Brian Blade: “Mama Rosa”

(out of 5)

Brian Blade occupies a unique space in 21st century pop and jazz music. First and foremost, he is a terrific drummer. His drumming skills have been used by artists of all stripes and genres. He played on Bob Dylan’s Time Out of Mind, Joe Henry’s Scar, and countless jazz albums including many of the records by saxophonist, Joshua Redman. Yet, Blade’s most impressive role has been as composer and bandleader of The Fellowship Band. He and The Fellowship Band crafted a fine 2000 album, Perceptual, and a delightfully rich album last year titled Seasons of Change. If that weren’t enough, Blade has now stepped out on a limb to release a singer-songwriter record, Mama Rosa, on which he sings, plays guitar, and, of course, plays those drums.

Blade’s skill as a songwriter has always been obvious and on Mama Rosa he proves that he is also an accomplished guitarist, singer, and lyricist. Though the mostly acoustic songs here are clearly influenced by country, singer-songwriter pop, R&B, and folk music, the final product doesn’t quite capture the distinct aspects of any of those genres leaving these songs to feel a bit like bland adult contemporary radio. For most listeners, that is not really a good thing. While none of the songs here are bad, many of them sound very similar causing them to feel somewhat indistinguishable– which is completely unlike the crisp, fresh songs he puts to tape on his jazz records. Blade’s songs are actually quite strong, it’s the slick, bland production which is a bit too inspired by Daniel Lanois that causes the record to drift.

Yet, Mama Rosa is not a bad record. Lyrically, Blade has made a very personal record about family, faith, love, and the past. As a result, the record has a charming homespun vibe to it. “Mercy Angel,” “Brother,” and “Her song” are a few of the stronger numbers here. The opener, “After the Revival,” is also a fine song written about Blade’s grandmother, Mama Rosa, after whom the record is named. It’s a terrific introduction to Blade the singer-songwriter, as it establishes the themes of family and faith (which will pop up on the rest of album) over a bed of folky acoustic guitars, some light piano flourishes, and Blade’s soothing voice.

As the record progresses the songs do get a bit livelier until the record ends with two tracks of abstract drones. This highlights Blade’s penchant for experimentation and risk-taking. It would have been nice to hear that experimentation not with drones but with more variety in the tempos and moods of the songs earlier in the album. Yet, it’s important to remember that the entire record is a bold experiment as a jazz man steps into the world of smooth singer-songwriters.

While Mama Rosa is not be the best music that Brian Blade has created, it is valuable in what it reveals about its creator. Though the songs here are soft and smooth, Blade seems fearless as he ventures into previously unexplored waters as a recording artist. It says a lot about Blade and his talents as a musician and his desires to experiment and branch out. Perhaps, Mama Rosa is the first step into a whole new chapter in Brian Blade’s career and for that reason it’s worth hearing.

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Listen to the first three tracks of Mama Rosa here.

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Brian Blade
Mama Rosa
Verve, 2009