Christian Scott - Christian Atunde Adjah (CD)

Christian Scott


R 205

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Edison Award winning trumpeter-composer-producer-bandleader Christian Scott releases his compelling new album, Christian aTunde Adjuah. The follow-up to his critically-acclaimed Yesterday You Said Tomorrow is an inspired and provocative two-disc, 23-track collection. With the artist s trumpet at the heart of most of the tunes, the album features reflective ballads, light and dreamy soundscapes, guitar-edged and rock-inflected cookers, trumpet ecstasies as well as clarion calls and anguished wails.

An intrepid explorer, Scott ups the ante on his new double album Christian aTunde Adjuah, continuing to delve into uncharted jazz territory. Scott s band consists of guitarist Matthew Stevens, drummer Jamire Williams, bassist Kris Funn and pianist Lawrence Fields (whose piano sound is often spiced for effect by using paper on the instrument s strings). Scott also recruited guests tenor saxophonist Kenneth Whalum III, alto saxophonist Louis Fouche IIII, and trombonist Corey King.

Christian aTunde Adjuah is arguably the most personal project to date for the young artist, reflected in the album title, Christian aTunde Adjuah-- the artist s new name, and the album cover -- a photo of the Scott in the traditional attire of his culture the Black Indians of New Orleans.

Scott says, The album cover is a self-portrait, a two-tiered depiction of me in the ceremonial regalia of the Afro-Native American Culture of New Orleans-- colloquially known as Black Indians or Mardi Gras Indians. The photo represents the same general idea that the record does. It's about the willingness to forge new paths and to seek new terrain while excavating one s own past as a means of gaining a better contextual understanding of that path. Scott explains, "The cover. The album. Everything represents the completion of my name. I am Christian Scott aTunde Adjuah. The addition of the names aTunde and Adjuah comes from two cities in the West African nation of Benin, which is present day Ghana. It s just a way for me to tell the world that I accept all of my past and am willing to explore it. So in a sense, I haven't changed my name. I ve completed it to reflect another part of my ancestry and lineage-- the part before Scott.

A tour de force masterwork, Christian aTunde Adjuah opens a wide window on Scott s present as well as his past (especially in reaction to the jazz trads complaining about his breaking free from the jazz standard) and his auspicious creative future. In his liners, Scott writes that the listener will hear on the album a stretching of jazz, not a replacement. That is what I hope younger people will be able to take away from it as well the idea that innovation should never be regarded as a problem in artistic practice, that one should always be aware of what has come before, and finally, that criticisms shouldn t evoke paralysis, [but] should inspire action.

Categories
JazzMusic
Category
  1. Performer
  2. Gospel
  3. Classic Gospel
Copy Control
No
Number of Items
1
Title
Come Sunday
Media
CD
BarCode
888072332379
Country of Origin
USA / Canada
Label
Naxos
Format
Audio CD
Barcode
888072332379
Tracks
  1. [ Disc 01 Track 01 ] None
  2. [ Disc 01 Track 02 ] None
  3. [ Disc 01 Track 03 ] None
  4. [ Disc 01 Track 04 ] None
  5. [ Disc 01 Track 05 ] None
  6. [ Disc 01 Track 06 ] None
  7. [ Disc 01 Track 07 ] None
  8. [ Disc 01 Track 08 ] None
  9. [ Disc 01 Track 09 ] None
  10. [ Disc 01 Track 10 ] None
  11. [ Disc 01 Track 11 ] None
  12. [ Disc 02 Track 01 ] None
  13. [ Disc 02 Track 02 ] None
  14. [ Disc 02 Track 03 ] None
  15. [ Disc 02 Track 04 ] None
  16. [ Disc 02 Track 05 ] None
  17. [ Disc 02 Track 06 ] None
  18. [ Disc 02 Track 07 ] None
  19. [ Disc 02 Track 08 ] None
  20. [ Disc 02 Track 09 ] None
  21. [ Disc 02 Track 10 ] None
  22. [ Disc 02 Track 11 ] None
Songs / Tracks
  1. [ Disc 01 Track 01 ] Take My Hand, Precious Lord
  2. [ Disc 01 Track 02 ] God Rest Ye Merry, Gentlemen
  3. [ Disc 01 Track 03 ] Down by the Riverside
  4. [ Disc 01 Track 04 ] Going Home
  5. [ Disc 01 Track 05 ] Blessed Assurance
  6. [ Disc 01 Track 06 ] It Came Upon the Midnight Clear
  7. [ Disc 01 Track 07 ] Bringing in the Sheaves
  8. [ Disc 01 Track 08 ] Deep River
  9. [ Disc 01 Track 09 ] Give Me That Old Time Religion
  10. [ Disc 01 Track 10 ] Sweet Hour of Prayer
  11. [ Disc 01 Track 11 ] Old Rugged Cross, The
  12. [ Disc 01 Track 12 ] Were You There When They Crucified My Lord?
  13. [ Disc 01 Track 13 ] Nearer My God to Thee
  14. [ Disc 01 Track 14 ] Come Sunday
Genre
Jazz
Release Date
23 January 2012
Duration
42m 15s
Country
USA
Notes

