Melvin Jones

Pivot is the debut album from trumpeter Melvin Jones, a name that surely be a force in the jazz world in the following years. As many young jazz musicians, Jones has the striking ability to blend the sounds of contemporary jazz with a strong command of the more traditional jazz language. In the track "Chaos Groove" Jones even ventures into the free jazz improvisation.

His soulful style on trumpet is thickened by the sound of such greats as Dizzy Gillespie and Miles Davis. Like Gillespie, the latin influence is evident is Jones music, especially on the compositions "The Jug or Knot", "Dizzyspell", and the title track "Pivot". Jones displays a limitless imagination on his improvisations in the Coltrane-like track "Inception", the bebop "Do you wor Kalogne?", and in the cool jazz sounds of "Flights Beyond" ( a piece reminiscent of Miles Davis music in Birth of Cool).

Mace Hibbard on sax and Louis Heriveaux add cool improvisations all throughout and Hibbard also wrote "Do you wor Kalogne?", the smooth jazz ballad "Goodnight Moon" and co-wrote "Inception" with Melvin Jones.

-Wilbert Sostre - Jazz Times

By: Edward Blanco
Melvin Jones offers a variety of musical styles on Pivot, with a selection of modern romp and simmering ballads on this very impressive debut as a leader. For the trumpeter, "pivot" is the defining moment—indeed the turning point—in which different genres come together in one special album. Jones contributes the majority of this thirteen-piece, nearly all original repertoire, borrowing a few charts from Atlanta saxophonist Mace Hibbard and pianist Louis Heriveaux.
No novice in the world of jazz, the Atlanta-based Jones has performed with the likes of Don Braden, Clark Terry,, Terence Blanchard, Carmen Lundy and Freddy Cole—the trumpeter being especially proud of is his membership in the late great Illinois Jacquet's last band and the saxophonist's last recording at New York's Lincoln Center in 2004. For this session, Jones chooses a core quintet of players, employing five others as special guests, firing on all cylinders and producing an amazing ensemble sound.

The sizzling "Jug-or Knot" provides a preview of what's to come; a hot and heavy tune, layered with plenty of individual solos, sets the stage for the album. Richard Smallwood's Gospel-tinged "Angels" reveals a slow warm ballad featuring some light horn play from Jones, with call-and-response from Hibbard. The group powers up for Hibbard's electric "Inception," propelled by blazing saxophone lines, Leon Anderson's hot drum solo from, and Jones' dicey trumpet solo. The title piece is one sweet number, showcasing the leader on flugelhorn, while he takes full advantage of the funky "Philly Time Zone," demonstrating a searing, high-pitch approach on trumpet.

The swing and swagger piece of the disc goes to "Do You Wor Kalogne?," a Hibbard concoction highlighting the saxophonist, Jones and Heriveaux 'samazing piano chops. "Flights Beyond," a calm floating ballad, is blessed with a beautiful airy melody led by Jones on the muted horn. After the funky "Funkytown Shuffle" and the hard-driving "Chaos Groove," the album closes with the short and sweet "Goodnight Moon," completing a firm foundation from which to build a strong musical career.

Employing a warm and round sound across the full range of the instrument, Melvin Jones stylish approach draws comparison to some great trumpeters like Clifford Brown and Lee Morgan. Pivot is a remarkably well-done musical project full of powerful moments sure to shine the light on Jones as a musician and leader.




Track Listing: The Jug-or-Knot; Angels; Inner Tubes; Inception; Pivot; Philly Time Zone; Dizzyspell; Jone-Marie; Do You Wor Kalogne?; Flights Beyond; Funkytown Shuffle; Chaos Groove; Goodnight Moon.

