart, completely non-sentimental arrangement and clever reharmonization, the tune emerges as a compelling spiritual statement. To me, this is pure genius. I never would've thought this tune could've been salvaged, let alone presented in such a hip and thoughtful way. "He Knows How Much You Care," surely some Deep South spiritual classic, though unfamiliar to me, is similarly transformed. Opening with a glorious gospel/blues into, it gets transformed into a gently bossa-while still, miraculously, maintaining an underlying melancholy. To me, this is the most remarkable achievement of a disc full of wonderful surprises. Dick Oatts, someone whom I've never really liked or appreciated, seems to completely understand the esthetic of this number and delivers a very heartfelt and authentic-sounding solo. And Miller, for whom such material is probably second nature, responds with a gloriously dancing solo. But the highlight is the gently harmonized trumpet/sax outro, with Stafford sounding as mellow as any trumpeter I've ever heard.

Bottom line: This is an absolutely killer disc, featuring some of the best and most creative modern jazz to be found anywhere. We are certainly blessed with the continuation of perhaps the most amazing jazz renaissance of any year in memory

Blew me away! I love Stafford's jazz trumpet style
Terell Stafford has some of the SMOooooooothest jazz trumpet I've heard. I put on this CD and I was just melting.

Terell Stafford is not just a jazz trumpeter; he is also an Associate Professor of Jazz Studies at Temple University in Philadelphia, teaches at Vail Foundation in Colorado and Jazz at Lincoln Center's "Essentially Ellington" Program. He has ataught at Juilliard Institute, too. This is one accomplished musician who can also communicate his art and skill to others both in the classroom and especially in his playing and composition.

Stafford is an impressive musician. His command of the instrument in tonal control--creating a mood of softness and calmness here when called for in contemplative jazz works like "Soft Winds", is a mastery of control and decision. He is never boring.

There is a nice mix on this CD--gospel traditional, an original composition suite ("New Beginnings" in three parts: Selah, Le Maurier and Berda's Bounce) and romantic "The Touch of Your Lips" to name some of the works here. This is just the CD for a relaxed evening of some great jazz on your stereo. If you love jazz, and trumpet especially, you should not miss anything Stafford puts out on CD. Love it.