#PEOPLE

Possessed of a broad, seasoned, vastly expressive tenor saxophone sound, Ray Blue is deeply rooted in his New York community, yet equally a world traveler and jazz ambassador, finding musical connection across the globe. #PEOPLE, his latest release from Jazzheads, is all about “Love of Life, Love of People, Love of Humanity,” the saxophonist declares in an album note. “Each song was chosen because it touched one of these universal feelings.” 

And the title track? Naturally, “People,” by Jule Styne and Bob Merrill, made famous by Barbra Streisand in the ’60s in Funny Girl. Blue takes it at a medium tempo, citing Eddie Harris as a model. With him is the modern master Kenny Barron on piano, playing on this and three more tracks, including a marvelous duet with Blue on Duke Ellington’s classic “In a Sentimental Mood.” Bassist Essiet Okon Essiet and drummer Steve Johns, esteemed veterans, complete the rhythm section and cook on steady simmering heat as Blue and Barron go to work. “The song is about people who need one another, who don’t isolate or remove themselves,” Blue remarks. “They’re the lucky ones, even if it doesn’t work out. That’s an important part of it to me. Disappointment is a part of growth.”

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Barron also appears, along with trumpeter Eddie Allen, on Blue’s driving minor-key swinger “Dark Berries,” one of four tracks to feature expert percussion work by renowned drummer and walking encyclopedia of Latin music Bobby Sanabria. With his multi-textured, deep-in-the-pocket approach, Sanabria enlivens Blue’s calypso-tinged “Cross-Continental Spirit” and straight groover “Always With A Purpose,” as well as Antonio Carlos Jobim’s “Dreamer,” augmenting Blue’s tight and inventive working band with pianist Sharp Radway, guitarist Jeff Barone and drummer Alvester Garnett. 

There's some serious saxophone history to “Hard Times”, a Paul Mitchell tune from David “Fathead” Newman’s 1960 Atlantic debut Fathead: Ray Charles Presents David "Fathead" Newman.  On that version, Newman and Hank Crawford (on bari sax) had the spotlight while Brother Ray played a supremely tasteful support role. On #PEOPLE we hear Blue -a fine bari (and soprano) player as well- take the lead, dealing on tenor as the core quintet maintains an effortless shuffle feel.

Paring down to trio, the program turns to trumpet legend Blue Mitchell’s “Fungii Mama,” which like “Cross-Continental Spirit” is “global in musical scope,” Blue observes. Mitchell's catchy calypso appeared on his 1964 date The Things to Do, with a 20-year-old Al Foster on drums making his recording debut (alongside a 23-year-old Chick Corey). It was Foster who created the signature "Fungii Mama" feel on that session, and it's remained a favorite at Foster's live shows ever since. Blue and the trio delight in the song’s telltale rhythmic hiccup and effortless good-time vibe.

Having captivated listeners with Barron in the duo format, Blue shares one more in that vein, a substantial exchange with Essiet on the beautiful “We’ll Be Together Again.” It’s in keeping with the #PEOPLE theme, and a title that captures Blue’s warm regard for the musicians and others he has met in his travels as a performer and educator: "I've played Cross-Continental Spirit" with rhythm sections in many countries. Each one has a different twist - the Tanzanians had another way, the Gabonese had another way, the South Africans had their way. Essiet with his Nigerian roots, he has a groove with that as well. 

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Blue lived in Berlin with his wife from 2000 to 2012, so playing and growing contacts around the world has come with the territory. Now back in his hometown Peekskill, New York, he shares fond memories of St. Petersburg, Beijing, Athens, Istanbul, Ankara, Dar Es Salaam, Libreville and more. He speaks of this tenor heroes - #PEOPLE as well - Hank Mobley, Gene Ammons, Stan Getz and John Gilmore among them. (Blue played alongside "big brother" Gilmore in the Sun Ra Arkestra once upon a time.)

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With regard to education, Blue cites Barry Harris, George Coleman and Paul Jeffrey as "people with their feet on the ground", authentic creators of this music who found inspired ways to teach it. "I don't call it teaching", Blue clarifies, "I like to call it sharing. You gotta pass the information along. And be supportive of the people you're sharing with, because they need that. It's about more than just music, it's the value of our lives as individuals and as part of society. You should work very hard at being a good person. It all goes together."

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-David Adler

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