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Jazz - Verschenen op 19 maart 2012 | Heads Up

Booklet Onderscheidingen 4F de Télérama - Sélection JAZZ NEWS
Esperanza Spalding's fourth album, Radio Music Society (a companion piece to Chamber Music Society in name only) is one of enormous ambition -- polished production, sophisticated, busy charts, and classy songwriting -- that consciously juxtaposes neo-soul and adult-oriented jazz-tinged pop. It employs a stellar cast, largely of jazz musicians, to pull it off. She produced the set, with help from Q-Tip on a couple of numbers, and wrote all but two songs here: a cover of "I Can't Help It" (a Michael Jackson cover written by Stevie Wonder) and Wayne Shorter's "Endangered Species." There are truckloads of players, including three different all-star drummers in Terri Lyne Carrington, Jack DeJohnette, and Billy Hart, saxophonist Joe Lovano, and guitarists Jef Lee Johnson and Lionel Loueke on "Black Gold" (which also contains his vocals and an appearance by the Savannah Children's Choir). Though Ms. Spalding takes most lead vocals, there are also duet appearances from Lalah Hathaway and Algebra Blessett. Backing vocalists include Gretchen Parlato (who also anchors a chorus on several tunes) and Leni Stern. The American Music Program horn section appears on three cuts. The highlights here include "Crowned & Kissed" (a Q-Tip co-production) with its rubbery bassline, contrapuntal horns, Leo Genovese's artful pianism, and Carrington's impeccable sense of swing that bridges funk, neo-soul, jazz, and hip-hop. "Radio Song" contains layered interpolated rhythms (again courtesy of Carrington), sparkling Rhodes piano, syncopated horns and backing chorus, Spalding's alto croon, and a taut, popping bassline. Lovano's saxophone adds a truly elegant and graceful dimension to "I Can't Help It." The charts on Shorter's tune (with lyrics by Spalding) illuminate what may have been the composer's intent all along -- and nod at Pastorius-era Weather Report simultaneously. DeJohnette's funky subtlety drives the knotty fingerpop of "Let Her," and Hart's trademark, shimmering cymbal work on "Hold on Me" complements Spalding's sultry vocal in retro bluesy pop -- it's one of only a couple of places on the record where she plays acoustic bass. While Radio Music Society may play better to younger pop audiences than more die-hard jazzheads, this program is so diverse and well executed -- despite a little overreaching -- it's anybody's guess. © Thom Jurek /TiVo
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Jazz - Verschenen op 4 maart 2016 | Concord Records

Hi-Res Booklet Onderscheidingen Pitchfork: Best New Music
On previous albums, Grammy-winning bassist and vocalist Esperanza Spalding dived into jazz standards, Brazilian rhythms, and sophisticated, harmonically nuanced R&B. But with her 2016 album, Emily's D+Evolution, she takes an entirely different approach. A concept album revolving around a central character named Emily (Spalding's middle name), Emily's D+Evolution is not a jazz album -- though jazz does inform much of the music here. Instead, Spalding -- who also co-produced the album alongside legendary producer Tony Visconti (David Bowie) -- builds the release largely around angular, electric guitar-rich prog rock, kinetic, rhythmically rich jazz fusion, and lyrically poetic pop. Of course, Spalding's version of pop is never predictable, always harmonically inventive, and frequently imbued with as many improvisational moments as possible within the boundaries of a given song. But relative to her previous releases, this is still a significant shift. Helping to bring Emily's D+Evolution to life is a band Spalding put together specifically for this project, including guitarist Matthew Stevens, drummer Karriem Riggins, keyboardist Corey King, and others. Conceptually, the character of Emily represents Spalding as a young girl, and works as a conduit through which she explores and unpacks complex ideas about life, love, sex, race, education, and the creative process. While it would be reductive to call Emily's D+Evolution a retro album, Spalding's harmonic and melodic content and production aesthetics definitely have a '70s quality. Cuts like "Earth to Heaven" and "Noble Nobles" bring to mind the forward-thinking sound of singer/songwriter Joni Mitchell's work with jazz artists like Wayne Shorter and Jaco Pastorius, whose liquid bass style is an obvious antecedent to Spalding's approach here. While Spalding never sounds anything less than original on the album, part of the beauty here is in recognizing her inspirations and reveling in how she has made them her own. "Elevate or Operate" sounds like a serpentine Steely Dan melody, sung with Valkyrian agility over a strident, Dr. Dre-friendly militaristic beat. Similarly, "One" brings to mind Mitchell's soaring vocal style, set against a Greek chorus of harmonized backing vocals and accented by Stevens' cascading guitar lines, like something John McLaughlin would do with Mahavishnu Orchestra. Elsewhere, tracks like "Good Lava" and "Funk the Fear" reveal Spalding's swaggering, inner rock goddess and sound like a fantasy collaboration between Frank Zappa and Jimi Hendrix. While Spalding has long been a virtuoso bassist and commanding, lithe vocalist, she's developed into a gifted songwriter with a poet's sense for imagistic, emotionally resonant lyrics. It's a formidable combination best represented here by the epic "Ebony and Ivy." Bookended with a machine-gun-fire spoken word poem, the song allows Spalding as Emily to explore a mythic childhood netherworld in which she ambitiously juxtaposes the joys of learning from the natural world and the desire for a formal education against historical notions of how science was, ironically, used to justify slavery. She sings, "It's been hard to grow outside/Growin' good and act happy/And pretend that the ivy vines/Didn't weigh our branches down." © Matt Collar /TiVo
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Jazz - Verschenen op 4 maart 2016 | Concord Records