Personnel: Hank Jones (piano).
Audio Mixer: Jay Newland.
Liner Note Author: Maurice Jackson.
Recording information: Sear Sound Studio, New York, NY (02/02/2010-02/03/2010).
Photographers: Cheung Ching Ming; Ruth Cameron.
Nearly 16 years after issuing Steal Away, bassist Charlie Haden and pianist Hank Jones recorded a second set of spiritual folk songs, cut in 2010, only three months before Jones' passing. Many jazz records have explored spiritual folk music -- Grant Green's beautiful Feelin' the Spirit from 1962 and Cyrus Chestnut's 2006 Spirit are but two bookend examples. Haden and Jones weren't concerned with harmonic and improvisational concepts here. The two jazz musicians also had solid church backgrounds, and were participants in the civil rights struggles of the last century. These sacred folk songs hold shared meaning as well as individual ones that reflect the different sides of the church aisle. With the possible exception of their gorgeous delivery of Antonin Dvor k's title track, which has become a jazz and blues standard, all of these songs have been sung in churches for centuries. There are contrasts between Come Sunday and its predecessor. A large one is technological: digital recording has been vastly improved upon since the 1990s. On Steal Away some of the warmth afforded a duo like this naturally was blunted because any sense of real depth was virtually unable to be captured on tape, reducing the sense of intimacy. On Come Sunday, it looms large; the studio room itself becomes an equal participant in these sessions -- it reflects back everything, from the sounds of piano pedals and fingers on keys to bass strings being pulled and plucked. This is a huge plus; that spaciousness allows the listener to get front-pew close and hear the natural warmth in the playing. In terms of the material there are stark differences, too. Steal Away contained primarily hymns, but there were also other folk songs, from "Danny Boy" to "Sometimes I Feel Like a Motherless Child." On Come Sunday, the music is purely sacred. It is reverent and restrained (overly in some places, more so than its predecessor). Steal Away swung -- albeit quietly -- throughout. That quality shows up here, but far less so; the readings of these tunes are more literal. On numbers such as "Down by the Riverside," "Deep River," and "Give Me That Old Time Religion," Jones makes room for jazz to enter full front and center, while never straying far from the melody; he lets the blues into the picture, Thomas A. Dorsey style, with pronounced left-hand work in the lower registers. Haden has always been as much a melodist as a timekeeper, something Ornette Coleman understood from the jump, which is why he chose the bassist early on. That quality is showcased on the "Take My Hand Precious Lord," "God Rest Ye Merry, Gentlemen," and "Going Home," where he leads the way. When he's following Jones' lead, he walks and bumps in tandem, adding a sense of swing. Ultimately, Come Sunday might have fared a little better by replacing the carols with more hymns, because the former are so staid. But that's a small complaint. At its best, Come Sunday is lovely, elegant, and even stirring. ~ Thom Jurek

Distributor
Universal Music Distribut
Audio Format
PCM Audio
Studio / Live
Studio
Video Disabled
0
Performer
Hank Jones (Piano)/Charlie Haden
Producer
Ruth Cameron; Charlie Haden
Artists
  1. Scott, Christian
Date Released
2012-04-01 00:00:00
Engineer
Jay Newland
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