Stepping into the Future with Trumpeter Theo Crocker
For the first time since the pandemic, on Saturday, March 26th at the Judy and Arthur Zankel Hall, Carnegie Hall, I stepped from confinement to witness the performance of Theo Crocker, whose music has been categorized in the genre of Afrofuturism. I was not familiar with the musical expression of Afrofuturism; I had heard the term, especially in the fine and visual arts. I searched for a definition for Afrofuturism that I could comprehend,
I observed the audience… a mixed bag of my fellow baby boomers, along with Gen X and millennials. I was intrigued to experience this Afrofuturism genre. I grew up listening to all types of music, especially jazz… the music of Miles Davis, Chris Botti, Bill Saxton, Duke Ellington, John Coltrane, Dizzy Gillespie, Charles Lloyd, Herbie Hancock, and Art Blakey to mention a few. I even listened to the music of Sun Ra and his Arkestra, which I learned was one of the earlier concerts kicking off the Carnegie Hall AfroFuturism series. So apparently I knew something of this new cultural movement after all. However back then I listened to him and the others simply because they were all technicians and masters of their instruments. Their music was good. There were no visuals or technology gadgets to fidget with while performing. I could close my eyes and be taken into the future and back to historical roots by the sheer essence of the music.
A Restless Spirit Daring to be Categorized
As I prepared to take the journey with Crocker and company, I wondered what to expect. Much like AfroFuturism, which looks to the past while running toward the future, Crocker offers both in his own training and pedigree. He is the grandchild of Grammy winner Doc Cheatham. So it would seem Croker was born into jazz, or more specifically, the jazz trumpet. Whereas his grandad’s musical vibe was more often of an elegant classic melody with a slow bluesy vamp, I would learn that Crocker transgresses more into what is best described as a cosmic beat.
Cosmic music, sometimes also called “Afro Cosmic,” is often synthesizer-heavy dance music even blending in DJing into the mix. Yet Crocker’s creatively restless spirit takes many flights of fancy, which can make it hard for an audience to really feel they have gotten to know him.
I was willing to give over to Crocker’s music as he and his band members mounted the stage wearing white painter’s overalls with their perspective instruments printed on their bottoms: Mike King, keys; Eric Wheeler, bass; and Shekwoagaa Ode, drums. Only Croker, trumpet & vocals, and D’Leau, art & sound, were not in uniform.
Behind the performers, a large screen displayed many African images and symbols, graphic designs, and words that competed for my attention. For me, there were many distractions. While band members played solos, Crocker took brief rests playing the trumpet, Crocker tinkered with knobs and buttons on what I believe was the mixer. He seemed not to achieve the desired settings during the concert.
Looking for the Message but Just Wanting to Listen
When I closed my eyes to fully immerse myself into the music, I heard samplings of Botti and Miles… the music was clean and basic … nothing musically extraordinary. Some of the compositions, like the opener “4knowlwdge” and “Where Will You Go” seemed environmental in that they took you beyond the concert hall and into your own imagined space. Other works like ‘No Escape From Bliss” seemed to tease a mood that seemed elusive for both the listener and the band. Still, I feared I would miss some vital message if I didn’t watch the screen. I was a bit conflicted.
Mr. Crocker’s program included some rap vocals, such as in”Blk2thefuture,” but nothing too harsh for my spirit. There were rhythmic and “foot tapping” beats, especially apparent in the last number. And, at these moments the crowd seemed to get behind him on these rhythms. And, perhaps the most Afro-centric composition was “Hero Stomp.” The concert was performed without intermission and compositions were announced from the stage, which at least gave a jazz set kind of a vibe but left me scrambling back to the kind folks at Zankel Hall to request a set list.
In the end, I must say, I enjoyed the evening. It was great to be back on the New York cultural scene and amongst a friendly crowd of music lovers and to experience Croker’s creative expression. Afrofuturistic or not, I still cannot say. To me, musically it was not a true throwback to the jazz legends of my youth. But, like Crocker himself, I appreciated stepping out of confinement and into something new.