Jason Quentin Teeter I don't have the vocabulary to describe my appreciation of this album. Favorite track: Medgar Evers: A Love-Voice of a Thousand Years' Journey for Liberty and Justice.
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Wadada is one of the most imaginative and explorative composers in creative music. His vision is uncompromising, his methods holistic and mystical. His playing is consistently brilliant and his sound is personal, with a clarity of tone recognizable after one note. His compositions have a special focus combining improvisation with written passages of extreme sensitivity and beauty... He is a National Treasure.
Jazz Musician Wadada Leo Smith Will Debut New Works Here
Trumpeter/composer Wadada Leo Smith’s Ten Freedom Summers is the work of a lifetime by one of jazz’s true visionaries, a kaleidoscopic, spiritually charged opus inspired by the struggle for African-American freedom and equality before the law. Triumphant and mournful, visceral and philosophical, searching, scathing and relentlessly humane, Smith’s music embraces the turbulent era’s milestones while celebrating the civil rights movement’s heroes and martyrs. This four-disc set documents a stunning, career-capping accomplishment by a jazz giant in the midst of an astonishing creative surge.
An orchestral collaboration with the acclaimed eight-piece ensemble Southwest Chamber Music (harp, clarinet, 2 violins, cello, flute, viola, bass, percussion) conducted by Grammy Award-winner Jeff von der Schmidt, Ten Freedom Summers is built upon Smith’s celebrated Golden Quartet featuring pianist Anthony Davis, bassist John Lindberg, drummer Susie Ibarra and/or drummer Pheeroan akLaaf (who often expands the ensemble to a quintet). As a child of the Deep South who was raised in the red-hot crucible of the civil rights movement, Smith traces the project’s origins back to 1977, when he wrote “Medgar Evers, ” an expansive evocation of the NAACP activist gunned down in Mississippi 14 years earlier.
Working in fits and starts, Smith completed the 19-piece project 34 years later in October of 2011 with a portentous, elegiac piece for Southwest Chamber Music. In designing the huge, multi-movement work, he focused on the transformative decade framed by the landmark 1954 Supreme Court case Brown v. Board of Education, and the passage of the Civil Rights Act of 1964.
Review: Wadada Leo Smith
I was born in 1941 and grew up in segregated Mississippi and experienced the conditions which made it imperative for an activist movement for equality, ” says Smith says, who marked his 70th birthday with a presentation of this, perhaps his most ambitious undertaking. “I saw that stuff happening. Those are the moments that triggered this. It was in that same environment that I had my first dreams of becoming a composer and performer.”
After decades of being revered by his peers and colleagues, Smith is attaining his rightful place at the forefront of American music. Ten Freedom Summers is an important work that combines unique, fully scored rigorous passages and great improvisational skills into one huge and cohesive work. It is a thrilling, emotionally charged and satisfying work from a master.
Tags adventurous music experimental jazz anthony davis art rock classical electronic music jazz jazz and improvised music jeff von der schmidt john lindberg pheeroan aklaff rock in opposition southwest chamber music susie ibarra wadada leo smith WashingtonT Freedom Summers is a four-disc box set by American trumpeter and composer Wadada Leo Smith. It was released on May 5, 2012, by Cuneiform Records. Smith wrote its compositions intermitttly over the course of 34 years, beginning in 1977, before performing them live in November 2011 at the Colburn School's Zipper Hall in Los Angeles. He was accompanied by the nine-piece Southwest Chamber Music semble and his own jazz quartet, featuring drummers Pheeroan akLaff and Susie Ibarra, pianist Anthony Davis, and bassist John Lindberg.
Stream 106, Wadada Leo Smith On Composing And Researching For Liberation Music By Free City Radio
A mostly classical work, T Freedom Summers comprises 19 pieces that are oft fully developed as suites. They abandon convtional themes in favor of abstract expressions of the titles, which reflect the Civil Rights Movemt and other interrelated topics. Smith cites the segregation of his native Mississippi and playwright August Wilson's The Pittsburgh Cycle as inspirations behind the work. T Freedom Summers received widespread acclaim from critics and was named a finalist for the Pulitzer Prize for Music in 2013.
Smith started T Freedom Summers in 1977, wh he wrote the piece Medgar Evers as an evocation of the eponymous civil rights activist gunned down in Mississippi in 1963. Smith subsequtly worked intermitttly on the project.
