Music: James Brandon Lewis; Jesup Wagon; TAO Forms

 The Jesup Agricultural Wagon was first used by celebrated Tuskegee Institute scientist and teacher George Washington Carver as a mobile classroom in 1906. It allowed the legendary agronomist to teach farmers and sharecroppers how to grow sweet potatoes, peanuts, soybeans, pecans and other crops.

Saxophonist and bandleader James Brandon Lewis, in paying tribute to Carver, has built a suite alternately searing and poignant tunes around the symbology of the carriage and the dedication, superior intellect and compassion that carried Carver to his deservedly lofty position in the cultural life and collective memory of Blacks in America and elsewhere.

 Voted Rising Star Tenor Saxophonist in the 2020 Down Beat Magazine International Critic’s Poll, Lewis has delivered a suitably diverse, intense and evocative appreciation of the life and legacy of Carver. 

The album, James’ ninth, to be released on TAO Forms on May 7, 2021, consists of seven pieces that taken together create a portrait of stunning clarity and depth.

Helping James get it all out on Jesup Wagon is the Red Lily Quintet, anchored by the absolutely vital rhythm section of bassist William Parker and drummer Chad Taylor, and rounded out by cornetist Kirk Knuffke and cellist Chris Hoffman. Its not a stretch to say that Parker, who James says “has looked out for me ever since I arrived in New York City,” is to jazz bass what Carver was to agronomy,  a genius and renaissance man in his own right. Chicago native Chad Taylor, who also guested with Lewis last summer on an instalment of  'Quarantine Sessions"  brings his trademark energy, control and versatility to the interaction.Kirk Knuffke, is one of New York’s rare cornet players, offering the perfect balance between immediacy and meditative reflection. Chris Hoffman, who put his prodigious talents to the service of Henry Threadgill's Pulitzer-prize winning Zooid, rounds out the group. 

Lewis also has an affinity for the spoken word, demonstrated on Jesup Wagon by a few timely placed short recitations. “Music is enough. But the older I get it’s important for me to have the listener hear my speaking voice,” he says. “Makes it more organic. I like to tell a story with an album.”

Poetry is just one of Lewis’ many obsessions, which also include painting, hip-hop and philosophy. “All of the people I admire have that kind of depth,” Lewis says. “William Parker, Oliver Lake, Yusef Lateef, all these amazing artists. George Washington Carver was a musician, a painter, a prolific writer, in addition to what most people know about him. Having a broad range just makes the cast iron skillet more seasoned.”

Jesup Wagon’s liner notes are delivered by no less than Robin Kelley, whose 2009 Monk biography is still considered the definitive edition. Against an ochre background, Kelley lays out Carver's life and times in significant detailing, especially as they relate to the tunes. 

In a manner so as to belie easy labels, James and the group deliver a multilayered suite of songs in which elegy, triumph, and the spirit of the endless quest intersect and mingle in endlessly intriguing ways. Assertive without rever slipping into bombast, subtly searching without ever fading beyond consciousness, the tunes sturdily bear the weight of history that Lewis clearly intends for them, but have as much of an affinity with the present as they do with the past.

Carrying forward some of the ideas from his previous set, "Molecular" this new disc is a fine showcase for Lewis' ever-expanding sonic universe. Like all of the best musical works, it sounds fresh enough to grab our attention and familiar enough to keep it.

Tracklist:

1. Jesup Wagon.

• 2. Lowlands of Sorrow.
• 3. Arachis.
• 4. Fallen Flowers.
• 5. Experiment Station.
• 6. Seer.

7. Chemurgy