Downbeat Feature
June 2004

FLY: Trio Hipness

In urban vernacular, “fly” is an adjective used to describe someone or something as being fashionably hip. In the case of Fly, the cooperative trio of saxophonist Mark Turner, drummer Jeff Ballard and bassist Larry Grenadier, the word again functions as a modifier, but as Grenadier insists, the band’s name is “open to interpretation, just like the music,” meaning that it could serve as a verb or a noun.

Fly is most definitely hip, especially in their unselfish embracing of modern jazz, Ghana rhythms, funk and rock esthetics. And when Turner’s lamenting tenor soars across Ballard’s rumbling polyrhythms and Grenadier’s wiry counterpoint, their music evokes images of skyward flight.

At times, Fly achieves a protean cohesiveness that recalls the trios of Sonny Rollins or Ornette Coleman. Fortunately, though, they’ve avoided the “throwback” bag by fashioning a durable songbook of their own. On their eponymous debut album, each member contributes original compositions, while the rest of the program is fleshed out by “Todas Las Cosas Se Van,” written by bassist Reid Anderson, and a bracing makeover of Jimi Hendrix’s “Spanish Castle Magic.

Another strategic tactic Fly employs to distinguish themselves is the sly manner in which they toss around the leader role. Signifying a conventional leader of the group is tricky because no one voice dominates. “One of our most important characteristics is our disregard of the traditional concept of ‘role-playing,’” Grenadier says. “Each instrument is constantly shifting its function. Mark might take on what might be considered the bass player’s role; and Jeff could be the melody. The mystery for the band and the audience lays in this steady shift of perspective.”

Ballard agrees: “There’s a leader out of the three minds meeting. There’s respect for each other’s input and output.”

The trading-off of roles works quite well, as evidenced by the collectively composed “Fly Mr. Freakjar,” in which all three engage in a cerebral celebration that manages to have a hook while still moving forward. On Turner’s quizzical “Stark,” the saxophonist and bassist volley prowling phrases over Ballard’s hyper-kinetic rhythms, while Grenadier’s soulful “JJ” (dedicated to unsung bassist Jerry Jemmott) demonstrates their flair for funk.

Roles shift interchangeably off the bandstand as well. “We divide the leader role according to who can do what and who has the closest connections to whomever needs to be contacted,” says Turner, who through his past experiences as a recording solo artist and bandleader landed Fly’s record deal. “[Savoy Jazz] originally wanted me to do a solo project, but I had this project going on.”

Turner’s previous experience may have gotten Fly entry points with the record company, but it was Ballard who originally brainstormed the idea of putting the collective together. With the support of Chick Corea, with whom he was playing at the time, Ballard immediately sought Turner and Grenadier, mainly because of their history together.

“Larry and I have known each other for about 20 years,” Ballard says. “I grew up and learned a lot with him, so there is a real connection between us. Mark and I played together in Kurt Rosenwinkel’s band. The interaction that we achieve is fantastic. Hearing him play one note is such a song. There’s so much heavy care for that note that he’s making, whether it’s short or long.”

“In many ways, we really learned how to play music together,” Grenadier adds. “In spite of our various affiliations we never had a band together until now. We’ve traveled our individual musical paths until we couldn’t help but come together.”