[TR24][OF] Christian Scott (Christian Scott aTunde Adjuah) - The Emancipation Procrastination - 2017 (Modern Creative, Trumpet Jazz, Fusion)

Christian Scott aTunde Adjuah - Trumpet, Siren, Sirenette, Reverse Flugelhorn, SPD - SX, Sonic Architecture (tracks 1, 2, 3, 4, 6, 7, 8, 9, 10, 12)
Elena Pinderhughes - Flute (tracks 1, 3, 4, 7, 8, 12)
Braxton Cook - Alto Saxophone (tracks 1, 3, 4, 7, 8, 11, 12)
Stephen J. Gladney - Tenor Saxophone (track 11)
Lawrence Fields - Piano, Fender Rhodes (tracks 1, 3, 4, 6, 7, 8, 9, 10, 11, 12)
Kris Funn - Bass (tracks 1, 3, 7, 8, 11, 12)
Luques Curtis - Bass (tracks 4, 6, 10)
Matt Stevens - Guitar (tracks 1, 12)
Cliff Hines - Guitar (tracks 3, 4, 9, 10)
Dominic Minix - Guitar (track 8)
Corey Fonville - Drums, SPD - SX (tracks 1, 3, 6, 7, 8, 9, 10, 11, 12)
Joe Dyson, Jr. - Pan African Drums, SPD - SX (tracks 1, 3, 4, 7, 10)
Marcus Gillmore - Drums, SPD- SX (track 2)
Weedie Braimah - Djembe, Bata, Congas (tracks 2, 5, 10)

During the '90s, hip-hop artists, DJs, and electronic producers borrowed heavily from jazz artists, often sampling their recordings and reworking them into their own rave anthems and ambient soundscapes. On the third volume in his ambitious Centennial Trilogy, 2017's The Emancipation Procrastination, trumpeter Christian Scott, aka Christian Scott aTunde Adjuah, flips the paradigm, and fully embraces his own brand of trip-hop-inflected electronic jazz fusion. Its an approach he's been exploring since at least 2015's Stretch Music, an album whose title Scott also uses as an all-encompassing definition for his particular style of jazz. The definition might even be more applicable than ever here, as Scott pushes his sound even further away from the strict jazz tradition and into a multi-hyphenated region of jazz-tinged trip-hop electronica. Ironically, while Scott's music is as contemporary as jazz gets, the intention behind much of the Centennial Trilogy is to mark the recording of the first jazz album in 1917 and, in the process, celebrate the social and historical impact of the genre. It's a dichotomous intent, reflected in the album's title, a reworking of President Lincoln's 1863 proclamation freeing the enslaved people of the United States. Helping Scott achieve this vibe are his bandmates, saxophonist Braxton Cook, flutist Elena Pinderhughes, keyboardist Lawrence Fields, bassist Kris Funn, and drummer Corey Fonville. Also featured are several longtime associates, including guitarist Matt Stevens, percussionist Joe Dyson, Jr., bassist Luques Curtis, and others. The opening title track, with its noir-ish atmosphere and trip-hop beat, sounds like something Miles Davis might have concocted with Portishead in the early '90s. Other tracks -- like the flamenco-inflected "AvengHer_Slams 2 Mix" with its skittering beat and multi-tracked Harmon-muted leads, and the shadowy "Ashes of Our Forever" with its gauzy, midnight-drive atmosphere -- bring to mind the '70s and early-'80s albums of longtime Herbie Hancock Mwandishi band trumpeter Eddie Henderson. With his often muted horn and inclination toward long, extended phrases, Scott feels as much like a vocalist as he does a trumpeter. It's a sound contrasted nicely by his bandmates Cook and Pinderhughes, who accent what are often purposefully pixelated grooves with soulful, harmonically nuanced improvisations. As the title implies, The Emancipation Procrastination is a break from the past, and is so forward-thinking and contemporary that it really doesn't sound like a jazz album in any traditional sense. But you get the distinct impression that Scott wouldn't have it any other way.