Alabaster DePlume is described as “an English jazz musician, saxophonist, spoken word poet, composer, and activist.” When I read something like that I instantly forget the musician and saxophonist part and concentrate on “poet”, “activist” and think I’m not going to like it. Like the music part of that equation is just a side note for an artist’s political and social projects. But with Alabaster DePlume I’d be doing my ears a disservice.
DePlume, birth name Angus Fairbairn, is an artist of many talents and passions. Music is most definitely high on the list. His work is mysterious and thoughtful; deep if you can lock in and find your way to its powerful intent. On his newest album with the great International Anthem Records out of Chicago, DePlume locks into vibes that run the gamut from Soul Cages-era Sting, Nick Cave, and even Peter Murphy. A Blade Because A Blade Is Whole succeeds in making groove-oriented songs, as well as more obscure, idiosyncratic compositions.
The concept behind A Blade Because A Blade Is Whole, according to DePlume, is healing. Being obsessed with making sure everyone around him was okay, he tended to push aside his own needs creating a kind of loss of self. So he took time to heal himself as opposed to others. The concept of the blade is that it separates while remaining whole. Good news is that you don’t need to be a self help nut or philosophy major to dig his record. The ideas come thru in the gorgeous compositions and melodies.
The record is a mixture of vocal songs and instrumentals. Even with vocals the music is what’s most striking here. Opener “Oh My Actual Days” plays like almost a funeral procession. Vocals hang in the air under DePlume’s reedy saxophone playing while strings and understated drums build a foundation. “Thank You My Pain” has a more defined groove with DePlume repeating “Thank you, Thank you”, having an almost beatnik vibe. Gil-Scott Heron fans with dig this one. There’s conceptual pieces like the melancholy “A Paper Man” and “Form A V” which has the spirit of the great Leonard Cohen in them.
The one-two punch of “Who Are You Telling, Gus” and “Prayer For My Sovereign Dignity” is overwhelming in its compositional beauty. Closer “That Was My Garden” is awash in soul and beauty, with Alabaster DePlume’s poetry taking centerstage. It’s a stunning closer touching on the work of modern jazz artists like Joel Ross and Makaya McCraven. The very personal spirit here is reminiscent of McCraven’s great In These Times.
Don’t let “poet”, “spoken word”, or “activist” make you shy away. Alabaster DePlume’s A Blade Because A Blade Is Whole is the real deal.
Discover more from Complex Distractions
Subscribe to get the latest posts sent to your email.
