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[TR24][OF] James Brandon Lewis - Days of FreeMan - 2015 (Free Jazz)

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James Brandon Lewis
Days of FreeMan

Год издания: 2015
Жанр: Free Jazz
Издатель: Okeh | Sony Music Entertainment
Продолжительность: 01:02:39
Наличие сканов: Sleeve

01. Foreword (0:32)
02. Brother 1976 (3:42)
03. Of Dark Matter (3:24)
04. Black Ark (5:04)
05. Break I (0:49)
06. Days of FreeMan (3:44)
07. Bird of Folk Cries (7:11)
08. Break II (0:46)
09. Wilson (4:13)
10. Lament for JLew (5:00)
11. Break III (1:40)
12. Bamako Love (3:51)
13. Boom Bap Bop (4:22)
14. Steelo (5:29)
15. Break IV (1:19)
16. Able Souls Dig Planets (4:14)
17. Speaking from Jupiter (3:22)
18. Unarmed with a Mic (3:16)
19. Epilogue (Brother 1976) (0:41)

Контейнер: FLAC (*.flac)
Тип рипа: tracks

Разрядность: 24bit / 48kHz
Количество каналов: 2.0

Visionary composer and tenor saxophonist James Brandon Lewis's bravest, yet most palpable artistic feat, Days Of FreeMan, opens with a poignant and profound introductory monologue from a maternal sage. She says: "The best thing of living is living who you are. You can't be somebody else; you gotta be what God gave you to be and who you are. You look in the mirror and see yourself and say 'I'm James Brandon Lewis."' Next, bass and drums congeal around the sapphire melodic motif of "Brother 1976," recalling one of those jazzy jewel-like hooks from a 1990s Native Tongue hip-hop jam. The effect is like 1990s hip-hop's fascination with jazz being spit back by a prodigious jazz innovator. Welcome to Days Of FreeMan (OKeh) available July 24, 2015.
For his third album, James uses ideas from 1990s hip-hop to masterfully weave together threads of cultural identity, cross-generational identity, and personal reflection.
Days Of FreeMan is imaginatively organized in chapters with classic hip-hop style breaks and interludes functioning as chapter breathers. Like the cross cultural and generational mosaic on Freeman Street proper, the album invites the listener into many dialogues. It is a nod to 1990s hip-hop, and explores rhyme-scapes and the musical conventions of that golden age of hip-hop in a revolutionary way. The album also explores hip-hop as a culture through taking inspiration from the original four pillars of hip-hop: dance, rapping, graffiti, and DJ-ing.
The album also loosely functions as a memoir with an underlay of nostalgia for the carefree boyhood days of fly nicknames, basketball, and those first encounters with the transformative power of music. Adding to the power and emotionality of this thread on growing up, are pontifications on love, identity, and God peppered throughout the album, culled from informal conversations James recorded with his grandmother, Pearl Lewis.
James's immersive creative process to realize his vision for Days Of FreeMan include pouring over hip-hop documentaries for up to eight hours a day, and dissecting albums by KRS-One, Digable Planets, Pete Rock & CL Smooth, A Tribe Called Quest, Medeski, Martin & Wood, along with fearless jazz trumpeter Don Cherry's 1985 album Home Boy and Lauryn Hill's 1998 masterpiece the Miseducation Of Lauryn Hill.
How all of this preparation plays out musically is stunning. For years instrumentalists held fast to the lofty notion of "singing through the instrument," but on Days Of FreeMan, James aspires to MC through his tenor. The album's title track perfectly captures the clipped cadence of a master MC with speech-like phrases and a long flowing solo that conjures up a blazing freestyle battle rap session. "Black Ark" traces the legacy of hip-hop from the balmy and pioneering dub explorations of Lee "Scratch" Perry in Jamaica ("Black Ark" is the name of his famed studio) to the burgeoning sounds of hip-hop blaring out in the Bronx. On "Lament for JLew," in five vigorous minutes James ties together the dual lineages of classical music to hip-hop and classical music to rock using original classical-flavored motifs to illustrate the overlaps.
The second to last track of Days Of FreeMan is the political and timely "Unarmed With A Mic" and is a reminder of hip-hop's power as a form of protest music. On this track, James plays with seething sentimentality. The album concludes with "Epilogue," a reprise of the infectious melody of the opening track "Brother 1976."
On the album, James is accompanied by drummer Rudy Royston. Both took the weighty undertaking of album deeply, researching 1990s hip-hop jams for inspiration and vision. Their attention to the vocabulary of the era James sought to explore, and their panoramic musicality and sympathetic musical skills, match James's artistic ideal to authentically and thoroughly fuse genres and cultures without pandering to trends in jazz-groove records. The record also features a guest spot from the gifted freestyle rapper Supernatural on the track "Days Of FreeMan."
Days of FreeMan is one of James Brandon Lewis's most ambitious works and his most accessible. Reflecting on this intriguing duality he says: "The artist is charged with taking creative risks, but the universe lined up this time and I was able to connect with my audience conversationally."

Personnel:
James Brandon Lewis - saxophone
Jamaaladeen Tacuma - bass
Rudy Royston - drums
Supernatural - rapper (featured on "Days of FreeMan")
Pearl Lewis - vocals

Recorded February 16 & 17, 2015 at Charlestown Road Studios in Hampton, NJ

Код:

foobar2000 1.3.8 / Dynamic Range Meter 1.1.1
log date: 2015-08-09 00:46:39

--------------------------------------------------------------------------------
Analyzed: James Brandon Lewis / Days of FreeMan
--------------------------------------------------------------------------------

DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR9       -0.76 dB   -12.04 dB      0:32 01-Foreword
DR10      -0.71 dB   -12.59 dB      3:42 02-Brother 1976
DR11      -0.71 dB   -13.84 dB      3:24 03-Of Dark Matter
DR11      -0.71 dB   -13.16 dB      5:04 04-Black Ark
DR11      -0.71 dB   -14.52 dB      0:49 05-Break I
DR10      -0.71 dB   -14.64 dB      3:44 06-Days of FreeMan
DR9       -0.71 dB   -12.13 dB      7:11 07-Bird of Folk Cries
DR11      -0.71 dB   -13.31 dB      0:46 08-Break II
DR11      -0.71 dB   -13.80 dB      4:13 09-Wilson
DR9       -0.71 dB   -11.87 dB      5:00 10-Lament for JLew
DR10      -0.71 dB   -13.12 dB      1:40 11-Break III
DR9       -0.71 dB   -13.33 dB      3:51 12-Bamako Love
DR12      -0.71 dB   -14.34 dB      4:22 13-Boom Bap Bop
DR10      -0.71 dB   -12.70 dB      5:29 14-Steelo
DR11      -0.71 dB   -13.26 dB      1:19 15-Break IV
DR11      -0.71 dB   -12.92 dB      4:14 16-Able Souls Dig Planets
DR11      -0.71 dB   -13.03 dB      3:22 17-Speaking from Jupiter
DR10      -0.71 dB   -12.78 dB      3:16 18-Unarmed with a Mic
DR11      -0.71 dB   -15.56 dB      0:41 19-Epilogue (Brother 1976)
--------------------------------------------------------------------------------

Number of tracks:  19
Official DR value: DR10

Samplerate:        48000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           1600 kbps
Codec:             FLAC
================================================================================

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