Customer Reviews

Charles Persip & The Jazz Statesmen

5 star:		(2)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I often wonder why certain musicians remain relatively obscure yet are more talented than those who achieve fame. Take the case of Charles Persip, a terrific drummer, who will never be confused with Art Blakey, but, for my money, Persip wins hands down. Go figure! This reissue of a Bethlehem release, Charles Persip and the Jazz Statesmen, is one of the best quintets I've heard. It kicks off with an original composition, Sevens, that grabbed my attention instantly. This is followed by a version of The Song Is You, taken at a jaw-dropping fast clip. Right Down Front is another blazer, drenched in the blues, and kicked into high gear by fantastic solos from Roland Alexander (whatever happened to him?) and a pre-Messenger Freddie Hubbard, who plays his a-- off. Ronnie Mathews and Ron Carter round out the rhythm section and lend rock solid support, with Matthews getting off inventive and exciting solos. But Persip is the star of this show, driving the band with an intensity equaling true drumming superstars such as Buddy Rich, Max Roach, Art Taylor, Jimmy Cobb, Kenny Washington, Lewis Nash, and Butch Miles. Soul March and a breakneck take on The Champ round out this fine album. I find it sickening that it can be had for as little as $2.50. Grab it at any price. It will not disappoint.

This is a quintessential group of major players (though I confess the tenor player is new to me), urged to Olympian heights by Persip, who issues thunderbolts as authoritatively as Zeus. The group charges out of the gate, with Persip driving hard while using his left hand to play counterpuntal, percussive "melodies." And it's not just the independence of his left-hand work on the snares but his power. He's equally definitive whether playing snares, toms, bass drum, cymbals or hi-hat, and at both up (way up) tempos and medium cookers.

None of his solos is drawn out; in fact, just hearing Persip behind these players, pushing Freddie Hubbard to some of his best work on record, is sufficient to sustain interest--the general listener's as well as a drummer's--throughout the program. After hearing Persip on this date, you can only wonder why all the "prestigious" Van Gelder recording dates went to the likes of Billy Higgins and Roy Haynes. Another drummer who's capable of provoking that same question is Frank Butler (the Curtis Counce group). Butler is a magician whereas Persip is a one-man earthmover. In fact, I wonder if his tightly wound snare heads and absolutely unforgiving pulse (always on the forward part of the beat) were a bit much for many musicians to handle before Viagra (he's definitely not the drummer for musicians who think they play better on downers).