Hi-Res Booklet Onderscheidingen Pitchfork: Best New Music
On previous albums, Grammy-winning bassist and vocalist Esperanza Spalding dived into jazz standards, Brazilian rhythms, and sophisticated, harmonically nuanced R&B. But with her 2016 album, Emily's D+Evolution, she takes an entirely different approach. A concept album revolving around a central character named Emily (Spalding's middle name), Emily's D+Evolution is not a jazz album -- though jazz does inform much of the music here. Instead, Spalding -- who also co-produced the album alongside legendary producer Tony Visconti (David Bowie) -- builds the release largely around angular, electric guitar-rich prog rock, kinetic, rhythmically rich jazz fusion, and lyrically poetic pop. Of course, Spalding's version of pop is never predictable, always harmonically inventive, and frequently imbued with as many improvisational moments as possible within the boundaries of a given song. But relative to her previous releases, this is still a significant shift. Helping to bring Emily's D+Evolution to life is a band Spalding put together specifically for this project, including guitarist Matthew Stevens, drummer Karriem Riggins, keyboardist Corey King, and others. Conceptually, the character of Emily represents Spalding as a young girl, and works as a conduit through which she explores and unpacks complex ideas about life, love, sex, race, education, and the creative process. While it would be reductive to call Emily's D+Evolution a retro album, Spalding's harmonic and melodic content and production aesthetics definitely have a '70s quality. Cuts like "Earth to Heaven" and "Noble Nobles" bring to mind the forward-thinking sound of singer/songwriter Joni Mitchell's work with jazz artists like Wayne Shorter and Jaco Pastorius, whose liquid bass style is an obvious antecedent to Spalding's approach here. While Spalding never sounds anything less than original on the album, part of the beauty here is in recognizing her inspirations and reveling in how she has made them her own. "Elevate or Operate" sounds like a serpentine Steely Dan melody, sung with Valkyrian agility over a strident, Dr. Dre-friendly militaristic beat. Similarly, "One" brings to mind Mitchell's soaring vocal style, set against a Greek chorus of harmonized backing vocals and accented by Stevens' cascading guitar lines, like something John McLaughlin would do with Mahavishnu Orchestra. Elsewhere, tracks like "Good Lava" and "Funk the Fear" reveal Spalding's swaggering, inner rock goddess and sound like a fantasy collaboration between Frank Zappa and Jimi Hendrix. While Spalding has long been a virtuoso bassist and commanding, lithe vocalist, she's developed into a gifted songwriter with a poet's sense for imagistic, emotionally resonant lyrics. It's a formidable combination best represented here by the epic "Ebony and Ivy." Bookended with a machine-gun-fire spoken word poem, the song allows Spalding as Emily to explore a mythic childhood netherworld in which she ambitiously juxtaposes the joys of learning from the natural world and the desire for a formal education against historical notions of how science was, ironically, used to justify slavery. She sings, "It's been hard to grow outside/Growin' good and act happy/And pretend that the ivy vines/Didn't weigh our branches down." © Matt Collar /TiVo
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Jazz - Verschenen op 1 januari 2008 | Heads Up

