Plenty of McClenty on McClenty Hunter’s solo debut.
McClenty Hunter, Jr. – The Groove Hunter – [TrackList follows] – Strikezone 8816, 51:54 [5/4/18] ****:
Drummer McClenty Hunter, Jr. knows how to swing. Hunter was a member of saxophonist Kenny Garrett’s quintet for three years (Hunter can be heard on Garrett’s 2013 album, Pushing the World Away); for eight years he’s been part of guitarist Dave Stryker’s band; and he’s backed numerous artists such as saxophonist Lou Donaldson and trombonist Curtis Fuller. So, it’s no surprise to learn Hunter’s 52-minute solo debut as a leader, entitled The Groove Hunter, features lots of swing, groove and percussive dexterity. Hunter put together an outstanding line-up for his first record, including trumpeter Eddie Henderson, alto saxophonist Donald Harrison, pianist Eric Reed, Stryker and several more. The nine tracks are a diverse showcase not only for Hunter but also the other players. Material ranges from covers (Herbie Nichols, Wayne Shorter, Stevie Wonder and others) to Hunter originals.
Hunter’s arrangements favor traditional, straightforward jazz. There’s nothing here which is abrasive, avant-garde or otherwise dissonant. This is feel-good jazz which sounds wonderful from start to finish. Hunter opens with Nichols’ “Blue Chopsticks.” Nichols is probably most famous for penning the jazz standard “Lady Sings the Blues.” Nichols was generally obscure during his lifetime (1919-1963) but has gotten newfound respect via trombonist Roswell Rudd, Steve Lacy and a New York group, the Herbie Nichols Project. Hunter’s five-minute trio rendition of “Blue Chopsticks” is an upbeat tune fronted by Reed, who pumps up and down the keyboard. It’s a great way to kick-start The Groove Hunter. That’s followed by a nearly eight-minute interpretation of Shorter’s “The Big Push,” from Shorter’s LP, The Soothsayer (recorded in 1965, issued in 1979). “The Big Push” is a bustling and frisky cut where tenor saxophonist Stacy Dillard displays some of his talent alongside Henderson on trumpet and Harrison on alto sax. Another memorable cover is Wonder’s “That Girl,” a smash 1981 hit single. This soulful number includes Christian Sands on piano (check out his rolling solo), Stryker’s bluesy electric guitar, Hunter—who proves he has one of the best shuffle grooves in jazz—and bassist Eric Wheeler. Hunter decelerates on his tribute to his teacher/mentor Grady Tate, a relaxed, soulful quartet run through Gary McFarland’s “Sack Full of Dreams.” Most pop/soul fans might recall Donny Hathaway’s version, but Tate also had success with this cordial and considerate tune. During “Sack Full of Dreams” Stryker adds some warm guitar soloing while Sands contributes some equally fine piano. On the opposite edge of the spectrum is a fiery translation of Coltrane’s “Countdown,” from Coltrane’s 1960 LP Giant Steps. Harrison burns on his alto, Reed comps with finesse and power, while Hunter and bassist Corcoran Holt sustain a pirouetting rhythmic foundation. The 3:41 “Countdown” is the shortest track and wraps up too soon.
Hunter wrote four cuts which demonstrate his thoughtful composing skills. The 6:24 ballad “Autumn” is a beautiful outing which begins as a trio offering with Hunter, Holt (who supplies a notable bass solo) and Reed. About halfway in, Dillard comes in and turns “Autumn” into a quartet arrangement. Hunter’s “My Love” is initially gentle with Hunter, Reed and Holt delivering a gorgeous drums, bass and piano introduction. The tempo shifts up about two minutes later, as Dillard enters on his tenor, and suggests he’s spent some time filtering Coltrane into his performance style. McClenty seems to like slow to medium accents. His nearly six-minute trio jaunt “I Remember When” is another example of how McClenty provides space for others to shine. During this moderately paced number, Sands furnishes elegant piano lines, Hunter brings in speckled cymbal tints and textures, and Wheeler echoes Hunter’s rhythmic gradations. Near the conclusion, the beat hastens; and then the arrangement slips back down to a nuanced culmination. McClenty ends with the elegiac “Give Thanks,” which has a hushed quality. Hunter utilizes mallets on his toms, Holt presents a quiet reverberation on his bass, Dillard switches to an appropriately heartfelt soprano sax and Reed layers some subtle keyboard magic. “Give Thanks” is a superb, late-night sojourn which is a perfect way to finish Hunter’s The Groove Hunter. Hunter’s album most likely whisked below most jazz fans’ radar when it came out in May. Find it if you can. It’s well worth discovering.
TrackList:
Blue Chopsticks
The Big Push
Autumn
That Girl
My Love
Sack Full of Dreams
I Remember When
Countdown
Give Thanks
Performing Artists:
McClenty Hunter, Jr. – drums, co-producer; Eddie Henderson (track 2) – trumpet; Donald Harrison (tracks 2, 8) – alto saxophone; Stacy Dillard – tenor saxophone (tracks 2-3, 5), soprano saxophone (track 9); Eric Reed – piano (tracks 1-3, 5, 8-9); Christian Sands – piano and Fender Rhodes (tracks 4, 6-7); Dave Stryker – guitar (tracks 4, 6), co-producer; Corcoran Holt – bass (tracks 1-3, 5, 8-9); Eric Wheeler – bass (tracks 4, 6-7)
—Doug Simpson
