Isaiah Collier & The Chosen Few

The Almighty

Division 81

Be transported to the late ‘60s with Chicago/Brooklyn-based saxophonist Isaiah Collier’s The Almighty. We rarely hear this kind of aggressive, passionate spiritual jazz these days, especially since Shabaka has disbanded his saxophone focused groups. Sure, there are examples – Kenny Garrett, Lakecia Benjamin, Nduduzo Makhathini, and others but not many. This is the kind of music that has us inevitably evoking Trane, Shepp, and Sanders during that fertile period almost six decades ago.  Those linkages are more tangible than imaginary. Collier recorded his previous release, the five-part suite Cosmic Transitions (2021), at Rudy Van Gelder’s legendary Studio on Coltrane’s birthday, using some of the same analog equipment used in the original recording session of A Love Supreme. So, Collier, only 24-years-old, is intent on honoring this tradition. While Cosmic Transitions was about five distinct personal relationships, The Almighty is also a five-part suite that explores our relationship with a higher power.

In the tradition of such landmarks as A Love Supreme, these are explorative tracks – “Love,” “Compassion,” Perspective,” “Duality Suite,” “The Almighty.”  The first four are with his Chosen Few quartet – Michael Shekwoaga Ode (drums), Julian Davis Reid (piano) and Jeremiah Hunter (bass). “The Almighty” is with a larger ensemble, The Celestials – Zara Zaharieva (violin), Edith Yokey (violin), Michelle Manson (viola), Mayshell Morris (flute), Fred Jackson (alto saxophone), Corey Wilkes (trumpet), Ryan Nyther (trumpet), Matthew Davis (trombone), Justin Dillard (piano), Micah Collier (bass), and Vincent Davis (drums).

 “Love” begins in mid-tempo with pianist Reid followed by a mellow turn from Collier on tenor, making way for powerful Chicago vocalist Dee Alexander who delivers Collier’s lyrics. Reid authors an intricate piano turn followed by a much fiercer Collier, the song building in intensity behind Ode’s kinetic kit work, concluding in a volcanic, roof raising exchange between the vocalist and leader. Calm sets in with the initial minutes of “Compassion,” the sounds of nature soon roused by Reid’s shimmering piano before Collier links with long-time mentor, tenorist Ari Brown in a poignant dialogue of expressive, sustained tones, the essence of spiritual jazz. Cascading, enveloping sounds from the ensemble transport us to the outer realms. “Perspective (Peace and Love)” has Collier commencing the piece with a simple chant that morphs into a polyrhythmic sequence that connects with African strains. Collier sends it up as an homage to the late and influential Pharaoh Sanders. It echoes both early Sanders but mostly his African infused 1996 Message From Home.

 The twenty-three-minute plus “Duality Suite” has the quartet completely unleashed, reaching higher and higher as Collier soars above the propulsive, churning undercurrent of his rhythm section. This fury abates around the five and half-minute mark, exemplifying the balance of fire and water or earth and air, yet the music remains intense, just not as aggressive. A brief bass turn from Hunter ushers in calm before again igniting torrents of sound from the fiery ensemble, confirming that the inspired Collier is clearly an heir to late period John Coltrane, using every key of his horn, shrieking, bleating, squawking, and climbing upward. The piano solo from Reid ushers in respite, the ensemble settling into a reverential posture before launching off once again. The conclusion is gloriously sublime.

 Collier directs the large ensemble in the title track, Collier blowing his fervent lines over a bed of strings and horns. It’s as if the pillars of Black music converge in this one tune, elements of blues and gospel as he pushes the ensemble to a gigantic crescendo with every instrument cascading, and spiraling – ever reaching. Collier spars heatedly with altoist Fred Jackson. The strings play vigorously and the ensemble swells to a dramatic, definitive climax.

 Collier’s Cosmic Transitions earned many Album of the Year accolades. Expect The Almighty to follow suit. This is spiritual jazz of the highest order.

 Jim Hynes

 

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