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Alternative en Indie - Verschenen op 10 mei 2019 | Concord Records

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Coming off her inventive 2016 album Emily's D+Evolution, singer/bassist Esperanza Spalding offers another highly conceptualized production with 2019's kaleidoscopically tactile 12 Little Spells. Where Spalding's previous work was built around a central character, here she offers 12 songs each explicitly inspired by a separate body part, such as the mouth, eyes, fingers, and yet more esoteric parts like the "solar portal." Joining her on this tactile journey of sensation are longtime associates guitarist Matthew Stevens and drummer Justin Tyson. Together they craft deeply ambient, intricately constructed songs that fall yet further afield of the crossover jazz, fusion, and R&B that garnered Spalding so much of her early praise. In that sense, the album is a worthy follow-up to Emily's D+Evolution and 2012's Radio Music Society, but one that may keep her more jazz-oriented fans at arm's length. In every way, Spalding doubles down on her neo-prog, art rock, and avant-garde influences, offering songs rife with harmonically and rhythmically inventive soundscapes, as well as lyrics that read very much like poetry. Many of the songs, especially the opening title track, have a dreamy, off-kilter vibe that evokes the trippy sounds of 1970s children's educational programming, like Sesame Street and The Electric Company. Similarly, the hips-oriented "Thang," with its gospel church organ and bluesy vocal harmonies, sounds like a lost number from the musical Hair, while the fingers-centric "Touch in Mine" brings to mind the sensual grooves of '90s Janet Jackson. Bear in mind, none of these songs are mainstream pop hits; they often feel more like aural art installations than conventional rock or pop tunes. But interestingly, Spalding has made an album where each song begs to be judged on its own terms, even as the overall concept builds to a singular, whole idea. While her often avant-garde and circularly hypnotic songs tend to meet your ears as an enveloping wash, she still manages to grab your attention with startlingly inventive midsections, as on "With Others," where she changes up the rhythm, synching up her vocals with Stevens' guitar line and singing "I've been learning about psychology, neurobiology, avarice/Now I can't rest 'cause everything reeks of basic needs." Sensuality and the battle between mind, body, and soul are themes Spalding continually returns to throughout 12 Little Spells. There's even a song called "The Longing Deep Down" that's all about the abdomen. It's those basic, bodily needs both connected to and often working against our logical minds that seem to fascinate and inspire her. On the legs-focused "Readying to Rise," she sings "All the limbs are readying to rise/Dancing the animal, while the animal in you guards the tangible in you." © Matt Collar /TiVo
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Jazz - Verschenen op 27 augustus 2010 | Heads Up

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Moderne jazz - Verschenen op 4 april 2006 | Ayva Musica Producciones

Jazz - Verschenen op 3 april 2021 | Concord Records

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Jazz - Verschenen op 25 februari 2006 | Fresh Sound Records

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Alternative en Indie - Verschenen op 10 mei 2019 | Concord Records

