Month: March 2019

ALEX REVIEWS MUSIC (ARM): CHRISTIAN SCOTT ATUNDE ADJUAH – ANCESTRAL RECALL | 2019-03-28

I’m starting to like this whole jazz-infused thing going on over here. Getting the horns of it, so to speak. This, even though, to be completely frank this new Christian Scott aTunde Adjuah project titled Ancestral Recall could hardly be contained within conventional and canonical jazz qualification criteria. Still, for starters, Apple Music and editorial co. do choose to file this release under said genre tag, so there you go with some industry machinery validation to all skeptics’ faces. In any event, with pigeonholing adversities out of the way, fact of the matter is that this new album by the New Orleans-native trumpet extraordinaire went on to steal my new heat scene ever since dropping last Friday 22nd March without too much fanfare. Issued jointly by his home-brewed imprint Stretch Music LLC and US East Coast label Ropeadope Records, Scott’s new joint sports a full hour of new material, broken down into twelve distinct cuts, which see the jazz composer/producer reach out for assistance to a decent list of collaborators, ranging from influential hip-hop musician, slam-poet, and activist Saul Williams to up-and-coming Bronx MC Mike Larry Draw. Other similarly drafted acts joining the project ranks are usual suspect partner in crime and flutist Elena Pinderhughes as well as alto saxophonist, composer, bandleader, and producer Logan Richardson.

Such a collaborative spirit is not only reflected in the varied batch of team-ups established to complement to the sonic palette of the record, for this quest for musical cross-pollination and style contamination is also mightily reflected in the genres and sounds throughout Ancestral Recall. Through his latest effort, rather quite explicitly, the trumpet, cornet, flugelhorn, and soprano trombone prodigy sought to create “a map to de-colonialize sound; to challenge previously held misconceptions about some cultures of music; to codify a new folkloric tradition and begin the work of creating a national set of rhythms; rhythms rooted in the synergy between West African, First Nation, African Diaspora/Caribbean rhythms and their marriage to rhythmic templates found in trap music, alt rock, and other modern forms”. Faithful and devoted to his mission statement, Scott managed to draw all the suitable elements from a globe of musical jigsaw-repertoire to craft a superbly modern and audacious melting pot captured in form of a jazz record. Spanning everything from indigenous and tribal percussion rudiments, electro-industrial drum machines, sweet and sugary melodic soundscapes, intricate horn lines, free jazz suites, and of course 16-bars, multi-ethnic influences and anti-colonial creativity get tastefully entangled to output a coherent and unified listening journey.

The album’s eponymous lead single, released in early February, acted as vehicle for a first – partially misleading – sonic taster of the multi-modal canvas Scott was going for on his fourteenth studio effort. Presenting a hectic and frenetic lead rhythm extrapolating a percussive mix of djembe, mande drums, kaganu, tambourine, kalimba, bata, and congas (good luck figuring out which one’s which…), it runs on continuous high energy and drive throughout all of its six-minute runtime. Rallying with Williams’ pensive preaching spoken-word lines, this track’s sharp intensity only ever gets matched by the mechanically hammering and gorgeously melodically lush “I Own the Night” at number two on the tracklist, and perhaps tangentially by segments of the jungly “The Shared Stories of Rivals (KEITA)” – both incidentally enlisting Williams’ wordplay and co-sign. Make no mistake though, despite the A-list feat and the driving flame of this lot of tracks, heaviness and density do not account for an overshadowing of more laid back, reflective, and mellower moments on the album.

Vulnerable and fun opener “Her Arrival”, for instance, lands on the shorter side of track lengths yet baptises the auditory lifecycle of Ancestral Recall in an outstanding fashion, with its quasi-celestial crescendo of trumpet, flute, and flugelhorn lines exploding in a fulfilling cascade of waterfall-y harmonies, sustained by subtly glorious choir chants. Further down the tracklist, the middle section of this LP allows for a relaxed breather in a way that, unfortunately, is not always on point and successful, resulting very run-of-the-mill. While the spaced out reverb of “Diviner” cradling tribal horns atop of a contemporary trap beat might at least induce a hint of curiosity and warrants to be admired for its experimentation, “Overcomer” at number six can’t seem to offer anything noteworthy in the way of daring to overturn predictable compositional standards of the genre, unlike much of the rest of the tracks on this project. Likewise, song number eight “Ritual (Rise of Chief Adjuah)” checks in as a totally forgettable record, offering second-hand and unoriginal aesthetic elements found in much better form and rendition in tracks like the glitzy and tender “Songs She Never Heard“, or in penultimate mash-up “Double Consciousness”.

