Every once and a while a musician emerges on the jazz scene who has the ability to transcend their influence beyond the closely-knit circles of jazz aficionados, but in doing so not losing the musical integrity which allows them to don the label of jazz artist. Guitarist Chalie Hunter stands as one of these artists, and on Thursday, September 12 at the Cubby Bear he demonstrated to Chicago why he has been able to take his jazz into mainstream of society's musical tastes, attracting an audience ranging from young dreadlocked twirlers to middle-aged business men.
At the Cubby Bear, a venue not usually associated with jazz, Hunter slammed through a 90-minute eclectic set with his quartet. Accompanied by Calder Spanier on alto saxophone, Kenny Brooks on tenor sax, and Scott Amendola on drums, Hunter played a mix of songs from his recent Blue Note release ready...set...shango!, along with tunes from his second release Bing!Bing!Bing. They even grooved through two cuts from Bob Marley's classic reggae album Natty Dread, of which the quartet recently recorded their own version and should have in record stores by early January. One element of the music was apparent from the start of the set -- this was definitely not your traditional jazz ensemble on stage. Where was the piano? And even more importantly, WHERE WAS THE BASS?
The answers to these two questions emerged as the most captifying element of the quartet's music, as the parts for both of these instruments emerged from the 29-year-old Bay Area native's custom-built 8-string axe. As Hunter ran through rhythmically complex solos, evoking thoughts of jazz guitarist John Scofield, he kept a steady bass line going with the top two strings of the guitar and managed to infuse some solid chords as well. This prodigious playing has come from years on the road and a burning passion for jazz.
"I knew that I wanted to do this with my life from when I was 16," said Hunter about his musical career in an interview from Minneapolis two days before he invaded Chicago with his funky brand of jazz. With influences ranging from James Brown and Maceo Parker to Charles Mingus and Cannonball Adderley to Herbie Hancock and Big John Patton (he had their CDs with him on tour), Hunter has developed a peculiar fusion of genres in all his years playing. His playing credits include a stint with the rap group Disposable Heroes of Hiphoprisy before he joined with Amendola and tenor saxist Dave Ellis to form the Charlie Hunter trio. Ellis left the ensemble under amiable terms following the recording of ready..set...shango! in order to pursue a solo career, and Spanier joined the group prior to the recording.
"He (Spanier) was a natural addition," Hunter said, also mentioning how well Brooks has filled in as a replacement for Ellis. During the performance, the two saxophonists demonstrated a natural synergy, playing lines together almost flawlessly while also playing wild syncopated lines off of each other. Solos ranged from hard bebop to Coltranesque rides into an unknown universe of sound, bouncing between registers.
Hunter's Bay Area roots show in the way that he feeds off the audience during a show. After all, San Francisco and Berkeley were the origin of the '60s movements of free shows with audience interaction (i.e. the Grateful Dead and the Jefferson Airplane), which put the audience's needs in the forefront of any show.
"I know it's a good show depending on how the crowd is getting into the music," Hunter said. "Sure I can feel it when they get the groove, and we play off that."
With an expanding audience base, in part due to an underground network of tapers similar to those of Phish, the Dead, Medeski, Martin and Wood or the Dave Matthews Band, the Charlie Hunter Quartet stands on the verge of a rare jazz breakthrough. With ready...set...shango! currently #1 on CMJ's Jazz chart and near the top of the Gavin Jazz chart, the ensemble's blend of funk, acid jazz, bebop and reggae (just to name a few), can capture even the most novice of jazz listeners. -- Jason Koransky
