Saint Lucia’s Creative Industry appears to be undergoing a renaissance of sorts. There’s definitely a buzz about it. Books are being published; murals rejuvenate once lifeless public spaces; young writers and poets are coming to the fore; and a flurry of multi-genre, songs and albums are being released. The latest among these creative offerings—Richard Payne’s Creole jazz album, “Introspection”—is the subject of this commentary.
My first encounter with the album left me delirious and in awe. Truly, it is a work of art and in the context of Payne’s successful fusion of soothing and exhilarating jazz and creole rhythms in a full-length album, it ranks as a masterpiece, reminiscent of Paul Simon’s groundbreaking “Graceland” and Don Pullen’s “Kele Mou Bana” with its blend of African and Latin rhythms.
Van Gogh once affirmed that “no one but the artist knows the full effort that goes into a piece of work.” However, he acknowledged that to do a good piece of work, one must put one’s heart into it. Indeed, Payne could claim without any fear of contradiction, that he put his heart, soul, treasure and sweat into Introspection. Only he would know the weight of the soul he poured into each composition and the quiet battle behind every note.
Payne’s effort may be unseen, but it is fully felt. The fact that his band of musicians—some chosen with forethought, others on the spur—rehearsed the album’s 9 tracks in three days is one potent indicator of the scale of effort that produced ‘Introspection’. The musicians had to feel comfortable with each other. In addition, they had to become intensely familiar with the musical bed for the various tracks, buy into Richard’s vision, and infuse that vision with their own personalities and musicianship.
The fact that the group was meeting for the first time, in Paris, of all places, speaks convincingly about the extensive planning that went into the project. To Payne, Paris was a natural choice to produce the album because, according to him, the city boasts some of the best Creole-Jazz musicians on the planet.
As an adopted member of the Paul/Theobalds/Payne family, I was privileged to have received Richard’s excitement-laden bulletins from Paris, in which he shared the honour of working with these outstanding musicians, who were as committed as he was to fulfilling his dream.
By Payne’s own recounting, in conceiving Introspection, he sought to harness the collective beauty of the Caribbean, which in his view has been a victim of its history and its separateness. In this regard, he’s particularly proud of the Caribbean rootedness of every musician featured on the album.
For me, Introspection is beyond a work of art. It’s an impressive tribute to a legacy of family musicians, including Richard’s grandparents; his father Eugene, himself an acclaimed pianist and jazz pioneer in Saint Lucia; his Aunt Elizabeth “Zin” Theobalds, a soloist and actress; and his cousins, Sir Vaughan Lewis, and Bernard Theobalds. They stand with us in rapturous applause at the attainment of his epic feat.
I was happy that at the album’s launch, Eugene Payne shared an abridged but nonetheless fascinating history of the evolution of Jazz in Saint Lucia and the role of the late, great, Hunter J. Francois and his son Luther. Often, it’s Mr. Francois’s contribution to education that is recalled in discussions about him. From Eugene’s account, his contribution to Jazz is equally impressive.
True to its title, Introspection is a reflective and nuanced jazz album, that delivers an exhilarating blend of modal jazz, contemporary improvisation, and percussive textures. It is filled with contemplative sound, provided by Payne’s expressive piano work, the fluid saxophone lines of Richard Izquierdo, and their heart-stirring interplays with vocalist, James Germain.
The placement of tracks on the album reflects deep thought. It also suggests that Payne carefully structured the album for maximum emotional impact. It begins with “The Call” which I interpreted as a summoning of the ancestors to join the Introspection experience. “Citadel” has a meditative and deeply personal feel about it. Indeed, Payne’s affinity with Haiti and his admiration of the resiliency of Haitians are well known.
“Ouvri Bayre” opens the door to the album’s richness. I was delighted to hear Richard’s rework of the “classical folk” standards such as “Papa Ou Dou” and “Estephan.” I’d fallen in love with them from the first time I heard Payne perform them some moons ago.
For me, Payne’s piano artistry shines through most on the title track, Introspection, which is a mix of light-hearted exploration and deep contemplation.
The album ends with “Moko Jumbi” which I regard as one the most creative jazz interpretations of a folk song that I’ve heard. As with the other creole jazz pieces in the album, Payne isn’t just borrowing from tradition—he reimagines it in a way that feels fresh and original.
That eclectic blend of modern and traditional forms makes Introspection a truly dynamic and rich listening experience. The album showcases Payne’s deep respect for his jazz roots and a forward-thinking approach to composition and improvisation. The way he, with bold transpositions, integrated folk melodies into jazz, adds a unique layer of storytelling to the album.
Introspection pushes boundaries while remaining deeply rooted in cultural heritage.
Bravo Richard Payne!!