Personnel: Melvin Jones: trumpet, flugelhorn; Mace Hibbard: alto saxophone, tenor saxophone; Louis Heriveaux: piano (2-5, 8-10, 13); Rodney Jordan: acoustic bass; Leon Anderson: drums (2 -5, 8-10); Michael Burton: alto saxophone, tenor saxophone (6, 7, 11); Jeff Bradshaw: trombone (6, 11); Brian Hogans: piano (1, 7, 11, 12); Terreon Gully: drums (1, 7, 12); "Lil" John Roberts: drums (6, 11).

Record Label: Turnaround Records - AllAboutJazz.com

by: Rick G.
I first listened to trumpeter Melvin Jones' debut album and thought, "this is so good, I have to write about it!"

I first heard Melvin Jones play the trumpet in 2005, at a Churchill Grounds jam session. At the time, he was the young director of bands at Morehouse College, where he led both the jazz and marching bands. I'm sure that was a demanding job, but even with limited time behind the horn, he always managed to sound better each time I heard him play. Things have really picked up over the past year or two, though, due to his recent gig touring with Tyler Perry's backing band. It sounds like he's been practicing and playing a lot more and the result is nothing short of astounding. Melvin Jones is no longer just one of the best trumpeters in Atlanta, he's one of the best trumpet players you'll find anywhere. As Melvin suggests in the liner notes to this album, it isn't a case where you say an album is long overdue. Instead, this is the perfect time for Melvin to introduce himself to the world.

Melvin Jones' debut album, "Pivot," also features Atlanta-based Mace Hibbard on saxophone. Mace Hibbard is one of my favorite jazz musicians, and his playing on "Pivot" is easily the best I've heard from him in any recording thus far. Melvin Jones and Mace Hibbard have performed many times together around Atlanta so they've spent years developing the chemistry that you'll hear on "Pivot." They complement each other perfectly both when playing a tune's melodies and when soloing together, as you'll hear toward the end of the gospel tune "Angels," the album's only non-original composition.

Rodney Jordon plays bass throughout the album, however the rest of the lineup changes a bit from tune to tune. You'll hear Louis Heriveaux and Brian Hogans on piano, Leon Anderson, Terreon Gully, and "Lil" John Roberts on drums, and a couple of tunes that include Jeff Bradshaw on trombone and Michael Burton on saxophone. All in all, it's a strong lineup of musicians who have known and/or performed with each other for quite some time.

What was it that I said about track-by-track reviews? Oh, ya, I don't like them. So here's my track-by-track analysis... just kidding. I will at least say that this album features a good mix of straight-ahead up-tempo tunes, ballads, and groove-oriented tracks. Don't me ask what groove-oriented means, I thought it sounded like something a real reviewer might say. Really, I couldn't think of a better way to say one song has an electric bass and a funky beat. To keep things honest, I will say that tune ("Philly Time Zone") might be the weakest on the album, but only because it sounds like the rhythm section and soloists drift apart a little in the solos. The original melody of the tune and initial groove sounds great, though.

Below you'll hear a performance of "Jug-Or-Not," the albums first track, from the band's CD release party at Churchill Grounds on April 9, 2011. This recording features Melvin Jones on trumpet, Mace Hibbard on saxophone, Louis Heriveaux on piano, Rodney Jordon on bass, and Marlon Patton on drums. Unfortunately, my camera shut off right as they were playing the head at the end of the solos. I guess this means you'll have to buy the album to hear how it ends! - Iwasdoingallright.com

