REVIEW: Julian Douglas "Talafawa"

As a child, Julian Douglas absorbed a variety of Western musical sounds heard in his household, including jazz, progressive rock, funk and more.  Inspired by his father, who listened to music with an ear for detail, he began to dissect percussion parts in songs, attempting to reproduce them on makeshift instruments found around the house.  Douglas’ love of percussion deepened when, in his twenties, he began to explore and study the music of artists such as Carlos Santana, Babatunde Olatunje and Peter Gabriel.  As a result, his artistic expression gradually became a fusion of his earlier influences and new found Afro-Cuban and African rhythms and compositions.  Douglas co-founded the avant garde world percussion ensemble Rhythm Quest during the time that his scope of influence was broadened to included music of India, the Middle East and other cultures.  Rhythm Quest went on to release the critically acclaimed Excursion as Douglas continued develop his playing through performance and expanded his involvement to include teaching and facilitating workshops throughout the northeast and midwest of US.  Collaborations with artists such as saxophonist Greg Osby, the World A Capella Vocal Ensemble and Turkish Sufi musician Latif Bolat were also crucial to Douglas’ growth in terms of composition and arrangements.  With the disbanding of Rhythm Quest in the late 90′s, Douglas branched out to include large ensemble percussion composition with a focus on incorporating various and disparate elements within rhythmic frameworks.

Talafawa represents the coming together of various influences, elements and perspectives that make up the artistry of Julian Douglas at this point in his global journey.  As such, the album makes for a fascinating amalgam of original expression.  Rather than seeking to replicate a broad variety of musical styles, Douglas approaches the music as a painter with an increasing palette of colors, standing before an empty canvas and making no assumptions.  That said, he clearly has a respect for tradition and the result is an authentic and highly creative body of work.  Douglas’ ability to marry rhythms, textures and styles may indeed appeal to fans of such groups as Baka Beyond and at times, Kronos Quartet, particularly with their Pieces of Africa album.  With the world becoming smaller through technology, Talafawa may indeed serve as a sort of soundtrack or travel journal for this global village called Earth.


Featuring the meditative lead vocals and harmonies of Stephanie Heidemann, the title track brings together a refreshing variety of rhythmic percussion, synthesizer and South African-influenced backing chants.  For all of the many pieces within the composition, Talafawa breathes with airy melodicism and timbral variety.  “Ozlem”, rich with Middle Eastern influence, courtesy of Dena El Seffar masterful playing on violin, viola and joza, is mystical and exotic.  African-rooted rhythms and colors and vocals also factor into the equation to produce a lush and cohesive piece that progresses emotionally as energy builds, and then fades to pleasant calming effect.

Not unlike the work of bassist John Patitucci on his Line By Line album, where he fused progressive jazz with small string ensemble, “Nanga Mai” is a moody and deceptively complex piece.  As the buoyant and fluttering flute of Tom Walsh floats above vamping string chords, the growling quality of Michael Rutherford’s berimbau slides beneath the mix.  Seamlessly introduced, Douglas’ choices of varied percussion provide a firm yet nuanced foundation. “Nanga Mai” serves as a showcase for the exceptional production techniques heard throughout Talafawa as timbres, textures and open space are allowed to function in cohesion.  Clocking in at over nine minutes, “Nanga Mai” is an imaginative and brooding piece that effectively brings together world beat, classical music and improvisational jazz.

The pensive “Akasha” is a sparse piece, providing ample space for Douglas’ frame drum soloing over ominous droning synthesizers.  A throbbing, Native American-sounding bass drum pulse adds to the skeletal structure as the faint and tranquil sounds of a brook gently trickle in.  “Tiempo Azul” continues to explore a pervading darker theme,
this time incorporating the natural sounds of insects and birds.  Douglas brightens things up just a bit with delicate cymbal strokes as Corey Smythe contributes thoughtfully sparse piano notes and chords that offer an interesting counterpoint.  The overall effect is as overcast skies with slivers of sun poking through now and then as Douglas gradually layers in various hand drum patterns and percussive accents.