Coming off her inventive 2016 album Emily's D+Evolution, singer/bassist Esperanza Spalding offers another highly conceptualized production with 2019's kaleidoscopically tactile 12 Little Spells. Where Spalding's previous work was built around a central character, here she offers 12 songs each explicitly inspired by a separate body part, such as the mouth, eyes, fingers, and yet more esoteric parts like the "solar portal." Joining her on this tactile journey of sensation are longtime associates guitarist Matthew Stevens and drummer Justin Tyson. Together they craft deeply ambient, intricately constructed songs that fall yet further afield of the crossover jazz, fusion, and R&B that garnered Spalding so much of her early praise. In that sense, the album is a worthy follow-up to Emily's D+Evolution and 2012's Radio Music Society, but one that may keep her more jazz-oriented fans at arm's length. In every way, Spalding doubles down on her neo-prog, art rock, and avant-garde influences, offering songs rife with harmonically and rhythmically inventive soundscapes, as well as lyrics that read very much like poetry. Many of the songs, especially the opening title track, have a dreamy, off-kilter vibe that evokes the trippy sounds of 1970s children's educational programming, like Sesame Street and The Electric Company. Similarly, the hips-oriented "Thang," with its gospel church organ and bluesy vocal harmonies, sounds like a lost number from the musical Hair, while the fingers-centric "Touch in Mine" brings to mind the sensual grooves of '90s Janet Jackson. Bear in mind, none of these songs are mainstream pop hits; they often feel more like aural art installations than conventional rock or pop tunes. But interestingly, Spalding has made an album where each song begs to be judged on its own terms, even as the overall concept builds to a singular, whole idea. While her often avant-garde and circularly hypnotic songs tend to meet your ears as an enveloping wash, she still manages to grab your attention with startlingly inventive midsections, as on "With Others," where she changes up the rhythm, synching up her vocals with Stevens' guitar line and singing "I've been learning about psychology, neurobiology, avarice/Now I can't rest 'cause everything reeks of basic needs." Sensuality and the battle between mind, body, and soul are themes Spalding continually returns to throughout 12 Little Spells. There's even a song called "The Longing Deep Down" that's all about the abdomen. It's those basic, bodily needs both connected to and often working against our logical minds that seem to fascinate and inspire her. On the legs-focused "Readying to Rise," she sings "All the limbs are readying to rise/Dancing the animal, while the animal in you guards the tangible in you." © Matt Collar /TiVo
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Jazz - Verschenen op 25 juni 2021 | Concord Records

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Jazz - Verschenen op 11 juni 2021 | Concord Records

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Pop - Verschenen op 1 januari 2012 | Heads Up

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Jazz - Verschenen op 4 maart 2016 | Concord Records

On previous albums, Grammy-winning bassist and vocalist Esperanza Spalding dived into jazz standards, Brazilian rhythms, and sophisticated, harmonically nuanced R&B. But with her 2016 album, Emily's D+Evolution, she takes an entirely different approach. A concept album revolving around a central character named Emily (Spalding's middle name), Emily's D+Evolution is not a jazz album -- though jazz does inform much of the music here. Instead, Spalding -- who also co-produced the album alongside legendary producer Tony Visconti (David Bowie) -- builds the release largely around angular, electric guitar-rich prog rock, kinetic, rhythmically rich jazz fusion, and lyrically poetic pop. Of course, Spalding's version of pop is never predictable, always harmonically inventive, and frequently imbued with as many improvisational moments as possible within the boundaries of a given song. But relative to her previous releases, this is still a significant shift. Helping to bring Emily's D+Evolution to life is a band Spalding put together specifically for this project, including guitarist Matthew Stevens, drummer Karriem Riggins, keyboardist Corey King, and others. Conceptually, the character of Emily represents Spalding as a young girl, and works as a conduit through which she explores and unpacks complex ideas about life, love, sex, race, education, and the creative process. While it would be reductive to call Emily's D+Evolution a retro album, Spalding's harmonic and melodic content and production aesthetics definitely have a '70s quality. Cuts like "Earth to Heaven" and "Noble Nobles" bring to mind the forward-thinking sound of singer/songwriter Joni Mitchell's work with jazz artists like Wayne Shorter and Jaco Pastorius, whose liquid bass style is an obvious antecedent to Spalding's approach here. While Spalding never sounds anything less than original on the album, part of the beauty here is in recognizing her inspirations and reveling in how she has made them her own. "Elevate or Operate" sounds like a serpentine Steely Dan melody, sung with Valkyrian agility over a strident, Dr. Dre-friendly militaristic beat. Similarly, "One" brings to mind Mitchell's soaring vocal style, set against a Greek chorus of harmonized backing vocals and accented by Stevens' cascading guitar lines, like something John McLaughlin would do with Mahavishnu Orchestra. Elsewhere, tracks like "Good Lava" and "Funk the Fear" reveal Spalding's swaggering, inner rock goddess and sound like a fantasy collaboration between Frank Zappa and Jimi Hendrix. While Spalding has long been a virtuoso bassist and commanding, lithe vocalist, she's developed into a gifted songwriter with a poet's sense for imagistic, emotionally resonant lyrics. It's a formidable combination best represented here by the epic "Ebony and Ivy." Bookended with a machine-gun-fire spoken word poem, the song allows Spalding as Emily to explore a mythic childhood netherworld in which she ambitiously juxtaposes the joys of learning from the natural world and the desire for a formal education against historical notions of how science was, ironically, used to justify slavery. She sings, "It's been hard to grow outside/Growin' good and act happy/And pretend that the ivy vines/Didn't weigh our branches down." © Matt Collar /TiVo
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Jazz - Verschenen op 18 juni 2021 | Concord Records