by: John Books
This is an album that I’d call “pure pump”, because it is an album that pumps. Melvin Jones is a trumpeter who will, for all intents and purposes, smack the fuck out of anyone who cares to claim they can play better than him. In other words, he’ll play and he’ll compliment and jam, but he’s in for the kill, he is not pulling any shit for the sake of making you feel good because you’re a special guest. Even if you’re not in a trumpet battle, you better enter his house inbattle mode for once it’s on, you know it’s on, as he presents on each of the 13 songs that are on Pivot (Turnaround), including the mindfunk “The Jug-Or-Knot”, one of the more intense opening tracks on a jazz album I’ve heard in years. Jones plays with finesse and elegance, he knows how to make his instrument dance. But when he’s throwing out swords, move away. When it’s time to light a candle and place some rose pedals on the bed, move away as well. I love his playing because of that elegance and cocky swagger, and it’s nice to hear in 2011. There are songs here that are perfect for the quiet storm, such as “Angels”,or something that carries you through a rough day, such as “Goodnight Moon”, but after hearing this album, I’m wondering why there wasn’t more. Don’t get me wrong, it’s 13 songs deep, most of them are over the four minute mark, but I wanted an encore. Maybe that’s what the live experience is for. What does Pivot refer to? I’m sure as he shows in his playing, it could mean either or. It’s in your mind to decide how to use it. - This is Books Music

by: S. Victor Aaron
Listening to this record before I even read Melvin Jones’ liner notes, I already knew what he meant by the title of this debut album by him. It’s an album that has many shades of jazz on display, and the constant is the pure, malleable trumpet voice of Jones. So I had to nod in agreement when I read Jones’ words in the sleeve: “There is a…applicable understanding of the word which is ‘to turn our focus in various directions without losing our original position’.” Though his first record as a leader, there’s nothing green about it: Jones produced and wrote all the thirteen tracks on it. Using a capable crew for a classic jazz quintet setting (trumpet/sax/piano/bass/drums) and supplementing it with some well placed guest spots by others, Jones “pivots” seamlessly through the Afro-Latin energy of “The Jug-Or-Knot”, the genteel 60s Blue Note vibe of “Inner Tubes,” the complex, shifty rhythms of “Dizzyspell,” and funky soul strut of “Funkytown Shuffle.” Starting his professional career in a big way—a guest spot on TLC’s blockbuster Fanmail album (1998)—the Atlanta-based Jones has performed and taught the world over, playing all over the musical map, too. Pivot is the distillation of a musician’s varied and rich experiences. - Something Else Reviews

by: AJ
Melvin Jones debut CD, Pivot, makes his creative imprint in jazz as a young new jazz lion. The ensemble features an internationally acclaimed group of musicians who share Mr. Jones eclectic sense of style and composition. All forward thinking and versed in varied genres of music, they share the innate ability to, "turn their focus in various directions without losing their original position." Mr. Jones said something very interesting about his music that speaks volumes about this CD, "...I strive to create art...My music attempts to weave these influences (jazz, samba, blues, hip hop and others) together to create unique and memorable sounds and compositions."

In many jazz conversations about the future of jazz there is a question often heard of how to keep the integrity of the roots of "straight ahead" jazz and infuse the ideas of different genres of music that represent younger generations. Melvin Jones offers an answer to that question with his CD, Pivot. Having worked with so many different musical talents such as Maysa, TLC, Avery Sunshine and played in ensembles such as Rio Negro, State of the Art (Sonny Emory) and the Illinois Jaquet Big Band then the question is answered as to what the music should sound like. Melvin Jones illustrates his perspective on the music as a pivot to signify his growth as an artist.

For this project, Mr. Jones enlists the talents of many seasoned and out standing young veterans to create a CD showcasing a variety of musical ideas. Whether keeping time to the incredible solos offered from both guest drummers, Lil John Roberts and Terreon Gully or feeling the texture of Brian Hogan's fender rhodes keyboard or the addition of Jeff Bradshaw's trombone to the horn section, this CD delivers something engaging for every listener. The band is essentially made up of Melvin Jones (trumpet), Mace Hibbard (alto & tenor saxophones), Louis Heriveaux (piano), Rodney Jordan (accoustic bass) and Leon Anderson (drums). On selected tracks the band features Michael Burton (alto & tenor saxophone), Jeff Bradshaw (trombone), Brian Hogans (piano & fender rhodes), Terreon Gully (drums) and Lil John Roberts (drums).