On the appropriately titled “Devotion,” a 12th century Hildegard of Bingen Christian liturgical piece, sung exquisitely (in Latin) by Heidemann, forms the basis of the piece along with a traditional Ethiopian Pygmy composition.  Rhythmically, things shift after a lengthy intro and an assortment of stringed and percussion instruments are added.  The mood is somber, almost to the point of mournful, as additional vocals are introduced and carefully arranged in harmony and rhythm.  “Devotion” is a fascinating marriage of ancient lyrics and melodies with sensitive yet adventurous experimentalism.

“Subaha” once again features El Seffar, this time only on viola, adding distinctly Middle Eastern flavors in tastefully understated yet soulful fashion.  Douglas seasons the pot nicely with frame drums, string plucks and subtle percussive elements.

With the release of Talafawa, Julian Douglas brings together his love and respect for various styles, cultures and traditions, and beautifully marries them to varying degrees to present a gorgeous collection of pieces that will especially appeal to those who crave such a fusion.  Lovers of experimental and modal jazz, African and Middle Eastern music and classical may all indeed find reason to indulge in these rich explorations.

Review by Mike Roots
Rating: 5 stars (out of 5)

REVIEW: Jeff Scott "Begin Again"

Detroit native Jeff Scott took to music at an early age; so early in fact, that he formed his first band (Nimbus) at the age of 12.  Now while that may not be the experience of every kid, it’s not altogether uncommon.  But forming a nine-piece band with a full horn section? Now, that’s uncommon.  The young Scott did just that, and within a few years found success with plenty of gigs on the local scene.  Over the years, Scott became a seasoned performer, collaborating with the likes of Earl Klugh, Ursula Walker, Perry Hughes and others in Detroit’s community of jazz artists.  Along with singer/songwriter Duane Allen Harlick, Scott went on to establish The Big Picture, a six-piece unit whose sound developed into a unique and accessible blend of soul and pop.  As the house band in a city club, The Big Picture refined their sound by playing regularly and eventually went on to much larger venues, having the opportunity to support such musical giants as Smokey Robinson, Hall & Oates, Eddie Money and Richard Marx as an opening act.  The band later recorded an album and added regional festivals to their list of venues, gaining further popularity and attracting attention from industry professionals in both New York and Los Angeles.  In order to pursue different opportunities in the creative sense, Scott left The Big Picture.  Co-produced by Scott and Mark Heckert, Begin Again signals Scott’s solo debut.

Jeff Scott’s voice is like a good cup of coffee; robust, rich and smooth.  Think BJ Thomas, Darius Rucker, Gordon Lightfoot and at times, Eddie Vedder. Begin Again is a well-crafted body of songs blurring the lines between rock, soul and folk, and effectively showcasing Scott’s voice and lyrics.  With the use of acoustic and electric guitars, organ, piano, and strings and horns, this album bears evidence that Scott’s early penchant for a full and orchestrated sound has not diminished.  What is equally true is that he is adept at using open space, and is clearly a sign of artistic sensitivity and maturity.

The title track is a sunny, soul-infused folk rocker bringing to mind Jackson Browne’s piano-driven “Running on Empty.”  Lyrically, “Begin Again” is reflective and optimistic, as Scott sings “I don’t know what the future holds, but I know I want to go.“  Determined not to allow the past to imprison him, Scott asserts his desire to live each day in the present and look to the future.  “Route 17″ is the dark and brooding tale of a place called the Classic Cat where “Faith, Hope and Charity are not to be seen.” The main character in the song is a young lady named Angelica who has apparently ended up working as a prostitute upstairs from the bar.  As Scott sings “your last stop is here on Route 17,” there is a strong indication that this place is very much a dead end.  Though it’s not certain, the lyrics seem to suggest Scott is placing himself in the character of Angelica’s guilt-ridden customer.  A mid-tempo rocker, “Route 17″ serves as a graphic and unadulterated look at the dark and seamy side of life as some know it.