An entirely distinct commentary and reflection is owed to the Chris Turner and Mike Larry Draw-assisted “Forevergirl“, a fuzzy and reverb-soaked indie-acoustic number offering a supreme melodic texture embedded in a warm jazzy horn frame. Yes, you read that right. On here, soul-jazz NY crooner Chris Turner lends the tune the necessary vocal depth in order to fit both a main acoustic guitar riff that sounds as if sampled from a Front Bottoms demo and a marching syncopated tambourine rhythm. Granted, the overall mixing and mastering of “Forevergirl” does leave a little bit to be desired, yet when paired against the rest of the production output delivered on Ancestral Recall, this rendering ends up sounding more like a conscious stylistic choice weaving into the tune’s lo-fi B-side vibe, than an actual flaw in the creation process. Young rapper Mike Larry Draw provides one of the highlights on this thing with his bars peppered towards the front-end of the track, showcasing a fierce attack to the drumming beat carried forward by a decisive and swagger-ish flow.

More than anything though, this flagship tune has us go full circle with the premise of this review: this is as much a modern mainstream jazz record as it is a colourful kaleidoscope of sounds and 360-degree world cultures. Arguably, no single song on the album displays the vast multiplicity of such traits better than “Forevergirl”. So let us hear it straight from the horse’s mouth, as he spoke to The Fader about the track earlier this month. But please make it what you want. After all, didn’t we all just learn that in Christian Scott’s music, anything goes?

“I wanted to sonically mirror some of the things I had seen in an analytic cubist rendering of two lovers. In that form an object is taken apart and reassembled in abstraction to depict the object from as many perspectives as possible. Essentially giving a more global viewing of what the object is comprised of. I wanted create in sound what I was seeing. So there are a multitude of parts/voices collapsed onto one another to stamp out ambiguity in the composition, to help focus a more clear reading through sort of encapsulating the sentiment in sound into a confined space. You can hear this in the many layers of trumpet, muted and non-muted, and in what I wrote for Chris Turner. A different take on constructing a love song. As my brother Terrace Martin says ‘there’s a thousand ways to say I love you.’ I wanted to channel that in this one.”

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

CHRISTIAN SCOTT ATUNDE ADJUAH

ANCESTRAL RECALL

2019, Stretch Music LLC / Ropeadope

http://www.christianscott.tv/

CScott_ARecall

A PRELIMINARY INTRODUCTION TO: YESTERDAYS NEW QUINTET | 2019-03-10

In times of slim pickings and underwhelming new music Fridays, one can often find warming inspirational comfort in looking back and digging through some blasts from the past, with no particular rhyme or reason. Such a contextual predisposition is what sparked a fairly recent nostalgic drive in yours truly that fuelled an eclectic and colourful journey into projects, gems, and scenes that had pretty inexcusably slipped through the cracks hitherto. Admittedly, it would have been a little bit of a shame not to unify these new found trips down memory lane into a solid chronicle of selected delicious picks, so we figured why not put this out in some way, shape, or form, kind of like a pamphlet-resembling primer for those who might perhaps also not be in the know of a particular cultural phenomenon. So this is what happened when we began perusing the crates of Los Angeles-based independent record label Stones Throw by way of several ancillary and adjacent jazz releases a while ago. To spare y’all the details, what we mostly ended up on was a rather mysterious and elusive US jazz collective with a surprisingly prolific catalogue that went by the name of Yesterdays New Quintet. Little did we know that behind such moniker lied Oxnard, CA-native DJ, music producer, multi-instrumentalist, and rapper Madlib, who had apparently created a parallel sonic outlet in form of a virtual band – à la Gorillaz, for those wondering – that acted as a placeholder vehicle for him to explore the multiple universes of jazz-meets-electronic music over the span of almost a decade.

This educational rite of passage of sorts came as a blessing, not least for esteemed readers of this web property might have already noticed the scarcity revolving the reporting and critique of jazz projects, that have thus far only permeated and found their way to the surface by indirect means ferried inside of hip–hop containers. In the hope of redeeming said thin editorial substance appraisal, we are humbled and delighted to introduce to you in this article a precious and reputable wealth of new nu jazz repertoire composed and performed by gnarly cats (just so you know, most of the historical information presented in here relies heavily on Stones Throw and has been adapted for brevity). So the story goes that Otis Jackson Jr, aka Madlib, first conceived Yesterdays New Quintet in the summer of 2000, after he had already made a name for himself in the indie hip-hop pantheon as creator and producer of Lootpack and Quasimoto. Right around the turn of the new century, he took an extended break from hip-hop production and, we quote, “decided to replace the SP1200 with the Fender Rhodes”. The initial Yesterdays New Quintet fictitious line-up comprised of Joe McDuphrey on keyboards, Malik Flavors on percussion, Ahmad Miller on guitar and vibraphone, Monk Hughes on bass, and Otis Jackson Jr. on drums, with each session player drafted under Madlib’s guidance and supervision as producer, arranger and engineer (personnel metadata fetched from Discogs and Wikipedia).