The opening track, "Jug or Knot" is a fast paced composition and at once the talents of Mr. Jones' and Mr. Hibbard's ability to cohesively meld their two instruments as one and blow down this fast changing piece is incredible. Mr. Gully on drums drives the pace effortlessly while he and Mr. Jordan's bass explore this Latin flavored swing. The gifted and talented saxophonist, Brian Hogans is featured on piano and lends his virtuosity articulating the changes, supporting the horns and rendering a beautiful solo on this orchestrated musical juggernaut.

This same ensemble is featured on, "Dizzyspell" with the addition of Michael Burton's sax. The bolstered horns rift over a wicked conversation between Mr. Gully's drums and Mr. Hogans' piano held together by the creative bass of Mr. Jordan. On "Chaos Groove" Mr. Jones leads us through many ideas at one time with forward thinking performances featuring Gully, Hogans and Jordan.

All but one song on this CD, was penned by either Melvin Jones or band mates Mace Hibbard and Louis Heriveaux. "Angels" was written by R. Smallwood and is a beautifully thoughtful ballad that features the piano of Mr. Heriveaux that leads to the spirited ending which showcases the balance of the primary band and their ability to translate jazz compositions into art. Mr. Jones' title track, Pivot is a wonderful, bossa nova inspired, original composition with a beautiful melody that will put a smile on your face. Again the balance of this band is exceptional and Mr. Jones and Mr. Hibbard shine brightly.

Lil John Roberts is featured on two tracks including, "Philly Time Zone" which again speak to the diversity of this project. Jeff Bradshaw is brought in on trombone and Brian Hogans plays the Fender Rhodes piano. This modern jazz piece showcases the rich horn section and drum stylings of Mr. Roberts. On "Funkytown Shuffle" we get to here the band swing and Mr. Jordan does his thing on bass on this cut. The horns illuminate this groove reminiscent of a time when people used to dance to jazz music.

This is a very well executed debut CD, with great performances from everyone involved. Mr. Jones can feel proud and we should all support this wonderfully crafted CD. For additional information on Melvin Jones, please visit www.melvinjones.net.
- AtlantaJazz.info

by: Bruce Pulver
Melvin Jones defines the title of his first solo recording “Pivot” as “to turn our focus in various directions without losing the original position”. Is this art imitating life or the other way around? Over the years, Mr. Jones has faithfully taken the musical path as it has opened whether as lead or supporting performer, teacher or composer. “Pivot” illustrates the music of an artist solidly “grounded” in his genre which leaves him free to express and explore while pivoting freely to find just the right opening to play.

Fresh from his work in Tyler Perry’s motion picture “I Can Do Bad All By Myself”, Mr. Jones displays a strong yet quiet confidence in his playing. This project has a kind of luster that comes from a broad array of exposures and situations. Coupled with his years as Director of Bands (Marching and Jazz Ensemble) at Atlanta’s historic Morehouse College, the musical well from which Mr. Jones draws runs deep.

The compositions deliver a mixture of fast running, tight ensemble lines (The-Jug-or-Not, Inception, Dizzyspell, Do you Wor Kalonge?, Chaos Groove) as well as breathable pieces (Pivot, Angels, Flights Beyond, Jone-Marie, Philly Time Zone) all lend themselves to strong improvisational sketches. Old school Funkytown Shuffle just gets the toe-a-tapping.

Waltz compositions can be difficult to really groove. Pianist Louis Heriveaux’s original composition “Inner Tubes” is played so the pulse is felt but not heard and bounces easily over the time. It just floats. Mr. Heriveaux is one of the Atlanta scene’s finest pianists whose technical chops and melodic improvisation are in high demand.

The super mellow Mace Hibbard's contribution of Goodnight Moon is a perfect closure Piano and Mr. Jones just close it out with class.

