Wadada leo smith heart reflections rapidshare

The 21st century has seen Smith come into his own as one of the most innovative composers and theorists to emerge from the s avant-garde. His masterwork, Ten Freedom Summers, an extended meditation on the civil rights era's struggles and gains between and , has been recorded and subsequently performed all over the world. Ishmael Leo Smith was born in Leland, Mississippi in His musical life commenced in high school, where he played in concert and marching bands. He played French horn, drums, and even mellophone before moving to trumpet.

His formal musical education is credited to his stepfather Alex Wallace, the U. Military Band program , and the Sherwood School of Music In , he founded his own label, Kabell, to release his recordings. He co-founded the avant improvisational group Creative Construction Company with violinist Leroy Jenkins and Anthony Braxton, which toured Europe during the late '60s.

They recorded a trio album, Silence, in for Freedom Records, and a self-titled offering in while Smith was studying ethnomusicology at Wesleyan University. The recording supervisor for the date was Ornette Coleman. He also recorded in the Creative Improvisation Ensemble with Marion Brown in and played on the saxophonist's seminal Geechee Recollections album.

He released Spirit Catcher under his own name on Nessa Records in Smith had taken up playing the mbira an African thumb piano , and added it to his instrumental arsenal with some regularity from this point forward.

About this time, he became a Rastafarian and changed his name to Wadada Leo Smith; he has been recording under that name ever since. In , his "Odwira" for 12 multi-ensembles featuring 52 musicians was performed at Cal Arts. He began his long and fruitful association with John Zorn's Tzadik imprint in with the release of Tao-Njia; his Noh composition work "Heart's Reflections" was first performed by a large group at Merkin Concert Hall the same year. Smith began recording prolifically for a number of labels, all the while teaching and touring and writing scores for his three prevalent ensembles — Golden Quartet, Silver Orchestra, and Organic — as well as solo work.

In he issued the little-known trio date Prataksis with Vinny Golia and Bertram Turetzky on Ninewinds, and in he began his association with guitarist Henry Kaiser in an ad hoc band called Yo Miles! They released their first, self-titled album for Shanachie Entertainment that year.

In , Light Upon Light was released by Tzadik, and his first album of contemporary classical music, Southwest Chamber Music, arrived on the Cambria label. The latter label was also responsible for a gorgeous retrospective box set entitled The Kabell Years, , documenting Smith's label.

Smith issued three recordings in A documentary film about this band was released that year entitled Freedom Now, directed by Jacques Goldstein, and made available on DVD.

Which makes it a fitting tribute. After all, the guy is one of the biggest names in jazz, as easily known as Davis, Charlie Parker, or Louis Armstrong. But by avoiding too much clutter and distractions, Wadada Leo Smith has created both a fitting tribute and a compelling listen. His solo playing drew me in and throughout the record, never came off as stale or boring.

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In a way, I think that blocks a reviewer in this case, me from getting to the heart of what Smith has accomplished in his career that elevates him to this nearly flawless level. Similarly, Vijay Iyer has combined jazz piano with his background in physics with sonic influences of his Indian heritage. He creates these spaces where his collaborators are equal partners and space and time are constantly in flux.

And so I think the challenge in reviewing this album is, how do you rate two masters? If Divine Love , perhaps one of the greatest albums ever, was released tomorrow, how do you rate it on a scale of 5 stars? Is this album equal to Divine Love?

So it comes down to the music itself, to this particular record. Iyer layers electronic elements and switches from piano to Fender Rhodes, but I do miss the extremely broad palette Smith has to paint with. We've had lots of five star ratings recently, Lee and I have to admit that I don't see the greatness in all of them. But this one here is an excellent album in any respect.

I don't miss the broad palette, as you put it. To the contrary: I enjoy the minimalism of the album, it's wide range of styles. Even ECM's often criticized specific sound is perfect here.