I was born in 1941 and grew up in segregated Mississippi and expericed the conditions which made it imperative for an activist movemt for equality. I saw that stuff happing. Those are the momts that triggered this. It was in that same vironmt that I had my first dreams of becoming a composer and performer.[1]
The Scores Of Ishmael Wadada Leo Smith, Ten Freedom Summers, And The Specter Of Race
T Freedom Summers was recorded at Zipper Hall in Los Angeles, where Smith performed live for three nights from November 4 to November 6, 2011.
He played 19 pieces, accompanied by either his Gold Quartet, the nine-piece Southwest Chamber Music semble conducted by Jeff von der Schmidt, or both.
T Freedom Summers comprises four discs for a total of four-and-a-half hours of music. Most of its 19 pieces are fully developed suites, with three spanning over 20 minutes. According to Smith, there are no recurring motifs throughout.
Wadada Leo Smith: Ten Freedom Summers (4 Cds)
Instead of using his own Ankhrasmation method of graphic notation, Smith wrote T Freedom Summers with a traditionally notated score. His Gold Quartet played music rooted in blues and jazz idioms, and the Southwest Chamber Music semble played violin, viola, cello, harp, concert bass, glockspiel, bass clarinet, flute, tympani, marimba, gongs, and other miscellaneous percussion.
In the opinion of All About Jazz writer Mark Redlefs, Smith's use of echo-lad, atmospheric sounds in his previous work culminated on T Freedom Summers, whose somber mood reflects the pieces' titles.
The 1963 March on Washington for Jobs and Freedom, reproduced on the album cover and one of many historical evts to have inspired the music
Wadada Leo Smith: america Transformed
Each section's pieces are meant to represt significant figures associated with the Civil Rights Movemt during 1954 to 1964 and concepts relevant to the formation of institutions that evolved from human interaction, including governmt, media, and megacorporations.
Jeff Dayton-Johnson from All About Jazz said although its movemts variously address Malcolm X, Dr. Martin Luther King Jr., Brown vs. Board of Education, Medgar Evers [and] the Little Rock Nine, the thematic concerns nevertheless extd ... both backwards (to the 1857 Dred Scott case) and forward (to 9/11), and to a series of cross-cutting concerns (e.g., democracy, the freedom of the press and the black church).
According to Josh Langhoff from PopMatters, the box set's pieces transform their subjects into musical invtion and moods; they’re not literal or programmatic. Langhoff finds them similar to contemporary classical pieces in how they make their points through abstraction.
Jazztrompeter Wadada Leo Smith: Jeder Spieler Ist Eine Einheit
Daniel Spicer of BBC Music characterized the music as a mixture of austere contemporary classical composition performed by the LA-based Southwest Chamber Music semble, and turbult free jazz improvised by the Gold Quartet.
In the opinion of jazz critic John Fordham, the presce of either Smith's jazz quartet or the classical semble led him to abandon typical themes and continuous pulses in favor of contemporary classical and free jazz idioms.
Bob Rusch believed the performances are not inspired by contemporary Civil Rights Movemt music by artists such as Paul Robeson, Pete Seeger, Mahalia Jackson, or Aretha Franklin, because Smith's Gold Quintet exhibit an astral, chamber sound.
Bbc Radio 3
T Freedom Summers was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received a weighted average score of 99, based on 8 reviews.
Gl Hall from Exclaim! wrote that Smith's music resonates with the suffering and the dreams of a better life that embodied the decade of 1954 to 1964 that is the subject of this powerful compdium of compositions.
AllMusic's Thom Jurek viewed the box set as Smith's best work, writing that it belongs in jazz's canonical lexicon with Duke Ellington's Black, Brown & Beige and Max Roach's Freedom Now Suite.
Wadada Leo Smith's
Phil Johnson from The Indepdt found the music very gratifying, saying it sounds like if Miles Davis had recorded Ligeti compositions during the 1950s.
Langhoff wrote in PopMatters that the set is about sound: the tangible, physically beautiful sounds of Smith's imperative trumpet and of differt instrumts in combination, testing their own limits. In conclusion, the reviewer said Smith writes one of America's defining evts in sound, and the story is all of ours.
In Cadce Magazine, Rusch was less thusiastic about the box set, believing it would have befitted from being released as four separate albums; listing to the tire record for him was exhausting, but also involving and inspiring.
The Free Jazz Collective: Wadada Leo Smith
Jazz critic Tom Hull said, With no libretto to
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