Melvin Gibbs Isnât Looking Back
For the past 21 years, self-described âexplorer of rhythmâ Melvin Gibbs hasâamong many other thingsâheld down the massive low end in the collaborative power trio Harriet Tubman. The effects-laden grooves he concocts for that band, paired with the string-bending guitarscapes of Brandon Ross and the polyrhythmic assault of drummer J.T. Lewis, yielded a sprawling masterwork last year. The Terror End of Beauty, a glitch-infused collision of rock, jazz, funk, and blues, rightly found itself on just about every best-of-2018 list.
But that was last year. On this frigid winter day in the Bushwick section of Brooklyn, the dreadlocked bassist is perched in front of a computer alongside drummer, producer, and rap upstart Kassa Overall. Theyâre in the midst of what theyâre calling an âidea dayâ for one of Gibbsâ panoply of boundary-pushing projects that will surely keep him busy throughout 2019. Among those projects: the jazz-fusion Zig Zag Power Trio with Living Colour guitarist Vernon Reid and drummer Will Calhoun, a duo with theoretical physicist and saxophonist Stephon Alexander that explores climate change, a long-awaited album from the Bitches Brew-manipulating Melvin Runs the Hoodoo Down (with the late Pete Cosey on guitar), and the return of his African-based spiritual music ensemble, Elevated Entity. On top of that, Tubman is intent on making a new record in 2019. âStriking while the iron is hot is important because it took so long for everyone to, you know ⌠care,â says Gibbs, laughing.
Whatâs being cooked up in Overallâs home studio today is potential material for yet another band: Melvin Gibbs Magnum. Also in the Magnum mix are keyboardist Paul Wilson, longtime creative partner DJ Logic, and D.C.-based artist/producer Kokayi, a touring member of Steve Colemanâs Five Elements. Itâs apt that Gibbs has Godfried T. Toussaintâs book The Geometry of Musical Rhythm by his side; the surgical focus with which all hands are manipulating the rhythms reverberating from the speakers is akin to a science experiment.
âOne of my things is African-American rhythm,â Gibbs explains of Magnumâs beat-driven vision. âThatâs where this book comes in. Thereâs this geometric idea called âtranslation,â which is when you take a shape and just twist itâitâs the same shape but it looks different because you twisted the direction. Thatâs what happens with African-American rhythms: Theyâre all the same, rhythms that came from Africa, but theyâve all been twisted slightly. What weâre gonna do is take this really basic rhythm and weâre gonna twist it. Iâm exploring an intergenerational ideaâI almost want to make a jazz version of Jay-Zâs 4:44. When he made that record, I was going, âAh! This is the same idea!ââ [Read More]