Christian aTunde Adjuah

Christian aTunde Adjuah

by Christian Scott


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Christian aTunde Adjuah

New Orleans trumpeter Christian Scott has always examined various historic musical traditions for their wealth of knowledge and culture. He's also deeply well-read, putting forth an inquiry which addresses the future from global and socio-political codes of past and present -- without hectoring. 2010's Yesterday You Said Tomorrow was a successful integration of what Scott calls "stretch music," which thoroughly understands and respects what came before it in jazz and doesn't attempt to replace it, but instead tries to embrace within its rhythmic and harmonic architectures as many musical forms and cultural languages as possible. Christian aTunde ADJuah is a deliberate extension of that model; it's a sprawling, 23-track double album. Accompanied by his seasoned quintet -- Matthew Stevens, guitar; Lawrence Fields, piano, Rhodes, harpsichord; Kristopher Keith Funn, bass; Jamire Williams, drums, and select guests -- Scott takes his listeners on an exhaustive, ambitious journey through jazz, employing elements of rock, hip-hop, and even traces of Crescent City R&B. Christian aTunde ADJuah is long and diverse, but it's accessible in its ambitious creativity. On "New New Orleans (King Adjuah Stomp)," Stevens' dark repetitive vamp prompts the rhythm section inside it, just before Scott goes over the top to offer a gorgeous, Spanish-tinged melody. Utilizing a ute on "Who They Wish I Was," Scott directly embraces Miles Davis' melodic vulnerability while offering his own sense of phrase and space. Disc one closer "Danziger" (named for the infamous bridge where New Orleans policemen shot and killed two men and wounded five others -- all unarmed -- after Hurricane Katrina), is nearly a set stealer. Scott's mournful lyric, expressively annotated by Stevens' guitar and Fields' funereal chords, begins to articulate a drama that takes a number of turns over its ten minutes. The beautiful modalism in the brief "Spy Boy/Flag Boy," with Scott's soloing and Williams' breaks, is another high point. The rock dynamics of "Jihad Joe" create a multivalent textural palette for the mysterious interplay between Scott and Fields; Stevens' solo is full of imagination and fire. "Alkebu Lan" is a stunner, as knotty post-bop meets Afro-beat. "Trayvon," with its double-time, funky backbeat, is a new spin on modal blues. The shimmering post-bop on "Away (Anuradha & the Maiti Nepal)," with Stevens' elegant yet distorted solo, is a gorgeous precursor to the pastoral "The Red Rooster" and the whispering closing ballad that is "Cara." Scott's previous recordings portended the integration of sounds, textures, and music readily available here. On Christian aTunde ADJuah, Scott and company create a seamless, holistic 21st century jazz that confidently points toward new harmonic horizons.

Product Details

Release Date: 07/31/2012
Label: Concord Records
UPC: 0888072332379
catalogNumber: 33237
Rank: 39227

Album Credits

Performance Credits

Christian Scott   Primary Artist
Louis Fouché   Alto Saxophone
Corey King   Trombone
Kenneth Whalum   Tenor Saxophone
Jamire Williams   Drums
Lawrence Fields   Piano,Harpsichord,fender rhodes
Kristopher Keith Funn   Bass
Matthew Stevens   Guitar
Christian Scott aTunde Adjuah   Trumpet,Siren

Technical Credits

John Burk   Executive Producer
Chris Dunn   Producer
Christian Scott   Composer
Kevin Zinger   Management
Ivory Daniel   Executive Producer,Management
Larissa Collins   Art Direction
Allan Cole   Cover Design
Jamire Williams   Composer
Lawrence Fields   Composer
Bob Zievers   Booking
Kristopher Keith Funn   Composer
Kiel Adrian Scott   Cover Art
Matthew Stevens   Composer
Chris Allen   Engineer
Christian Scott aTunde Adjuah   Producer,Liner Notes

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