Joining Mr. Jones on “Pivot” is a fantastic cast who give their musical “all” to support the project. Mace Hibbard’s Saxophone lends his expertise both as a soloist and as a compliment to making the compositions come to full bloom. Brian Hogans, the multi-instrumental sensation, contributes his piano skills as well. The rest of the rhythm section blends the strong bass foundation of Rodney Jordan with some of the best young drummers available including Leon Anderson, “Lil” John Roberts and Terreon Gully. Other guests include, Michael Burton, Alto and Tenor Saxophones, and Jeff Bradshaw, Trombone.

Wonderful project Melvin. No referee dare call travelling on this project. Perfect Pivot!

Tracks: The-Jug-or-Knot, Angels, Inner Tubes, Inception, Pivot, Philly Time Zone, Dizzyspell, Jone-Marie, Do You Know Kalogne, Flights Beyond, Funkytown Shuffle, Chaos Groove, Goodnight Moon.

Musicians: Melvin Jones, Trumpet, Flugelhorn, Mace Hibbard, Alto and Tenor Saxophone, Louis Heriveaux, Piano, Brian Hogans, Piano, Rodney Jordan, Bass, Leon Anderson, Drums, Terreon Gully, Drums, “Lil” John Roberts, Drums, Michael Burton, Alto & Tenor Saxophones, Jeff Bradshaw, Trombone,

Artist's Website: www.MelvinJones.net or www.turnaroundrecordscom
- Jazz Times

The annual Morehouse College Jazz Festival came to a close this past Saturday with a big band concert featuring saxophonist Don Braden. Morehouse's band director and trumpeter, Melvin Jones, came through again with a very entertaining concert.

It was actually two concerts in one, as the evening began with a performance by the Clarke Central High School Jazz Ensemble. The highlight of their concert was the final number, "What Is Hip" by Tower of Power. They sounded so good on "What Is Hip", that one could easily compare them to the legendary Kashmere Stage Band. These kids were on fire. Adding extra sizzle to the performance was the addition of Melvin Jones on trumpet. His solo breaks took the tune to another level. You'd never know it was a high school band. If you're in the Atlanta area, be sure to catch the Clarke Central High School Jazz Ensemble at this year's Atlanta Jazz Festival.

After the high school band performed, The Morehouse College big band took the stage. Highlights included "Groovin High", where Melvin Jones played the role of Dizzy Gillespie, with high soaring solos. Don Braden and the Morehouse band also played wonderful arrangements of "Smoke Gets In Your Eyes" and Chick Corea's "Spain". But, the best tune of the evening was Melvin Jones' up-tempo arrangement of Earth Wind & Fire's "Can't Hide Love". The rhythm section played a groove that was electrifying, so much so that several members of the band couldn't help but dance throughout the tune. It was impossible to keep still! "Can't Hide Love" was definitely one of those tunes you wish wouldn't end. But, when it did build toward the ending, the horn section started singing the "ah-ah-ah" part from the original recording while the rhythm continued to drive forward, and man was it cool. I really wish more people were there to hear it.

- Rick G.

The final day of the 2005 Atlanta Jazz Festival, the day I had been looking forward to the most, was cancelled due to bad weather.

While weather reports predicted thunderstorms throughout the day, we ended up with little more than a light drizzle. By 4 p.m., the time Benny Golson would have performed, the rain had totally stopped and the clouds were clearing. By 6 p.m., the sun was even poking it's way through the clouds! Needless to say, I was extremely disappointed by this cancellation.

Determined to still see some live jazz, I decided to catch the jam session that evening at Churchill Grounds (Atlanta's premier jazz club)......What struck me the most about the evening, however, was the incredible level of talent displayed by several young local musicians. Russell Gunn hosted the jam session, and while I've heard him play before, he totally blew me away with his intro and performance on "Well You Needn't".......It was also my first time hearing Melvin Jones (Morehouse's band leader) play. Knowing that he and Sean Jones are good friends, and knowing that they played together at Rutgers, I had assumed he would be pretty good. We'll, he's VERY good. I'm definitely going to look out for him around town.

- iwasdoingalright.com