Tomeka Reid

Recordings

This modal jazz composition by Tomeka Reid is in 7/4 meter, quarter notes divided as 3+4, with a syncopated melody and bass line. The introduction begins with solo bass, with guitar eventually joining in playing groupings of 16th notes of 2+2+3. The cello begins the melody shortly after the guitar, contrasting her smooth bowing with the rhythms of bass and guitar (0:28). On the second time through the short melody, Tomas Fujiwara enters in on drums while Reid adds more ornamentation (0:47). This arrangement allows for this tune to avoid monotony, which can happen with such a repetitive bass line and chords. It also allows the listener to hear each individual part.

Reid’s lively solo is full of a lot of different ideas and showcases her variation in rhythm, timbre, and techniques (1:04). There are jazz elements such as slides, notes outside of the key, use of pentatonic scale, and syncopated rhythm. Then there are free jazz style techniques such as use of ponticello and tremolo bowing producing a thin and metallic sound (1:32). These techniques feature regularly when Reid uses the bow and are found in Super Nova and RN. Reid’s long solo fits with the tune's incessant rhythm and the genre of modal jazz.

Mary Halvorson plays a rhythmic solo with Reid accompanying her with syncopated pizzicato (2:16). Here Reid is very active and is often equal in volume while comping for Halvorson. If Reid had done that with other musicians, it could have been considered "stepping on their toes," not leaving space for the other musician to play.

“Sadie”, composed by Tomeka Reid, begins with guitar, bass, and cello in unison. The three instruments introduce the melody and the tone for this tune, swung and light. One of my favorite parts is when the melody repeats the first line, it changes from syncopated swung eight notes to triplet quarters (0:05). Starting with this movement between swung eigths and triplets is always a great way to create a great tune, i.e. "Speak Low", "Misty", "In a Sentimental Mood." Then the drums come in and the bass begins playing a walking line while guitar and cello continue to the B section of the melody (0:22). Reid plays the entire tune pizzicato, which could be an ode to Oscar Pettiford, one of her influences.² Her solo is light and has plenty of elements found in jazz bass solos (0:42). It is full of syncopations, blue notes, and slides. Reid’s lack of space in her solos fits more of Oscar Pettiford's style of soloing than other cellists on this website such as Jaques Morelenbaum. This solo is incredibly rhythmic, which pizzicato naturally encourages, and is full of joy which fits this tune very well.

Because Jason Roebke also solos, you can hear the difference as musicians and as instrumentalists in their solo (2:45). Bass and cello are similar in their makeup of wood and strings and you can hear the similarity in solos of jazz bassists and jazz cellists. However the fundamental difference in the strings, 4ths on bass and the 5ths on cello, makes for different melodic lines and patterns. Also, when you compare pizzicato from a jazz bassist to a cellist, who does not know jazz bass pizzicato technique, that can add another difference in sound.

Reid responds to Roebke (3:28) and solos a little bit more, adding in this great double stop pizzicato slide (3:43). Halvorson joins back in on the melody with Reid (4:01). The ending is full of delay from Halvorson and rhythmic displacement from Reid as well. It is a light and fun ending fitting to the tune.

“Composition 23b” is my favorite of this album of compositions by famous free jazz artists. This is written by Anthony Braxton, an important figure in the jazz and free jazz world. The timbre of flute, cello, and drums creates a simpler, new texture compared to the original recording consisting of alto saxophone, trumpet, bass, and drums in this recording, here. Mike Reed plays consistent 16th notes on this version instead of playing mostly on the downbeat like Jerome Coopers and Dave Holland.⁴ Mitchell and Reid match articulation, rhythm, and dynamics which makes this version of the melody fascinating. Mitchell plays a great solo over this open canvas of drums and fast chromatic bass line. Reid demonstrates her skills in playing a bass line that is typical of free jazz compositions. She accompanies Mitchell very well while Mitchell is playing up a storm. The ending of the tune includes a drum solo from Mike Reed with Mitchell and Reid finally playing the original melody, this time playing it in augmentation and fragmentation.

This chamber jazz composition by Tomeka Reid has some elements of modal jazz. Reid begins with fast, continuous pizzicato going between Bb and A chords. The bass enters with an improvisation that might initially be mistaken for the melody (0:13). The guitar plays a single chord every 4 bars, adding some extra brittle texture (0:19). The timbre of the cello, bass, and guitar is harsh and moody. This unique texture really made this tune stand out on this album. Then, the vamp comes in with a bright and more natural, wood sound (1:11). This vamp is emphasizing the ‘and’ of beats 1 and 4. With this, the band stays with the more even, woody tone. Then Halvorson plays Reid’s chords from the beginning, while Reid plays a new moody melody with Roebke accompanying with the bow (1:25). Then the vamp brings us into the solo section, which is similar in style (2:15). Reid's solo is one that every time I hear it, I am amazed by the melodies and rhythms, and get such a feeling of awe after listening. Here we sit on an E major 7 chord for a long time. Reid uses some small slides and some notes outside of the E lydian scale. She really emphasizes the major 7 of D# in all of her solo. When the chord changes to A, it comes as a shock, which is common in modal jazz (2:43). This great change of sound moves the song forward, and provides something to look forward to, to see if it happens again. Towards the end of her solo she plays chordal sequences that utilize notes from the beginning of her solo. It goes between 5th, 4ths, and 3rds and is lovely (3:05). I love playing sequences exactly like that. It is a conclusive and wonderful ending which provides the perfect transition into Halvorson’s solo. Halvorson’s solo is influenced by Reid in his rhythm and use of delay. The end of the tune is very lovely, it has a break after the vamp making you think it ended. But then the guitar begins the chords, with the cello playing the theme from earlier, and the bass arco, and slowing to a rubato ending. Reid exemplifies all three roles of the horn in this tune.

Sources:

1. https://www.discogs.com/Nicole-Mitchell-Tomeka-Reid-Mike-Reed-Artifacts/release/7678518

2. https://www.discogs.com/Tomeka-Reid-Quartet-Old-New/release/14163018

3. https://www.discogs.com/Nicole-Mitchell-Tomeka-Reid-Mike-Reed-Artifacts/release/7678518

4. https://www.discogs.com/Anthony-Braxton-New-York-Fall-1974/release/922828

5. https://www.discogs.com/Tomeka-Reid-Quartet-Old-New/release/14163018