Wayman Tisdale
Kansas City Jazz and Blues Festival
July 16, 1999

Review by Mark Cuthbertson

Ever since I read about Wayman Tisdale's entering the pro jazz circuit in Bass Player a number of years ago, I was eager to hear his playing for myself. I jumped at the chance to see him at this year's KC Jazz and Blues Festival, recalling BP's praise of his funky playing.

Tisdale's bass sound was bright and crispy -- a perfect complement to his slap, crackle, 'n' pop style. Both his soloing and supportive grooves showed a strong Stanley Clarke influence with a less rubbery attack. In his first selection, he let it all hang out, beginning with a strong, funky groove locked tightly with drummer Nate Robertson's beat to which nicely supported saxophonist Michael Phillips's airy phrases. Later in the same tune, Tisdale took front and center stage and laid down some funk that could hang with Clarke, Flea, or Marcus Miller.

The disappointment began to set in on the second tune. Cardell Morell provided thick key bass lines underneath Tisdale's lead melody and soloing, often with Phillips in harmony. While Tisdale solos well and even augments his sound with guitar-like distortion and clear, bent notes played high on the neck, the groove was neglected throughout most of the set as Morell did what he could to fill in for a vacationing bass player. Also, most of the songs took on a mood much like the Rippingtons or similar contemporary light funk/smooth jazz groups with jangly, crystalline top-40-of-the-eighties-ish synth introductions and floating, elongated sax solos which never registered as high as a 3 or 4 on the intense-o-meter. Somehow, Robertson's hard-hitting, driving rhythms, Tisdale's percolating licks and Morell's high-energy solos were not enough to keep the overall sound of the group from sounding lethargic and fluffy.

On a pleasantly surprising note, Tisdale added another dimension to the performance when he added his soulful baritone vocals to "Breakfast with Tiffany," the cut from his latest album. Later in the tune, he augmented his melodic soloing by playing in thick, rich octaves.

Wayman Tisdale has the tools to enjoy a long career as a jazz/funk/fusion musician. With a little more focus on his ability to hold down an interesting groove, playing a lesser quantity of his high-quality solos, and a more aggressive and edgier approach from his sidemen, he could possibly free himself from the halcyon mold of contemporary jazz/easy listening and break some ground of his own soon.

--Mark Cuthbertson