Charlie Hunter, former member of the Disposable Heroes of Hiphoprisy, serves notice that he will be a major player in the modern jazz scene in the '90s and beyond. Les Claypool, on Claypool's own Prawn Song label, recorded this, Hunter's first album as a leader. On this initial solo effort, Hunter masterfully plays the seven-string guitar (two bass strings, five guitar strings), and is joined by David Ellis (tenor sax) and Jay Lane (drums), who is himself a former member of Claypool's band, Primus. The trio provides an interesting, yet accessible, groove-driven, funky, improvised jam for a new generation of jazz fans. The Hunter gospel is spoken from the outset with "Fred's Life," a quick, groove-laden track that is highlighted by the horn work of Ellis.
Longtime Charlie Hunter associates John Ellis (reeds and keys) and drummer Derrek Phillips were soon to leave the fold after the recording of this session, but there is no sign of undue tension in this typically impressive set. The proceedings kick off with the hard rocking "Cueball Bobbin'…," where Ellis switches from keys to sax and back as Hunter rips into some of his hardest rocking riffs, weaving around the other instruments like a prizefighter taunting his opponent. If nothing else quite matches the driving intensity of that track, the rest is immensely enjoyable jazz-rock fusion that plays far more to the jazz side of that equation.
After a quartet album with guest vocalists to end his run at Blue Note, then a quintet album for his Ropeadope debut, Charlie Hunter has scaled back down to a trio, retaining drummer Derrek Phillips and saxman John Ellis from the last album. This is arguably the best way to hear Charlie Hunter: he's got a melodic foil to play off of, and someone supplying a beat, but not so many things going on that you can't concentrate on what he's doing. And it's well worth concentrating on because this man is simply amazing. He plays lead lines and chords while serving up funky basslines simultaneously on his eight-string guitar.
It is difficult not to be impressed with the playing of guitarist Charlie Hunter. By using an extra string, Hunter is able to create his own basslines and have a very self-sufficient bassless (and keyboardless) trio with tenor-saxophonist Dave Ellis and drummer Jay Lane that has all of the parts covered. The music on Bing, Bing, Bing! crosses over between straight-ahead jamming to '70s retro-funk (à la Eddie Harris) that is infectious enough to fit into an acid jazz setting. However, even at its funkiest, the rhythms are subtle and the improvising reasonably creative, making this a potentially popular group who should still interest jazz listeners.
Despite lineup changes, Charlie Hunter's trio has always consisted of a sax player and a drummer in addition to Hunter's seven- or eight-string guitar heroics. After about a decade with that template, John Ellis added a bit of keyboard and melodica to his sax for Copperopolis, almost presciently setting the stage for Mistico. With Ellis moving on to concentrate on a solo career, Hunter decided to form a brand new trio, bringing in Simon Lott on drums and Erik Deutsch on keyboards. That's right: no sax. The varied keyboards vs. sax give the album a sound that's less overtly jazz than previous efforts, but Copperopolis also showcased Hunter and company in more of a rock mood and that trend continues on Mistico.
Charlie Hunter is the best kind of restless musician. Just about every new album brings another new ensemble and new possibilities. This time out, Hunter teams with drummer Bobby Previte (who he has recorded with extensively) and trombonist Curtis Fowlkes (who played on Hunter's 2003 album Right Now Move). Both players have been stalwarts of the N.Y.C. jazz scene since the late '70s but have played on any number of jazz, rock, and pop recordings. As players, they really know how to serve a song rather than put their imprint on it and Hunter takes full advantage with a really strong batch of tunes that play less like jazz and more like classic pop and soul tunes. They've got strong, catchy melodies, nice changes, and in-the-pocket grooves that can't be beat.