Christian Scott: aTunde Adjuah

Christian Scott (trumpet)

Christian aTunde Adjuah (Blue Note; 2012)

Lawrence Fields (piano)

Kenneth Whalum (sax)

Matthew Stevens (guitar)

Corey King (trombone)

Kris Funn (bass)

Jamire Williams (drums)

Defying convention has been Christian Scott's mantra since probably the day he picked up the trumpet. But its definitely been his motis-operandi since his first record in 2007. Each of his albums builds on different themes and moments--social, spiritual, personal and political. Scott continues this tradition with his fifth album, Christian aTunde Adjuah.

aTunde Adjuah is his newly transformed name in Ghanaian. A spiritual and personal awakening of sort. Forget about the name for a moment and focus squarely on the music. This again is another strong diverse outing for the young trumpeter. As with most Scott numbers, "New New Orleans" is large and emotional. A soulful, passionate piece that tells the story for the city in which it is named and dedicated to. Scott's lines are sharp and bold surrounded by the swirling melody of Stevens' hypnotic guitar and the funky drum kit of Williams. It's the heartbeat of the city coming back to life.

"Who They Wish I Was" is a quiet piece with epic underpinnings. The repetitive nature of the delivery from Fields and Williams has a cinematic quality to it that draws you ever closer. Scott's horn is soft and doesn't rise too far above the mix. "vs the Kleptocratic Union" and "Dred Scott" both speak to injustices of society and the worst of our human nature. Steven's versatility is on display in "...Kleptocratic Union", as he sculpts blues-like tones that are lovely at every turn. "Dred Scott" is more suspenseful, with improvised and soaring lines that crash against each other like waring factions with no end.

"I Do" develops a soulfulness and romanticism through the exchanges of Whalum and Scott which are accentuated by Williams' heavy kit. Romantic and still powerful. "Alkebu Lan" highlights the African influence upon Scott during this session. Its a nice mixture of African beats and American funk. But it's a midtempo piece that never goes over the top.

There are times when I felt Scott's boldness sounded more European than American. "The Red Rooster" and "Cara" both have a rolling melody on piano and sonic resonance of Scott's trumpet are good example of this. They're spacious and delicate with a tone is very intimate.

Many people may find the expansiveness of aTunde Adjuah a little hard to swallow. But I feel its another example of a young talent that is really exploring new ideas and trying to find different themes to push our definitions of what jazz is and can be. A great effort for most musicians. Christian Scott is certainly achieving that and continues to look upward and out.

Ambrose Akinmusire: When The Heart Emerges Glistening

Ambrose Akinmusire (trumpet)
When The Heart Emerges Glistening (Blue Note; 2011)
Walter Smith III (sax)
Harrish Raghavan (bass)
Gerald Clayton (piano)
Justin Brown (drummer)
Jason Moran (piano)

Like last year when I was blown away by new records from Gerald Clayton, Christian Scott and Esperanza Spalding after avoiding the hype machine, I come to that moment again. I was actually already impressed with Ambrose Akinmusire's work with David Binney, John Escreet and Steve Coleman. I have been unable to find his debut album, Prelude (Fresh Sound/New Talent; 2007), but I'm still gobsmacked at the strikingly exuberant second album, When The Heart Emerges Glistening (Blue Note).

Akinmusire has been on the scene only a short time but the musicians he has already performed with along with the growing maturity in his writing is sure to make an impact on listeners this year. Surrounding himself with a cast of musicians he has worked with already over the years makes the album a cohesive and exciting venture from start to finish.

Opening up with "Confessions To My Unborn Daughter", Akinsmusire sets the tone that he is willing to make bold statements and even bolder performances all with beauty and skill that might be beyond his years. There's an energy on this opener that both encompasses the fierceness of Clifford Brown and the modern styling of Terence Blanchard. The exchanges between Smith and Akinmusire are tight and intense. But they underscore the longstanding relationship two have had for some time now. Brown's pulsating timing adds another laying of urgency to the piece that illustrates the quintets effort to make every piece important.

"Hyena" is a midtempo piece but still holds a fresh bold consolidation in structure. Akinmusire allows guest pianist, Jason Moran (on fender rhodes here) to take some of the lead here but moves quietly in and out of the foreground. There's a heavy tone in Akinmusire's voice on "Hyena" that made me feel a lot more emotional than usual when listening to ballad. The performance cuts right into you. I loved that.

While ferocious may be an adjective for describing Akinmusire's overall tone, he manages to demonstrate a real sense of beauty on a number of pieces."Regret (No More)" is one of those numbers in which I sometimes get reminded of Terence Blanchard. It's the soft touches and long notes that feel cinematic in nature but provide a lush beauty that stretches long after the piece as concluded.

"What's New", the lone standard on When The Heart..., shows Akinmusire's more contemporary side. A lovely duet with Clayton, where the trumpeter reflects on what appears to be one of his mentors, Clifford Brown. It's a wonderful piece and shows a much more relaxed nature for Clayton as well. The two tenderly play off one another and it's a standout for both musicians. It's a touch of tradition but performed with modern respect and reflection.

When The Heart Emerges Glistening is shinning achievement from an artist that will be on the scene for years to come and his presence might change jazz in the years to come. Definitely a future voice to be heard by everyone...