Brian Lefresne | BLACK GROOVES

Title: Mandorla Awakening II: Emerging Worlds

Artist: Nicole Mitchell

Label: FPE

Formats: CD, LP, MP3

Release date: May 5, 2017

Flutist Nicole Mitchell leads her Black Earth Ensemble in the Afrofuturist inspired album Mandorla Awakening II: Emerging Worlds. Commissioned by Chicago’s Museum of Modern Contemporary Art (MCA) as part of their 2015 celebration of the 50^th anniversary of the Association of the Advancement of Creative Musicians (AACM), this concert recording puts on full display the outstanding musicality and artistry of Mitchell and the members of the ensemble.

Based on the black speculative novella of the same name penned by Mitchell, Mandorla Awakening presents in sonic form the story of what happens when two citizens of the futuristic World Union venture beyond its borders and establish contact with the peoples of Mandorla, a society with different social values than their own. The theme of the novella and the album is inspired by anthropologist Riane Eisler’s influential book The Chalice and the Blade, in which she argues that societies arranged by cooperative of hierarchical governing models have been in competition with one another for centuries. Mitchell is not so much concerned with establishing a narrative of which society represents right or wrong, but rather proposes what societies in an oppositional duality can learn from each other if they can move beyond their differences and find commonalities.

The project relies on the originality of Mitchell’s score and the creativity of the musicians to present the work’s narrative. Unique to this project is the inclusion of Kojiro Umezaki on shakuhachi and Tatsu Aoki on bass, shamisen, and taiko. The infusion of Umezaki’s and Aoki’s playing provided moments of intriguing sonic textures both individually and in combination with other members of the Black Earth Ensemble that I found particularly enjoyable with a notable example happening in the opening of “Sub-mission.”

Joining the group for this project is Chicago-based spoken word artist and performer avery r. young, who animates Mitchell’s lyrics through his dynamic vocal inflections on three of the last four tracks. The lyrics in particular bring together the suite’s theme of competing approaches to life learning from one another. The string players, Tomeka Reid and Renée Baker, both standout soloists in their own right, provide colour and ethereal tones that enhance the works’ futuristic narrative and soundscape.

Other standout moments from the Black Earth Ensemble include JoVia Armstrong’s imaginative percussion playing in “Listening Embrace” and Alex Wing’s psychedelic infused guitar sounds on “TimeWrap.” Of course, one must call attention to the rich tone and fluidity of Mitchell’s playing that appears throughout the album. The penultimate track, “Mandorla Awakening” (which rightfully receives a handful of applause from the live audience), puts on full display everyone’s musical skill in a tightly woven ensemble setting.

Overall, this recording presents an accessible sonic entryway into the diverse musical world of the AACM and provides ample material for the listener to think through, both musically and intellectually.

Reviewed by Brian Lefresne

Title: America’s National Parks

Artist: Wadada Leo Smith

Label: Cuneiform

Formats: CD, MP3

Release date: October 14, 2016

Wadada Leo Smith’s multi-movement suite, America’s National Parks, is a musical proposition for a more expansive and inclusive definition of who and what can carry the label as an American National Park. Spread out over six movements, Smith evenly divides his focus on pre-existing National Parks and sites and individuals that should be bestowed the designation of a national landmark. In this composition Smith melds “Ankhrasmation,” his self-designed graphic score notation with sections of composed and improvised music. Such an approach leads to thematic unity and cohesion within each of the movements while also providing ample room within each piece for the members of the Golden Quintet to shine. The addition of cellist Ashley Walters to the group for this recording provides Smith with a greater sonic palette and contributes to a soundscape and musical moments unheard before in his recordings. If there were one word to describe this recording, it would be sparse. The sparseness of the recording contributes to a sense of intimacy where one can envision each musician attentively listening to one another that in turn leads to moments throughout the piece of unique instrumental combinations and arrangements that emerge and grab the listener’s attention.

The three movements based upon Yellowstone, Sequioa/Kings Canyon and Yosemite National Parks are all remarkable for the sonic visualization of the openness and majesty of these parks. Moments of note in these three movements include the simple melody played by pianist Anthony Davis and Smith in the opening moments of the Yellowstone movement, the loose and enveloping soundscape produced by the quintet that complements Smith’s extended solos in the movement inspired by Sequioa/Kings Canyon National Park, and the cool, icy playing of Smith that mirrors the glaciers of Yosemite.

The three remaining movements, as noted earlier, take their cue from sites and individuals not formally within the National Park system. In “New Orleans: The National Culture Park USA 1718,” Smith proposes that the entire city of New Orleans, not just a specific location or a certain performance style, should be memorialized as a National treasure. Smith does not attempt to recreate the music of New Orleans per say, but rather alludes to the sounds of the city while never quoting them explicitly: from the movement’s opening with a bass riff similar to the chants of New Orleans Mardi Gras Indian tribes, to Smith’s blunt attacks and trumpet flourishes reminiscent of ragtime and early jazz, to the moments where pianist Anthony Davis’s runs can be heard as a homage to circum-Caribbean styles and genres.

The second movement (“Eileen Jackson Southern, 1920-2002: A Literary National park”) takes as its cue the work and legacy of musicologist Dr. Eileen Southern In addition to being the first black female tenured professor at Harvard, Dr. Southern’s scholarly work greatly contributed to our understanding of the history and development of African-American musical practices in the United States. In what can best be described as an abstract call and response, Smith and the Golden Quintet demonstrate how this central practice to African-American musical culture, when placed in the right hands, produces a musical moment that extends beyond the categories and genres placed upon Black music and musicians.

For the fourth movement, Smith turns his attention towards the murky waters of the Mississippi River. Smith does not celebrate how the waterway fits within the ethos, ecology, or history of the American nation, but rather points to the river’s dark history as a disposal site for black bodies. Smith accomplishes this through an episodic-like structure alternating with brief moments of silence. The musical interruptions mirror Smith’s idea that the disposed bodies float to the top and disrupt the flow of the river while also reminding us of the humanity of said bodies.

America’s National Parks offers a unique musical meditation on the idea of common property and memory and puts the full range of Smith and The Golden Quintet’s skills and talents on display. Alongside recent accolades, awards, and gallery retrospectives, this album serves as a superlative reminder that Smith is one of America’s most talented composers and performers active today.

Reviewed by Brian Lefresne

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Nicole Mitchell – Mandorla Awakening II: Emerging Worlds

Wadada Leo Smith – America’s National Parks