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Jazz - Verschenen op 4 maart 2016 | Concord Records

On previous albums, Grammy-winning bassist and vocalist Esperanza Spalding dived into jazz standards, Brazilian rhythms, and sophisticated, harmonically nuanced R&B. But with her 2016 album, Emily's D+Evolution, she takes an entirely different approach. A concept album revolving around a central character named Emily (Spalding's middle name), Emily's D+Evolution is not a jazz album -- though jazz does inform much of the music here. Instead, Spalding -- who also co-produced the album alongside legendary producer Tony Visconti (David Bowie) -- builds the release largely around angular, electric guitar-rich prog rock, kinetic, rhythmically rich jazz fusion, and lyrically poetic pop. Of course, Spalding's version of pop is never predictable, always harmonically inventive, and frequently imbued with as many improvisational moments as possible within the boundaries of a given song. But relative to her previous releases, this is still a significant shift. Helping to bring Emily's D+Evolution to life is a band Spalding put together specifically for this project, including guitarist Matthew Stevens, drummer Karriem Riggins, keyboardist Corey King, and others. Conceptually, the character of Emily represents Spalding as a young girl, and works as a conduit through which she explores and unpacks complex ideas about life, love, sex, race, education, and the creative process. While it would be reductive to call Emily's D+Evolution a retro album, Spalding's harmonic and melodic content and production aesthetics definitely have a '70s quality. Cuts like "Earth to Heaven" and "Noble Nobles" bring to mind the forward-thinking sound of singer/songwriter Joni Mitchell's work with jazz artists like Wayne Shorter and Jaco Pastorius, whose liquid bass style is an obvious antecedent to Spalding's approach here. While Spalding never sounds anything less than original on the album, part of the beauty here is in recognizing her inspirations and reveling in how she has made them her own. "Elevate or Operate" sounds like a serpentine Steely Dan melody, sung with Valkyrian agility over a strident, Dr. Dre-friendly militaristic beat. Similarly, "One" brings to mind Mitchell's soaring vocal style, set against a Greek chorus of harmonized backing vocals and accented by Stevens' cascading guitar lines, like something John McLaughlin would do with Mahavishnu Orchestra. Elsewhere, tracks like "Good Lava" and "Funk the Fear" reveal Spalding's swaggering, inner rock goddess and sound like a fantasy collaboration between Frank Zappa and Jimi Hendrix. While Spalding has long been a virtuoso bassist and commanding, lithe vocalist, she's developed into a gifted songwriter with a poet's sense for imagistic, emotionally resonant lyrics. It's a formidable combination best represented here by the epic "Ebony and Ivy." Bookended with a machine-gun-fire spoken word poem, the song allows Spalding as Emily to explore a mythic childhood netherworld in which she ambitiously juxtaposes the joys of learning from the natural world and the desire for a formal education against historical notions of how science was, ironically, used to justify slavery. She sings, "It's been hard to grow outside/Growin' good and act happy/And pretend that the ivy vines/Didn't weigh our branches down." © Matt Collar /TiVo
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Jazz - Verschenen op 26 augustus 2021 | Concord Records

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