Having initially released a series of singles and EPs during the year following its gestation, such as the gorgeously tight and dry Elle’s Theme as well as the defining genesis statement Uno Esta, the instrumental collective went on and played various secretive and experimental shows, cutting their live performance’s teeth and starting to make a name for themselves in the West Coast alt jazz scene. Their 19-track debut LP Angles Without Edges – which borrowed multiple rough drafts from its preceding EP Uno Esta – was released on the untimely and unfortunate date of Sept. 11, 2001 and was as result “ignored by virtually everyone, except those who listened, and loved it”. The formative and consolidating year that followed saw the up-and-coming ensemble record and release a full album of Stevie Wonder covers, including but not limited to “Superstition”, “You’ve Got It Bad Girl”, and “Golden Lady”; another project that dropped without much fanfare in 2003 on Stones Throw Records. As the collective evolved and progressed, a vision began to take form in Madlib’s head, where each of the founding band members would have gone on and branched off from the core group releasing standalone records one at the time, all the while introducing entirely new – fictional – members and groups into what he would subsequently dub Yesterdays Universe. As of today, the transitional timeline describing the original formation’s evolution from Yesterdays New Quintet into solo offspring outfits and eventually the miscellaneous multi-dimensional supergroup cluster Yesterdays Universe could be described as follow:

Phase 1: Yesterdays New Quintet – 2000
Phase 2: Joe McDuphrey Experience – 2002
Phase 3: Ahmad Miller – 2003
Phase 4: Monk Hughes & the Outer Realm – 2004
Phase 5: Malik Flavors – 2005
Phase 6: Otis Jackson Jr. Trio – 2007
Phase 7: Yesterdays Universe – 2007

Soon after the twofold sound recording manifestation outed under the standard Yesterdays New Quintet alias (Angles Without Edges and Stevie), it became evident that Madlib had envisioned something reminiscent to New York hip-hop heavyweight Wu-Tang Clan’s orbit for the project, with each of the subsequent records following Stevie announced as different phases of the group under each member’s individual name. However, quickly after finding this new spin-off purpose shining well-earned light onto individual musicians, a wealth of even more jazz and funky performers joined the wider ranks of the collective, many of whom, it turned out, were invited to feature on Madlib’s Blue Note Records remix joint Shades of Blue (2003). As previously hinted at, this growing circle of more or less staple collaborators became known under the free and loose band Yesterdays Universe. It was very much in this spirit that the self-titled all-star 2007 compilation showcase LP was released (see official compilation jacket below), announcing both old and new side-projects, such as Young Jazz Rebels, The Last Electro-Acoustic Space Jazz & Percussion Ensemble, Sound Directions, Jahari Masamba Unit, and Jackson Conti. By then, almost inevitably, what was manifested and recognised as the original Yesterdays New Quintet line-up had officially disbanded and indefinitely split up in 2007. Relatedly, home label Stones Throw had this public announcement to make when addressing various rumours coming through the grapevine at the time:

“At this point we should address the frequent claims that the five members of Yesterdays New Quintet and the entire Yesterdays Universe collective are fictional aliases, mere figment of Madlib’s hazy imagination. Unfortunately, our agreement with Yesterdays New Quintet/Yesterdays Universe prohibits us from divulging any biographical data about the group members or commenting on their physical status in space and time. We can, however, point out that there are documented live performances, and Yesterdays Universe artists who are known for their work outside of the Madlib circle – Karriem Riggins, Ivan “Mamao” Conti, Todd Simon, and Dan Ubick among them. But due to the private nature of Madlib and the members of Yesterdays Universe, we can say no more.”

