Minor to major. Belize old-school Brukdown. West African and Brazilian jazz, Béla Bartók, George Duke, Chick Corea, Flora Purim. These are just some of the ingredients and influences that have either intentionally or unconsciously found their way into this piece, which I’ve titled Perplexity. How I came up with it—or should I say, how it came to me—I honestly have no idea. It just felt right. Complexity? Perspective? The pursuit of (the elusive) perfection?
It began with me noodling on a keyboard somewhere on the road a few years ago. I’ve been fascinated by fifths and major-minor-major transitions ever since I discovered Bartók’s Piano Concerto No. 2 as a 14-year-old music student (have a listen to the second movement). My right hand was playing offbeat ascending and descending fifths, and my left hand fell into syncopated fifths, creating what became the “scaffold” of the composition.
The drumbeat on the demo had a backwards feel, reminiscent of Belize old-school Brukdown, inspired by memories of hearing my mother, Nadia Cattouse’s, old 60s and 70s Belizean records at house parties growing up. Bands like “The Professionals” and “Lord Rhaburn Combo” would fill the air, and later, I heard them live when I visited Belize. I even remember sitting in on drums for a song at Bird’s Isle as a somewhat green 17-year-old, trying to keep time with the band.
Now, 48 years later, I get to play old-school Brukdown again, of sorts. I dusted off my drumming skills, and together with my producers, Toni Economides and Mike Patto, we adapted and arranged that rhythm to accompany the melodies that had evolved from that slightly bizarre initial keyboard riff. The melody seemed quite singable, so doubling it with my voice was an obvious choice (and a nod to Mr Duke and Ms Purim).
On the vocal front, a special mention goes to the graceful, soaring work of Brazilian vocalist Carolina Lelis, who doubled the shifting chords and counter-melodies.
Instrumentation-wise, you’re mainly hearing my 1979 vintage Rhodes piano and the brass of a Roland Juno 106 synth, with my (semi-retired) MiniMoog providing the bassline, the solo, and weaving in and out of Prophet 5 special effects in the coda before the song concludes with a strident fanfare of the main theme.
Adding their magic to the arrangement are Satin Singh on percussion (and laughter at the end), DaLata’s Chris Franck on guitars, and Mike Patto on vibraphone sparkles and vocal effects and samples.
Perplexity is as authentically “up my street” as anything I’ve ever written and recorded over the last 44 years, and I owe a debt of gratitude to Mike and Toni for helping me realise its potential. I hope you enjoy it as much as I did creating it.