Kevin Jones bioPercussionist-bandleader Bujo Kevin Jones debut recording for Motema Music, TENTH WORLD, is a festive, multi-cultural affair. Driven by the organic pathways of the drum, Jones and his spirited crew traverse waters from Harlem River Drive soul to the streets of Havana all the way to the Congo heart of the African motherland. Those diverse traditions are bathed in the spirit of jazz improvisation, fired by kinetic horn play, rippling keyboards, deep bass grooves, and the kind of palpable joy of music-making engendered in the selfless ensemble play of Bujo Kevin Jones & the Tenth World band.
Bujo is a percussionist in the ancient future mode. Heavily steeped in ancestral spirits he is nonetheless a modern man whose technique and approach to the hand drums and miscellaneous percussion encompasses several traditions. A native of Englewood, New Jersey, Jones grew up in a household immersed in music, from Charlie Parker and Grant Green to John Coltrane. Jones traces his percussion prowess from the age-old academy of the streets. He has evolved an increasingly comprehensive approach to his instruments, commanding respect on stages ranging from the Isley Brothers, a stint which he held down for 13 years, to Whitney Houston to Winard Harper and Reggie Workman. Those streets, plus liberal doses of the experiences he derived from such seemingly disparate bandstands, can be found in hearty abundance on his debut recording for Motema Music.
Immersed in music through the drum since the tender age of 10, Jones learned music by the seat of his pants. Neighborhood drummers were prone to testifying on park benches and front lawns, hand drums and various percussive enhancements in tow; their massaging, pulsating, skin-on-skins thoroughly hooked the impressionable youngster. Later on, future cohorts like Motema Music artist and master percussionist Babatunde Lea (producer of Tenth World) provided further sustenance and impetus for Bujo to reach the next level, from acolyte to practitioner. Though not Latino, Jones found himself magnetically attracted to Latin music, particularly the Latin Soul sounds that permeated the New York/New Jersey byways during the late 60s/early 70s; sounds by Nuyorican artists like Joe Cuba, Joe Bataan, and assorted Fania soul-seros. He became immersed in Afro-Cuban flavors through the influence and teaching of fellow percussionists Lea, Steve Kroon, and Richie Pablo Landrum, who taught the youngster at one of New Yorks premier music academies, Jazzmobile. Currently Luisito Quintero, coincidentally now a member of Tenth World, provides ongoing lessons.
As a professional, in addition to the Isleys, Whitney, Harper, and Workman, Bujo has graced the bandstands of Archie Shepp, Benny Powell, T.K. Blue, Randy Weston, Hilton Ruiz, Mario Rivera, and hip hop artist Q-Tip among a gang of affiliations. Additionally he passes on the multitude of lessons hes learned on the bandstand and in the street academies to the next generation, through his ongoing teaching residency with the Bronx Arts Ensemble and workshops with other youth organizations.
Philosophically Kevin Jones is among those insightful artists who feel that their music must strive for that delicate balance between true creativity and entertaining enlightenment. I believe that people want to be entertained, he says. Im not suggesting that we become entertainers, that we have to lower the level of our musicianship, but people want to go to a club and enjoy themselves, and sometimes the music has become a bit too cerebral. I think music should be more selfless than selfish. Im here for the people because without the people there would be no music; I could sit at home and play to satisfy myself. That attitude of skillfully balancing creativity and the art of improvisation with a good groove and an innate ability to convey some sunshine to its listeners is inherent in the work of Bujo Kevin Jones on Tenth World.by Willard Jenkins
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