The years following alleged diatribes and chaos surrounding Madlib and his joint venture with virtual jazz cats nurtured further full length releases from additional spin-offs The Last Electro-Acoustic Space Jazz & Percussion Ensemble, Jackson Conti, and R.M.C., amongst others, while master conductor-conspirator himself Madlib saw fit to release yet another bold statement around the psych-electro-jazz experiment by dropping Madlib Medicine Show #7: High Jazz in 2010. As the title suggests, this was the seventh instalment in the Oxnard producer’s 13-album series of the same name, where a strikingly fiery number of even more outfits floating within his jazz universe got a platform to showcase their commercial works. These previously unannounced and latent names include Generation Match, The Kenny Cook Octet, The Big Black Foot Band, Russell Jenkins Jazz Express, and Poyser, Riggins & Jackson. Not that it would somehow help shed more clarity on the blurred fuzziness frame entailing the true arc and trajectory of Madlib’s electro-jazz-swing pet project, but here is a fairly comprehensive and updated discography of Yesterdays New Quintet and what became of it after its break up in 2007 (excluding unofficial releases, remixes, bootlegs, and live performances):

Yesterdays New Quintet – Elle’s Theme, 12-inch EP (2001) STONES THROW
Yesterdays New Quintet – The Bomb Shelter, 7-inch EP (2001) STONES THROW
Yesterdays New Quintet – Uno Esta, 12-inch EP (2001) STONES THROW
Yesterdays New Quintet – Rocket Love, 7-inch (2001) STONES THROW
Yesterdays New Quintet – Angles Without Edges, Album (2001) STONES THROW
Yesterdays New Quintet – Heaven Must Be Like This, from Rewind, 12-inch, Album (2002) UBIQUITY
Joe McDuphrey Experience – Experience, 12-inch EP (2002) STONES THROW
Yesterdays New Quintet – Deja Vu, from Rewind 2, Album (2002) UBIQUITY
Yesterdays New Quintet – The Meaning of Love, 7-inch (2002) STONES THROW
Ahmad Miller – Say Ah!, 12-inch EP (2003) STONES THROW
Yesterdays New Quintet – Suite for Weldon, EP (2003) STONES THROW
Yesterdays New Quintet – Nuclear War, from Dedication: The Myth Lives On, Album, 7-inch (2003) KINDRED SPIRITS
Sound Directions – Skyscrapers, 7-inch
Yesterdays New Quintet – Stevie, Album (2004) STONES THROW
Malik Flavors – Ugly Beauty, 12-inch EP (2004) STONES THROW
Monk Hughes & The Outer Realm – Tribute To Brother Weldon, (2004) STONES THROW
Joe McDuphrey Experience – Entrando pela Janela, from Keepintime, 12-inch #2 12-inch EP (2004) MOCHILLA
Sound Directions – The Horse, 12-inch (2005) STONES THROW
Sound Directions – The Funky Side of Life, Album (2005) STONES THROW
Young Jazz Rebels – Miss K, from The Sound of L.A. Vol. 2, 12-inch EP (2006) PLUG RESEARCH
Sound Directions – Wildflower, from From L.A. With Love, CD (2007) ART DONT SLEEP
Otis Jackson Jr. Trio – Jewelz, 12-inch EP (2007) STONES THROW
Various Artists – Yesterdays Universe, Album (2007) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Summer Suite, CD (2007) STONES THROW
Jackson Conti – Sujinho, Album (2008) KINDRED SPIRITS
Jackson Conti – Upa Neguinho, 7-inch (2008) KINDRED SPIRITS
Sound Directions – Wanda Vidal, EP digital (2008) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Fall Suite, (2009) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Miles Away, Album (2010) STONES THROW
Young Jazz Rebels – Slave Riot, Album (2010) STONES THROW
R.M.C. – Space & Time, Album (2010) OROCHON
Madlib – Madlib Medicine Show #7: High Jazz, Album (2010) MADLIB INVAZION

To this day, it is not clear whether we will ever see another collection of tracks associated with Yesterdays Universe, and to be frank the quickly approaching 10-year hiatus doesn’t sound too reassuring for those in hope. One should not despair though, as during their fruitful decade of busy and dense manufacturing activity, both Yesterdays New Quintet and Yesterdays Universe including all its offspring collectives did not sit idle and delivered over thirty different exquisite, intricate, and sophisticated music products that ought to be able to whet the listeners’ appetite for quite some time. Whether that is through the more canonical jazz cuts flirting with rap production of the early Yesterdays New Quintet days, or the left field and off the beaten path latin jazz, samba/funk of duo Jackson Conti, there is certainly no shortage of auditory entertainment in this collective’s catalogue, displaying almost no artistic or genre boundaries, thus opening up a myriad of sonic ventures and new opportunities ahead, much in the spirit of Yesterdays Universe itself, really.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time. And no, I still haven’t completely figured out whether Yesterdays has the apostrophe or not. Pretty on brand, at least.

AV

Yesterday_s_New_Quintet_Madlib_-_Yesterdays_Universe1_1024x1024