Few artists possess the extraordinary ability to blend an array of musical traditions seamlessly. Among these exceptional musicians, a mere handful have charted new territories, forever altering the soundscape. Within this esteemed echelon, Roy Hargrove stands out as a visionary torchbearer, singular in his place alongside the greatest innovators and practitioners in history.
By the time Hargrove entered a studio in Grande-Terre, Guadalupe, in 1998 with his Latin jazz “Crisol” band, he had already risen to prominence as a tremendous force within the jazz industry, and more importantly, within the culture as a leader in a distinguished class of emerging stars. Fresh off a GRAMMY® win for Best Latin Jazz Album for his Habana album, Hargrove continued to journey into the heart of the Afro-Latin lexicon, taking up the tradition of trumpet predecessors like Dizzy Gillespie and Kenny Dorham. Hargrove conceptualized his personal expression of the style, which resulted in an unforgettable recording, that, until now, had been deferred. This dynamic session, released on October 18, captures a moment of musical alchemy that represents one of the key hallmarks of Hargrove’s legacy: the term “crisol,” meaning “melting pot,” perfectly encapsulates Hargrove’s approach, merging various traditions into a unified, singular sound. Each note captures the essence of his musical predilections and his commitment to pushing boundaries.
It’s more than worth noting that during this period, Hargrove was on the precipice of defining an indelible legacy for himself, balancing his creativity with past influences and future innovations. Hargrove’s contributions extended into the realms of soul and R&B, notably through his collaborations with D’Angelo for what was a highly anticipated sophomore album. Released in 2000, Voodoo would go on to become one of the most essential albums in the canon of modern soul music, and the overlap of Hargrove’s creative worlds at that time is palpable; songs like “Spanish Joint” bear witness to that synergy, with the intricate blend of musical styles underscoring Hargrove’s versatility and his ability to deeply influence the sonic landscapes of elite contemporaries.
“He understood the need for both,” says pianist Robert Glasper, a key benefactor who epitomizes part of the enormous impact of Hargrove’s work. “He understood the need for knowing the history, but not being held back by the history. The need for understanding the truth of the past, but living in your own truth, because your own truth will eventually become history as well. He understood that you have to keep the music moving.”
While leading his acclaimed quintet, which featured talents like trombonist Frank Lacy, alto saxophonist Sherman Irby, pianist Larry Willis, bassist Gerald Cannon, and the illustrious drummer, Willie Jones III, Roy Hargrove was simultaneously cultivating his wider musical project, Crisol. This dual endeavor emphasized Hargrove’s deep commitment to an all-encompassing outlook and approach.
For Jones, Hargrove’s band was a North Star he eagerly set his sights on when he embarked on his professional journey in 1997, while working with the legendary Arturo Sandoval. The possibilities for young, emerging black musicians led Jones to relocate to New York, a move fueled by the aspiration to work more closely with Hargrove.
“He kicked that door in,” Jones remarks on Hargrove's unmatched versatility across musical genres. “Whatever genre he's doing, it’s Roy. No one’s done it better than him.” Officially joining the quintet in 1998, Jones became a vital part of a band that resonated well beyond traditional jazz circuits. His time with Hargrove was not just about playing music but also about being part of a larger creative synergy that Hargrove masterfully orchestrated.
Crisol, which consists of Hargrove’s aforementioned core quintet, expands with the addition of saxophonist Jacques Schwarz-Bart, pianist Gabriel Hernández, guitarist Ed Cherry, and Julio Barreto adding vocals and drums. The group’s heartbeat — a luminous percussion section of Miguel “Angá” Diaz and Changuito (José Luis Quintana) — supports an exciting approach, led by Hargrove’s explosive sound and amalgamation of traditional, Latin, funk, and soul, with their compositions serving as both the compass and the anchor, guiding the ensemble through a narrative that celebrates the diversity of the African diaspora.
The compositions crafted by Hargrove and his extraordinary bandmates — Hernández, Cannon, Ed Cherry, Schwarz-Bart, Willis, and Jones — paint the picture of these collaborative sessions. As Jones recalls, “Nobody really knew the music; Roy had that music in his head. We rehearsed for maybe three days and would just record all day. That’s how we did the record. Roy had those songs in his head, he knew who he wanted to play on which tracks, and things like that. It’s kind of how Roy did the second R. H. Factor record.”
Jones’s original composition, “Another Time,” holds a special place in their history together. Known for his otherworldly ballad performances, Hargrove’s decision to record Jones’ piece for Grande-Terre was profoundly significant to him.
“Nobody plays a ballad like Roy,” Jones shares with admiration. The process of introducing “Another Time” to Hargrove began with modest hopes. “So, when I first played it for him, my thing was like, ‘Oh man, if he could just play it on the gig, I'm winning.’ I won,” Jones recalls with a laugh, noting the triumph in having Hargrove record it not once, but twice. The second rendition, for Hargrove’s strings album, Moment to Moment, was another highlight, underscoring Hargrove’s unrivaled command in balladry. To that end, Roy contributes one of his own, the beautiful “Kamala’s Dance,” penned for his daughter, weaving heartfelt depth and emotion into melody.
In stark contrast, the Hernández original and album opener, “Rhumba Roy,” serves as a powerful testament to Hargrove’s stunning flexibility. Though all ten tracks are compelling, “Rhumba Roy” stands out with its thrilling solos and invigorating rhythm section, showcasing his ability to match virtuosity with infectious energy, as Hargrove and fellow soloists Hernández, Irby, and Lacy soar with boundless flair.
His rendition of Cedar Walton’s “Afreaka,” a piece originally recorded by Hargrove's trumpet predecessor and hero, Lee Morgan, in 1969, elevates the music to remarkable heights. The skill with which he approached this piece exemplifies his ability to breathe new life into classics. Hargrove’s commitment to honoring the jazz legends who came before him was a major hallmark of his career. As Glasper notes, “He really loved older cats, the cats that matter.” He was not just celebrating their contributions, but also engaging in a continuous process of learning – and he paid it forward significantly. “[At one point] he had Ronnie Matthews in his band,” Glasper reflects. He had the cats in his band that was still around. And I think they taught him so much – about music and the world in general. He was so beloved and open, and he received so much information from them.”
As we continue to commemorate what would have been Roy Hargrove’s 55th birthday (October 16), his legacy reverberates with this release. In celebrating Roy Hargrove, we not only remember a musician of extraordinary talent but also honor a legacy of cultural synthesis and innovation. This latest release is not just a collection of songs, as some posthumously released projects tend to be – it is a fully realized expression that serves as reminder of the everlasting impact of his artistry.
Last week marked the sixth anniversary of Roy’s passing – a void that, for many of us, doesn’t get easier to accept with time. “When you're talking about Roy Hargrove, you might as well be talking about John Coltrane,” says drummer bandleader T.S. Monk, who was one of the first musicians to work with a young Hargrove when he came to New York. “You might as well be talking about Miles. You might as well be talking about Monk. That's how important he is. That's how much trumpet he plays. Monk told me that "...in order to truly break into the future, one must be extraordinarily familiar with the past." This is a principle that Roy Hargrove personified like no one else. His interpretation of jazz was not tied to a specific era; rather, it remains a timeless commentary on the art form itself. And as Monk aptly noted, "They will be playing Roy Hargrove a hundred years from now. That’s how important he was.”
As we commemorate his contributions, and as we move through uncertain times as a country, I hope we also reflect on the boundless potential of music to transcend borders, cultures, and time. I believe this gem of a project is Hargrove’s invitation to us all.
