“Music Speaks For Me” is Larry Douglas’ latest EP, and it takes an adventurous, non-linear arc across many blues-derived genres. It starts out modern and in the realm of rap/hip-hop, though it still sounds like an old era of hip-hop when they were using soul samples like the old Ice Cube albums or something of that era, not trap/drill or the currently more popular subgenres of hip-hop. The EP then shifts towards more R&B and old school jazz sounds.
The first three tracks are really groovy, featuring hypnotic, retro drum programming from LaDamon Fatboi Douglas, solid rap performances, and dreamy synths. But then it morphs, and that shift starts to happen in the fourth track called “Outstanding”, a catchy R&B anthem, and then two straight somber jazz songs. This reflects Douglas’ philosophy of “sound painting”. So let’s embark on a journey across Larry Douglas’ canvas.
We start the EP off with the title track “Music Speaks For Me”. It starts us off on the modern end of the spectrum of blues-derived music with an R&B/Hip-hop beat and flute melodies to keep you afloat. It’s like driving in neon city lights and just jamming out. Truly letting the music speak, with the lyrical component taking a backseat. There is a secondary melody being played on this song, a playful, plucky, vibey sound that really fleshes out the rhythm of this groove-heavy track.
We move to Douglas’ cover of Mark Morrison’s “Return Of The Mack” where he spreads his jazz wings a bit more, with the bulk of the song being really tasty, jazzy improvisations. Grooves from percussionist Jorge Pineda place these nineties New Jack Swing jams into a jazzy context, and then we come face to face with incredible original verses by Amen Kush and Fiyahman that put the cherry on top.
The third track is “Me and My Cohiba”. A much more rap-forward track now with powerful bars from Remi while Douglas lays down trumpet tones that have been described as “velvety and silky” by Leonard Feather. The song also features a sitar among the colorful harmony layers, a fresh choice of textures that kept my ears guessing.
And now, the turning point of the EP, “Outstanding.” It’s a lush confluence of tones and timbres that showcases Douglas’s full range, utilizing vibes, trumpet, and flute to complement guest Atozzio’s mellifluous voice. The textures of this song are just full-on 90s R&B, including soulful backup vocals, though it has decidedly modern percussion elements. Definitely the catchiest and most “pop” song of the record.
“They Call Her Zadie Mae” is what I describe as a noir jazz style ballad. It’s a collaboration with Clifford Lamb on piano. The music here paints a vivid picture, but like any great instrumental ballad gives you room to imagine and immerse yourself. “Who is Zadie Mae?”, “How did she inspire such intrigue in one’s soul to play such heartachingly beautiful music?” are questions that will surely come to mind as you let yourself go to this song.
But don’t lose yourself too much because, as the finale, we arrive at an incredibly mature instrumental cover of Al Jarreau & George Benson’s “All I Am”. Somber reflection alongside a sense of melody developed over decades of experience in the San Francisco area is a killer combo that serves this cover well and does the original justice. These final two songs (deluxe edition exclusives) firmly land us in pure jazz goodness at the heart of the old blues-derived music.
There’s an incredible amount of authenticity and passion in the music on this EP. Larry Douglas, in “Music Speaks For Me”, has delivered a soulful and heartfelt tribute to all the blues-derived genres in the only way a true musician can: to let the music speak for him.