Michael Gregory Jacksonthe innovative guitarist recognized as a vital influence by modern masters like Vernon Reid, Brandon Ross, Bill Frisell and Nels Cline, releases his first-ever solo electric guitar album, Git electrical box (Gold discs). Available exclusively from the artist band camp site, the digital offering features 11 unaccompanied solo guitar pieces showcasing the stylistic scope and jaw-dropping technique of this influential and critically acclaimed guitarist’s singular oeuvre.
Git electrical box includes both reinterpretations of Jackson’s originals from his 1976 solo debut, Clarity, Circle, Triangle, Square, plus a host of powerful new works. The release also includes numerous liner notes consisting of thoughts on Git electrical box by Oliver Lake, Vernon Reid, Bakida Carroll, Ed Motta, Brian Jackson and Brandon Ross, plus a poem written for the project by author/playwright/poet Jessica Hagedorn, with additional writing by Jackson.
Jackson says of Git electrical box“The nature of beauty is central to my being and my music, alongside aggression, passion, fire and powerful feelings of personal independence and creative freedom. This project was born out of a time full of anguish for me, I felt awash in tragedy, the isolation of Covid lockdowns, the recurring killings of black police and vigilantes, and living with the pervasive reality of systemic racism. angry, disconnected and erased; thus, I recorded this music with some contours, some distortion, to communicate the multifaceted well of emotions that gave birth to this performance.
He goes on to explain, “My guitars, which I’ve called ‘git boxes’ since my teenage years, have always been my companions and sanctuary to me, vehicles to help me through the angst of my young life, and now.Through my guitars I have discovered discipline, self-awareness and inspiration, my git boxes have opened up a conduit, a dive into deep access and a connection to the blues within me.
Git electrical box opens with a recent original, “Karen (Sweet Angel),” an evocative ballad dedicated to his beloved, which contrasts wide-open chords and deep harmony with quicksilver melodies and fills. On “Sweet Rain Blues,” Jackson revs up a bucket of blues, one that Vernon Reed characterizes as “both rural and urban, then drifts away into considerations of what really happens when the sun is shining though it’s raining. in your heart”, while on “Wish”, Jackson’s blues has a distinct sarod tone. On another recent original, “Hymn for My People,” Jackson recites a slow, ultra-mournful funeral poem — largely in single-note lines, while “Perseverance” is a driving hymn as relentless as its title. Both, according to the artist “are inspired by the struggle and the spirit of defiance of my ancestors, and of my artistic predecessors in all idioms, and of all freedom fighters in the struggle for the liberation of all oppressed peoples”.
With “Preleuoionti”, Jackson takes up the centerpiece of the acoustic guitar of his first disc of 1976 recorded at the age of 23, Clarity, Circle, Triangle, Square. This version has a new depth, one that only time and his mastery of electric SG tonality can add. Another reimagined classic, “Theme X (For Geri Allen)”, is a tribute to the late composer and keyboard master, an associate of his early days in New Haven and New York in the 1970s, a composition heard for the first time on Jackson’s 2019 record, WHEN INDITU WILL BE, with his Clarity Quartet. Ornette Coleman is the dedicatee of “JcakJcak (for Ornette)”, a fast and sometimes dissonant rollercoaster of melodies first heard on her trio album “Spirit Single Strata” with drummer Kenward Dennard and bassist Keith Witty, and his Clarity Quartet collection, “After Before.” The same two albums included “Meditation in E (For Karen),” another airy ballad that showcases Jackson’s unique harmonic sense and bluesy solo sonic sheets.
“Michael’s powerful, melodic and rhythmic sensibilities imbue all of these pieces with a tactile energy,” says guitar great Vernon Reid. “Michael Gregory Jackson has always traced a singular musical path as he travels through many genres that have been his wheelhouse, through many schools of jazz, alternative rock and even Avant folk. This collection of solo electric guitar is perhaps Michael’s most personal musical exploration to date.