Roy Hargrove: Bern

The appearance of Bern, a previously unreleased recording from May 4, 2000, at the International Jazzfestival in Bern, Switzerland, is the kind of archival find that reminds listeners how electrifying Roy Hargrove could be live. Released by Time Traveler Recordings on LP for Record Store Day, with CD and digital download versions to follow later. This set captures the late trumpeter in a moment of confident maturity, blending respect for tradition with the restless creativity that defined his career.

Hargrove clearly follows the tradition of Dizzy Gillespie, Clifford Brown, and Freddie Hubbard, yet his voice is never imitative. His tone blends brilliance and bite, with warmth and lyricism that shine brightly in a live setting. For the Bern performance, he assembled a formidable quintet featuring pianist Larry Willis, bassist Gerald Cannon, alto saxophonist Sherman Irby, and drummer Willie Jones III, all talented in powerful swing and subtle dialogue.

The fiery up-tempo Frank Lacy composition "Stranded" offers an early highlight and displays the group's chemistry. Hargrove takes the lead, riding the rhythmic flow with his shiny trumpet, crafting phrases that dart and swirl with natural confidence. With Jones and Cannon locked into a buoyant groove, Irby's alto delivers down-to-earth lines filled with genuine conviction. Willis supplies intricate, harmonically rich pianism that both anchors and energizes the ensemble.

Hargrove's own "Depth" is driven by a lively 4/4 beat, showcasing the ensemble's collective strength. Following a compelling unison opening between Hargrove and Irby that establishes the theme, the performance unfolds with flexible rhythmic elasticity, the quintet stretching and compressing the groove while Jones and Cannon maintain a strong sense of swing. Irby takes the initial solo spotlight, filling it with soulful alto commentary. Hargrove demonstrates his versatility with a performance that builds patiently, his tone broad and confident. When Willis enters, he extends the harmonic landscape with elegant runs and clustered chords. As the piece concludes, Jones takes centre stage with a drum excursion filled with syncopation, poise, spontaneity, and control.

"Never Let Me Go" is a classic American jazz ballad, written by Jay Livingston and Ray Evans. It first appeared in the 1956 film The Scarlet Hour. In a reflective mood, Hargrove's mellow-toned delivery allows him to draw on the warm, burnished centre of his playing, shaping phrases with patience and quiet authority. Willis's accompaniment is especially elegant, his chords placed like carefully chosen brush strokes beneath the melody. Throughout, Cannon's bass walks with patient grace, providing a cushion of support for Hargrove.

Things decisively shift towards groove on Hargrove's "Caryisms," written for former band mate and pianist Marc Cary. After Hargrove and Irby exchange phrases that establish the theme, Irby picks up the line with a solo that blends bebop agility with churchy inflections. Hargrove leans into the tune, shaping his solo with clipped rhythmic bursts and bluesy turns. The ever-inventive Willis, clearly relishing the moment, threads together percussive chords and quicksilver runs that showcase streetwise funk. Beneath it all, Cannon and Jones lock the ensemble together, anchoring the rhythmic conversation with unshakeable authority.

The closer introduces a touch of South-of-the-border syncopation on "Circus," which appeared on a 1961 Impulse Records release titled Art Blakey!!!!! Jazz Messengers!!!!!. The quintet plays the tune with infectious enthusiasm, starting with Cannon and Jones establishing the rhythmic foundation around which Hargrove and Irby initially exchange ideas before their unison voicings set the theme. Hargrove leads by example, pushing his phrasing outward, alternating between sharp staccato figures and long, clear-toned lines. Irby responds with a bold statement, his alto cutting through the rhythmic swirl with confident bite. Willis adds a robust solo, urging the band towards greater intensity. Towards the end of the piece, Jones engages in a series of exchanges with Irby, Hargrove, and Willis before delivering an exuberant solo that energizes his kit. The piece concludes with Irby and Hargrove again exploring their unison playing, creating a harmonious effect.

What remains most striking throughout the album is the band's collective spirit. Each musician contributes deeply, yet all paths lead through Hargrove's trumpet -a voice that, even years after his passing, still sounds vibrant, daring, and unmistakably alive.

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