(JazzPlanet) Christian Scott - Yesterday You Said Tomorrow 2010 (Eac S Flac Cue)

Christian Scott - Yesterday You Said Tomorrow























Artist: Christian Scott

Title: Yesterday You Said Tomorrow

Recording information: Van Gelder Studio, Englewood Cliffs,

NJ (04/22/2009-04/25/2009)

Audio CD (March 30, 2010)

Number of Discs: 1

Label: Concord Jazz

Genre: Jazz

Styles: Contemporary Jazz, Post-Bop

Source:Original CD





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File.cue Multiple wav file with Gaps (Noncompliant)

Accurately ripped (confidence 6)

Size Torrent: 449 Mb

Cover Included







Tracklisting:



1. K.K.P.D.

2. The Eraser

3. After All

4. Isadora

5. Angola, LA & The 13th Amendment

6. The Last Broken Heart

7. Jenacide (The Inevitable Rise and Fall of the Bloodless Revolution)

8. The American’t

9. An Unending Repentance

10.The Roe Effect (Refrain In F# Minor)







Personnel:



Christian Scott: trumpet;

Matthew Stevens: guitar;

Milton Fletcher Jr.; piano;

Kristopher Keith Funn: bass;

Jamire Williams: drums





Listen to sample



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Review



Billboard named him one of the "faces to watch." Ebony chose him as one of the "30 Young Leaders Under 30." He has performed with the likes of Prince, Mos Def, DJ Muggs, Marcus Miller and Glen Ballard; topped the Downbeat 2009 Critic's Poll for Trumpeter of the Year; and has appeared alongside George Clooney in the film Leatherheads as well as in the critically acclaimed Jonathan Demme film Rachel Getting Married. The man in question is GRAMMY nominated trumpeter Christian Scott, and on March 30, 2010, the 26 year-old New Orleans native returns with Yesterday You Said Tomorrow, his highly anticipated, all-new 10-song collection. Recorded at the renowned Van Gelder Studio in Englewood Cliffs, New Jersey and engineered by one of the greatest recording engineers in jazz history known for his work with John Coltrane, Miles Davis and Herbie Hancock, Rudy Van Gelder himself, Yesterday You Said Tomorrow marks the star trumpeter's fourth Concord release. Please take a listen to this dynamic and exciting new project.



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First off let me say that I'm a devoted Christian Scott fan. I believe Christian is forging a new path in jazz music, one that blends elements of hip hop,alt rock and funk or basically he's a artist who is making music that's influenced by the times in which he lives & in my opinion you can't get much more real than that. Onto the music.

Yesterday you Said Tomorrow is in my mind a slightly different direction for Christian. First off Scott has come with a new bassist & pianist two guys that are new names to me. He's also scaled his band down from a sextet to quartet for the first time not recording with Walter Smith iii on tenor sax. This album was recorded at the historical Englewood Cliffs NJ studio, by the legendary engineer Rudy Van Gelder who many fans of blue note era jazz should recognize. The sound of this recording is very live, alot more so than his previous Anthem album or Rewind That which both had a more modern sleek production aesthetic. This records sound is a return to a more live in the studio band sound of the classic blue note era albums of the 50s & 60s, which is a welcome bit of nostalgia for me. If I had to describe the music herein with few words I would say this batch of tunes has a Miles Davis melodic simplicity & elegance with a radiohead influenced song structure with a more guitar & drum heavy sound that is intense but not bombastic or overbearing. Starting the album off is my personal favorite K.K.P.D which opens with drummer Jamire Williams laying down a intense tribal feeling tom tom groove paired along side Matt Steven's atmospheric guitar playing until finally after about a minute Christian enters with a hushed simple melodic line that rides the groove & builds in intensity. Next is a cover of Radiohead front man Tom Yorke's Eraser given a subdued muted trumpet statement with Jamire Williams on brushes. After All is a more funky number escalating slightly in intensity played on open horn with piano & guitar in three part harmony, which for me is a highlight of Scott's compositions. Isadora a beautiful ballad which debuted in 08 on Scott's Live at Newport, this melody is in my opinion what a great melody should be a singable fairly simple but very beautiful line. I won't continue with a track by track overview because I'm a firm believer in something Miles Davis was quoted saying often when asked to give track analysis"Let the music speak for it's self". I hope I have provided the reader with a clear start to this great work. Also I believe this album is more of a creeper in the sense that it takes a few listens to really grow on you because it's a fairly drastic direction change compared to his last two releases. Check out this great new work!

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Trumpeter Christian Scott started raising expectations in 2006, with Rewind That (Concord), and hit the spot again in 2007 and 2008. Those earlier promises of greatness are clinched by Yesterday You Said Tomorrow. Scott`s fourth Concord album is a gym-ripped amalgam of edgy jazz, hip hop and rock rhythms, off-kilter ostinatos, intimate rhapsodies and full-on passions, all welded together by the New Orleans-born player`s alternately caressing and searing horn, and by his most tightly focused band to date.

Scott`s very modern approach to jazz gains added weight from the album`s close embrace of the stylists of the mid- to late-1960s. References to trumpeter Miles Davis` second quintet, saxophonist John Coltrane`s classic quartet and bassist Charles Mingus` contemporaneous bands abound. As though to emphasise the provenance, the album was co-produced by the veteran Blue Note engineer, Rudy Van Gelder, in whose studio it was recorded.

Other 1960s resonances can be heard: the electric acid blues of Jimi Hendrix (guitarist Matthew Stevens is also adept in fluid, Pat Metheny-like lyricism), and, though Yesterday You Said Tomorrow is an instrumental album, the protest movement led by singers such as Bob Dylan and Curtis Mayfield. "I wanted to create a musical backdrop," says Scott in the publicity material accompanying review copies, "that referenced everything I liked about the music of the 1960s."

Fast forward 40 years, and it`s what Scott has done with the backdrop that matters. The track titles give a clue. "K.K.P.D.," the ramped-up tune which kick starts the album, has a title which stands for Klu Klux Police Department, and refers to what Scott calls the "phenomenally dark and evil" attitude of the local police toward the African-American citizens of New Orleans. "Angola, LA & The 13th Amendment," its episodic ebb and flow steered by Scott`s by turns melancholy and incandescent trumpet, equates aspects of the prison system with slavery. "The American`t" targets the same depressingly enduring racism referenced by "James Crow, Jr. Esq." on Live At Newport (Concord, 2008). "Jenacide" needs no explanation.

The mood endures, other than on the emollient "The Eraser" (written by Radiohead`s Thom Yorke and the only non-original on the album), and two gorgeous ballads, "Isadora," from Live At Newport, and "The Last Broken Heart."

Still only 26, Scott has decades of further development to look forward to. Meanwhile, this is his first landmark album, and one to make you feel good about the future of jazz.