JAZZIZ Artist Reviews - October '08
IT'S BEEN 20 YEARS SINCE TAKE 6 debuted with their self-titled album, spearheading a movement back to vocal harmony. Thus, the group is responsible at least in part for everyone from Boys II Men to the Backstreet Boys. Whether that's a good thing is debatable, but what isn't debatable is that Take 6's combination of gospel, doo-wop, and R&B (with a generous dollop of jazz) has won the group numerous awards and fans.
Now, in the words of longtime member Cedric Dent, the group has come full circle and returned to its jazz roots. "I've wanted to do something like this for a long time, but in a group, you have to compromise," Dent says. So The Standard finds the vocal sextet singing "A-Tisket, A-Tasket" and "Someone to Watch Over Me." Guests include such jazz luminaries as Roy Hargrove, Al Jarreau, Jon Hendricks and George Benson.
To the credit of all involved, those guests enhance, rather than overwhelm, the disc. "Keeping the reins was important for us," Dent says. "Mark (Kibble, the group's founder) produced the record, so he made sure our sound was consistent. Our sound is always going to be our sound."
While the spotlight will shine brightest on those who add their voices - including Ella Fitzgerald, via the original 1938 recording of "A-Tisket, A-Tasket" - the instrumental contributions of Benson, Germany's Till Brönner on flugelhorn and Roy Hargrove on trumpet are at least as deserving of accolades. "The horn stuff really excited us. I didn't really know Till Brönner's work, but the outcome (on Miles Davis' "Seven Steps to Heaven") - oh, my goodness. It was exactly what that track needed. We'll be looking forward to hooking up live when we perform overseas."
Once the decision had been reached to craft a (mostly) jazz album, Dent says the process of selecting songs was straightforward. "We all came in with a list. A lot of the same songs came up. ‘Sweet Georgia Brown' was one we all had on our list. ‘Windmills of Your Mind' was another one we all wanted to do. I think it's my favorite."
Dent admits that today's technology has made it easier to piece together contributions from disparate sources, from Ella's original vocal to new parts by Benson, Jarreau, Brönner and the others. "It's the magic of technology," he said. "We can send the entire recording session via the Internet." The guests then play their parts and return it via the Web, where the group is able to insert it into the mix. "We could tweak it or send it back and say we wanted something a little different. It saves time and it's economical, but I think it still sounds warm and organic."
Asked what is the most gratifying aspect of the album for him, Dent hesitates, then points to an overlooked aspect. "I think it's the sequencing," he says. "The songs follow each other so well. There was a part of the recording process where it sounded like a hodgepodge, but the sequencing put it all together. You have Ella's nursery rhyme, then Kermit the Frog ("It Ain't Easy Being Green"), with an environmental message, then Aaron Neville with the backdrop of Hurricane Katrina ("Do You Know What It Means to Miss New Orleans?"). Then it's followed by ‘What's Going On,' which has always been associated with political and cultural events. Each one sets up the next. I love the way it hangs together."
Take 6The Standard
(Heads Up)
The album title becomes self-evident on first listen. But this legendary a cappella sextet has been setting standards in jazz and gospel for two decades, netting as many Grammys as Dove Awards (10) with their soulful harmonies. In taking a decidedly jazzy approach to some of the Great American Songbook's classics, the group vibes with so many guest artists that they could easily have renamed themselves Take 7, 8 or 9 and beyond.
After establishing their supreme self-sufficiency on a wistful yet finger-snappin' "Sweet Georgia Brown," they back the witty lead vocal of George Benson on Nat "King" Cole's buoyant, "Straighten Up and Fly Right." What's more, the 1991 posthumous duet of Cole and daughter, Natalie, undoubtedly inspired Take 6's unique pairing with Ella Fitzgerald's charming 1938-recorded vocals on "A-Tisket, A-Tasket."
Six becomes nine on "Seven Steps To Heaven," with contributions from Al Jarreau, Jon Hendricks (the song's original lyricist) and flugelhorn player Till Brönner. Then there's "Do You Know What It Means to Miss New Orleans?" (with Aaron Neville) and a grooving gospel twist on "What's Going On?" with R&B star Brian McKnight, the younger brother to group member Claude. The final two tracks - "Shall We Gather at the River" and the Quincy Jones/Jeremy Lubbock wordless charmer "Grace" - trace back to Take 6's gospel roots.
- Jonathan Widran
Also reviewed in this issue
David Sanborn
Stanton Moore Trio
Willie Nelson and Wynton Marsalis
Bob Mintzer Big Band
Shea Breaux Wells
Larry Vuckovich Trio
Bennett Paster and Gregory Ryan
Al Green
Jayme Stone and Mansa Sissoko
Patricia Barber
Earl Klugh
David Murray and Mal Waldron
Martial Solal Trio
Adrián Iaies Trio + Michael Zisman
Steve Allee Trio
Kenny Wheeler/Hugo Wolf String Quartet/John Taylor
Hank Roberts
The Roy Hargrove Quintet