With crisp acoustic guitars and a throbbing bass line, the self-deprecating “Break My Heart” is a highlight, even as Scott sarcastically paints himself as the willing dumpee in a dying relationship.  You can’t help but sadly smirk at lyrical gems like, “It’s as good a day as any to say goodbye / I’ve got nothing on my calendar except to cry / These tears that I’ve been saving, ready to let go / I can’t hold them back forever, so it might as well be now / Go ahead, say good bye.” Scott knows she’s made up her mind and there’s nothing he can do to change it.  “Break My Heart” is simply thoughtful, radio-friendly pop.

The gorgeous “Don’t Throw Away Today” is a jazzy, bossa nova-influenced track in the vein of Bill Withers.  Gentle percussion, piano, strings and subtle chord changes provide the ultimate backdrop and accompaniment for Scott’s rich vocals as he caresses notes while offering words of comfort and encouragement.  With a heart of compassion and the wisdom of experience, lyrics such as “life’s always brighter on the other side / But these few moments can make a difference in your life / A wise man said each and all of us just get a certain amount of time / So as the seconds tick away upon the clock / Oh, what you gonna do with the time you’ve got?” come across as fresh and relevant, and never trite.

With understated Pan-African percussion, jazz-inflected piano and muted trumpet and slide guitar, “Old Silverback” with its blues-based feel, would fit comfortably on a Bonnie Raitt album, should she ever decide to record it.  The clever use of said percussion is perfectly fitting as the song’s main character, figuratively and humorously referred to as a gorilla, sees life as “nothing but a jungle.”  Scott’s soulful singing is amply supported by female backing vocals, revealing yet another facet of Begin Again.

On the witty “Things Change,” he ruminates on how one’s assumed invulnerability and superiority can just as easily give way to the harsh realities of life, offering a valuable lesson.  With ranging lead and backing vocals and tasteful instrumental backing, “Things Change” is melodically easy on the ears.  It’s also good songwriting as Scott’s first-person narrative and thoughtful lyrics suggest he is the one who has gleaned much through experiences both good and bad.  In the final analysis, one gets the sense that he is able to smile, having lived through and learned from it all.

“Meet Me Halfway” is a lovely acoustic ballad, filled with humble yearning for reconciliation.  Offering words of comfort and encouragement, Scott shines as he is really in his element here as a singer/songwriter.  Not enough can be said regarding Scott and Heckert’s production skills, not only on this song, but the entire album. He simply allows Scott’s voice to be the brilliant instrument it is by making it front and center while the musical backing brings just the right enhancement.

An aching ballad, “Your Sure Thing” incorporates just a hint of Nashville into a tasteful adult contemporary sound.  Scott’s fresh and thoughtful take on the traditional “Shenandoah” is superb as he gently layers his rich and sturdy voice over piano chords and strings, yielding a folk/jazz masterpiece.  “Nothing But Goodbye”, with its melancholy pedal steel fills, is a powerful tale of a broken relationship reaching its painful conclusion.  Scott paints a vivid picture as he sings, “She doesn’t need to say a word / She just steps back and lets him in / He sees the dinner on the stove / He sees the suitcase in the hall / He sees the look upon her face / He sees the writing on the wall / And this time, there won’t be another time/And it ain’t worth another try, cause this time, there ain’t nothing but goodbye.”


Commitment to family through thick and thin provides the lyrical basis for “We Will Call Home” as Scott’s comforting vocals find the combination of tasteful organ, piano and violin the ideal compliment.

Whether or not it reaches the audience it deserves, Begin Again clearly has the makings of a classic album.  Filled with exquisite songwriting, singing and instrumentation, Jeff Scott’s solo debut reveals the craftsmanship of an artist passionate about life and his desire to express it in song.  His maturity is reflected not only in his writing, but in his apparent comfort in the blending of pop, jazz, folk, soul and country to produce a highly original, meaningful and entertaining work.

Review by Mike Roots
Rating: 5 Stars (out of 5)