Reginald Chapman: Prototype
Fresh Selects

Though you'd likely locate Prototype in the jazz racks, Reginald Chapman's set distances itself from others by infusing its material with healthy doses of boom-bap and soul. Horn obsessives in particular will find much to love about the Virginia native's release: not only does it prominently feature the leader on custom-built bass trombone, many tracks boast multi-layered horn arrangements that lift the music to glorious, sensual heights. Chapman wrote all of it except for a cover of Coots and Gillespie's “You Go To My Head” and a rendering of the traditional “We Shall Overcome.” He brings a high level of musicianship to the project: not only has he played with Foxygen, The Mountain Goats, and Broken Social Scene, he's a co-founder of the No BS! Brass Band and is currently working towards completing a Doctorate of Musical Arts in Jazz Bass Trombone Performance.

Helping him realize his vision are fellow ‘bone players Ben Ford, Reggie Pace, Bryan Hooten, Karl Lyden, and Scott Flynn; saxophonists Marcus Tenney, John Lilley, and David Hood; and trumpeters Rob Quallich and Ryan Easter. Fleshing out the cast are keyboard players Devonne Harris and Macon Mann, bassist Andrew Randazzo, and drummer Corey Fonville. That most of the recording was recorded and mixed by DJ Harrison of Stones Throw renown is telling, given the material's warmth and soul. It's a special recording for another reason: whereas the bass trombone is typically used as a foundational horn situated at the ‘bottom' of a horn section, so to speak, on Prototype it's featured as a full-on lead instrument, one eminently capable of voicing melody and well-suited for soloing, too.

Following a brief spotlight by Chapman (“Prototype (Intro)”), the album kicks into gear with a resplendent rendition of “You Go To My Head,” with vocalist Sam Reed leading the band in a delectably soulful performance. As good as she is, the instrumentalists are her equal, with all concerned transforming the tune into an intoxicating rouser as opposed to the romantic dirge it's sometimes presented as. Sweetened with electric piano and bass trombone solos, lush horn harmonies, and a slinky groove, the tune offers a refreshingly funky take on the standard. Horn writing's taken to an even higher level during “Hoodie,” as boom-bap in tone as one might expect from something so titled. It's not the only time on the album Chapman densely layers horns, but it's certainly one of the most striking instances. With Fonville's snare popping throughout, jazz meets hip-hop for eight swinging minutes, and solo room's made not only for trombone but tenor sax, too.

With the trombone doubled up by Moog synthesizer, the downtempo jam “Starting Now” oozes a bit of a warm West Coast vibe, the album's instrumental hip-hop feel rising to the surface once more. “We Shall Overcome,” on the other hand, features the band tearing into the album's most full-on jazz-styled performance. In addition, “Mysterious Hope of Glory” possesses such strong melodic lines, it's almost impossible to not think of the uplifting workout as an instrumental treatment of a vocal song, while “Jebbish (Prelude)” is but a minute long yet nonetheless makes a powerful impression due to its beautiful horn chorale arrangement.

August 2018