PHIL RANELIN & WENDELL HARRISON

TRIBE 2000

Org Music

Phil Ranelin, trombone/composer; Wendell Harrison, tenor saxophone; Harold McKinney & Pamela Wise, piano; George Davidson & Tom Starr, drums; Ralphe Armstrong, bass; John Arnold, guitar.

This is an album that features two unique groups of musicians.  They are all Detroit Motor City based jazz musicians, some who are no longer on this earth.  Tribe 2000 celebrates the talents of co-founders Phil Ranelin and Wendell Harrison.  Ranelin’s composing skills are a huge part of the Tribe success. They are both innovative and inspirational.  However, it’s the musicians, all close friends and each excellent on their instrument, who bring the excitement and improvised beauty to this music.  The group known as Tribe has produced a series of educational concerts and residencies throughout the United States for over half a century.

On the first four original tunes by Ranelin we hear the legendary Harold McKinney on piano, George Davidson is on drums, Ralphe Armstrong on bass and a horn section that consists of the late great Marcus Belgrave on trumpet, with Ranelin on trombone and Harrison on tenor saxophone.  They open with “He the One We All Knew” and it is hypnotic to my ears.  I love the melody and the rhythmic patterns that infuse this piece with staccato horn blasts.  I play this tune twice, because I find it fascinating.  Davidson adds his tasty trap drums throughout, playing almost like a conga player would in some places.

Harold McKinney sure knew how to play the blues. His piano opens a tune called “Senate and Thirteenth,” parting musical curtains for Phil Ranelin to stride through and sing his trombone solo.  Then comes Marcus Belgrave, making his voice known and sounding as though he’s speaking words of wisdom from the bell of his horn.  I swear, it sounds like he’s talking instead of playing an instrument.  Harrison is smooth as silk on the tenor sax, breathing a new groove into the music.  He and McKinney on the 88-keys share a conversation, the two instruments bantering back and forth like two old men talking across a chess board.  Their conversation is animated and so rich with the blues that it makes me want to shout.

Tribe’s music involves you.   Ralphe Armstrong’s big fat sound wafting from his bass instrument plays beneath Phil’s trombone solo, complimenting him and also pushing his bass talent forward like a steamroller.  This is the music I grew up with in Detroit.  It has roots and reverence that I’m familiar with.  If they had never recorded another tune, these first two compositions fill me up like clean water and good loving.  Armstrong’s solo stands out like a rainbow, with tones, colors and all the beauty that a great player brings to the stage.  He is strongly supported by Davidson’s unforgettable drums.

“Third Encounter” is a Ranelin tune that always brings joy and surprise to any attentive audience. McKinney explores it on the 88-keys, pulling out surprising chord inversions that compliment his fast-moving fingers.  Harrison blows notes through the piece during his fluid saxophone exploration, a flurry of tonal expressions that takes liberties only jazz can guarantee.  Suddenly all the instruments layout and Davidson soaks up the spotlight like a percussive sponge.  His drum solo displays innovation and serious technique.

The final tune changes the personnel.  Pamela Wise takes over the piano and Tom Starr joins as the drummer.  Phil’s tune is called “Freddie’s Groove.”  Once again, the Ranelin perspective on melodic integrity and rhythm quickly implants the song into my brain like a chip.  Guitarist John Arnold brings a new personality to the musical congregation.  I enjoyed his solo exploration, stretching the tune into a Straight-ahead groove that’s rubber band tight.  Pam Wise, on piano, brings a more modern perspective to compliment the ensemble.  Tom Starr is given time to assert his talent and power on drums. His drum licks remind me of boxer punches.

This album is a blast from the past. It’s full of energy, tenacity and joy, once more keeping the history, talent and integrity of ‘Tribe’ alive and well.

Reviewed by Dee Dee McNeil

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