Anyway, all that to say, now that I do know the melody, I really dig both versions. So I’m with the rest of y’all: ‘thank you’ to Baba Kalamu for pulling this one out of his collection (and what a collection it is; y’all should see it — it’s ridiculous!) to grace us with its presence.

Mtume.

Then come Doug and Jean’s interpretation with those words which seem to at once both reflect and project our rich cultural tradition which is such a vital module of Black art. Jean’s voice is compelling. Listening is like being sucked into a vortex. You become consumed by the sound. Jean’s is a vast, diaphragmatic channel that harkens back to the time when jazz musicians treaded in familiar waters only long enough to become one with the flow. Once you’ve been baptized in the primordial river of consciousness of jazz it then becomes easy to whet others curiosity with an economic sample of the nurturing aspects Black water. The first act of maturity is to take the plunge into the deep stream of creativity. Doug’s sound is rooted in tradition yet finds its own identity in advancing the culture.

Our society has to maintain a certain aspect of elasticity because things do tend to fall apart. Doug and Jean did their homework. It is obvious from the 6/8 swing of Western Sunrise to the laid back groove of Revelation that their sound is deeply rooted in jazz traditions. Yet there is something fresh here and part of the appeal is the lyrics infused with the codes of spirituals that are prevalent African American vernacular. The other part is song arrangements. The way the horns are voiced and arranged is hip. Doug incorporated many classical techniques in his compositions. A clear mastery of the language of bebop aside, mastering the language of western music is exemplified in the use contrary motion in the part writing that makes three horns sound like four. Doug’s use of call and response is juxtaposed with the fugue where the horn lines seem to answer the Hammond B3 organ. The deft use of tension and release utilized where motifs build and are resolved underlies the type of consideration inherent in an artist who cares not only about their craft but also cares for the listener.

Perforning Infant Eyes, Doug slows it down and allows Jean’s voice to wrap you in the soft, warm textures of a sound that knows the essential purpose of a lullaby. This music is so delicate and volatile you know this can’t last forever; though you wish it could. All things fall apart and return to the earth but for those children of the revolution and revolutionaries who are still inclined to dig the deepness gods and earths, there is always new day dawning. And once the new day is here the sun will shine it’s own light; which too will be part reflection and part projection.

Peace out to Ahidiana.

AumRa

It’s Joyce Green, not Sarah Jean singing on Western Sunrise on the Adam’s Apple album that also provides treatment of another Wayne Shorter composition - Sanctuary. Here, Doug Carn reinterprets and personalizes Shorter, while defining what I perceive as the sanctity of the matrimonial vow. I would have enjoyed hearing Sarah Jean render this Shorter piece.

I have a lot more to say, but I’m satisfied. Sarah Jean Carn is one of the greatest vocalists of our time. I hope she is able to made a substantive comeback (to us), much as Abbey Lincoln has been able to accomplish from the early 1990s until now.