Melvin Gibbs Isn’t Looking Back
For the past 21 years, self-described “explorer of rhythm” Melvin Gibbs has—among many other things—held down the massive low end in the collaborative power trio Harriet Tubman. The effects-laden grooves he concocts for that band, paired with the string-bending guitarscapes of Brandon Ross and the polyrhythmic assault of drummer J.T. Lewis, yielded a sprawling masterwork last year. The Terror End of Beauty, a glitch-infused collision of rock, jazz, funk, and blues, rightly found itself on just about every best-of-2018 list.
But that was last year. On this frigid winter day in the Bushwick section of Brooklyn, the dreadlocked bassist is perched in front of a computer alongside drummer, producer, and rap upstart Kassa Overall. They’re in the midst of what they’re calling an “idea day” for one of Gibbs’ panoply of boundary-pushing projects that will surely keep him busy throughout 2019. Among those projects: the jazz-fusion Zig Zag Power Trio with Living Colour guitarist Vernon Reid and drummer Will Calhoun, a duo with theoretical physicist and saxophonist Stephon Alexander that explores climate change, a long-awaited album from the Bitches Brew-manipulating Melvin Runs the Hoodoo Down (with the late Pete Cosey on guitar), and the return of his African-based spiritual music ensemble, Elevated Entity. On top of that, Tubman is intent on making a new record in 2019. “Striking while the iron is hot is important because it took so long for everyone to, you know … care,” says Gibbs, laughing.
What’s being cooked up in Overall’s home studio today is potential material for yet another band: Melvin Gibbs Magnum. Also in the Magnum mix are keyboardist Paul Wilson, longtime creative partner DJ Logic, and D.C.-based artist/producer Kokayi, a touring member of Steve Coleman’s Five Elements. It’s apt that Gibbs has Godfried T. Toussaint’s book The Geometry of Musical Rhythm by his side; the surgical focus with which all hands are manipulating the rhythms reverberating from the speakers is akin to a science experiment.
“One of my things is African-American rhythm,” Gibbs explains of Magnum’s beat-driven vision. “That’s where this book comes in. There’s this geometric idea called ‘translation,’ which is when you take a shape and just twist it—it’s the same shape but it looks different because you twisted the direction. That’s what happens with African-American rhythms: They’re all the same, rhythms that came from Africa, but they’ve all been twisted slightly. What we’re gonna do is take this really basic rhythm and we’re gonna twist it. I’m exploring an intergenerational idea—I almost want to make a jazz version of Jay-Z’s 4:44. When he made that record, I was going, ‘Ah! This is the same idea!’” [Read More]