“One of the greatest musicians that I have ever come across. Anytime I hear Karriem create music or hear him play, I am reminded of how wonderful music can be.” –Common
Karriem Riggins has made a living out of defying labels, bridging gaps, forging new territory — using classical, jazz, and hip-hop — and making every note fly.
A curious child growing up in Detroit, Riggins ransacked his musical parents’ record collection and experienced real studio time around his musician father Emmanuel (a regular with jazz guitarist Grant Green).
New York City, circa 1994, began shaping this eager, open-minded young man from memorable gig to memorable gig, most notably Betty Carter’s band, Jazz Ahead. Soon enough, word of mouth hooked him up with other big jazz names: Hank Jones, the late Ray Brown, Oscar Peterson, Milt Jackson, Donald Byrd, Cedar Walton, Mad-Lib, Bobby Hutcherson, Kenny Burrell, Benny Green, Herbie Hancock, Mulgrew Miller, Ron Carter, Gary Bartz, and Diana Krall.
“The players did all the hard work, and I was just in the booth singing. There was one moment when we were having a puzzle over some slight problem, and I said, ‘I don't mind. I'm in L.A. I'm British. I'm a tourist. I'm in Capitol A Studio, I'm singing on Nat King Cole's microphone – I'm on holiday.’” –Paul McCartney, liner notes, “Kisses On The Bottom”
The masterful cross-over into hip-hop, informed by the intuitive flow of jazz improvisation, also began to flourish, as Riggins made music with only the most credible, respected of artists — the Grammy-winning and Grammy-worthy Kanye West, Common, Erykah Badu, The Roots, the late J Dilla, and Slum Village — as drummer and producer.
Riggins’ own vision took flight in “Music Kaleidoscope,” an apt album title if there ever was one. “Music Kaleidoscope” demonstrated the producer/drummer’s aptitude for both hip-hop and jazz. A self-titled album is in the works, as well as an instrumental, “Alone Together,” on Stones Throw Records, due out later this summer.
The legendary Beatle Paul McCartney certainly has heard of Karriem Riggins, who’s been working heavily with three-time, Grammy-winning jazz pianist/vocalist Diana Krall lately. For a different kind of debut album, in the realm of jazz, McCartney knew he was treading foreign territory and knew he’d need only the most capable artists from the jazz industry. Riggins and Krall serve as the grounding force for much of the February 7th release, “Kisses On The Bottom,” along with some other heavy-hitters, like Bucky and John Pizzarelli, Stevie Wonder, John Clayton, and Eric Clapton.
McCartney introduced himself to new audiences — the young and the jazz-inclined — at the February 10th and 12th GRAMMY® Awards, where he was appointed and feted as the 2012 MusiCares Person of the Year. For this special occasion, the ex-Beatle took to the stage with several of his latest album’s accomplices, including Riggins and Krall. They were pitch-perfect, but then this is their thing. McCartney, on the other hand, seemed way out of his element.
McCartney’s 16th solo studio album — covers of standards (“It’s Only A Paper Moon,” “I’m Gonna Sit Right Down And Write Myself A Letter,” “Ac-Cent-Tschu-Ate The Positive”) and a few originals done in the standard manner — hasn’t been well received by jazz music critics, but nobody can fault the band he’s chosen. McCartney’s vocals have been described as non-descript, hesitant, lackluster, wooden, out of his league, etc., despite his A-list studio recording team.
Comments