SONGWRIGHTS APOTHECARY LAB Esperanza Spalding

• 1 Formwela 1 03:35
• 2 Formwela 2 06:10
• 3 Formwela 3 07:03
• 4 Formwela 4 04:18
• 5 Formwela 5 03:33
• 6 Formwela 6 03:08
• 7 Formwela 7 03:26
• 8 Formwela 8 11:39
• 9 Formwela 9 04:31
• 10 Formwela 10 03:28
• 11 Formwela 11 03:08
• 12 Formwela 13 06:44
• Total Runtime 01:00:43

Info zu SONGWRIGHTS APOTHECARY LAB

SONGWRIGHTS APOTHECARY LAB umfasst 12 Stücke, die in den vergangenen Monaten in ihrem mobilen Labor in Zusammenarbeit mit einer Vielzahl von Musikern, Forschern und Fachleuten entstanden und aufgenommen wurden. Jeder Song wurde so konzipiert, dass er eine bestimmte Wirkung auf den Hörer hat, von der Erdung im Chaos über die Deeskalation zwischenmenschlicher Aggressionen bis hin zur Bewältigung der Gefühle von Trauer und Einsamkeit, die die Pandemie mit sich bringt.

Das Songwrights Apothecary Lab ist ein kuratiertes Portal für neue Arbeiten, die aus spaldings kollaborativer Praxis der letzten Jahre hervorgegangen sind und erforschen, wie Songwriter therapeutische Praktiken und Wissen sinnvoll in ihren Prozess und ihre Produktion einbeziehen können. Die Forscher und Fachleute, die an den Labs teilgenommen haben, sind auf verschiedene Bereiche spezialisiert, von Neurowissenschaften und Musiktherapie bis hin zu Psychologie und Ethnomusikologie.

Pitchfork beschreibt spaldings aktuelle Arbeiten als “a vessel for boundless creativity and experimentalism” und ihr Album 12 Little Spells von 2018 hat ihr einen 4. GRAMMY Award eingebracht. In einem Profil, das im April erschien, rund um die Veröffentlichung der TRIANGLE-Suite, die über ihr Songwrights Apothecary Labentwickelt und veröffentlicht wurde, sagte sie der New York Times: “What we want to do is hear what people are wishing for from the music, like, what do you need? It’s an invitation to hear what you need a song for, and then that informs what we look for in our research, in our investigation.”

palding lud auch die Öffentlichkeit in den kreativen Prozess ein, indem sie nach einem Tag des Schreibens und Aufnehmens eine Reihe von abendlichen Präsentationen veranstaltete. Dies geschah an 10 Tagen im Juni, als sie ihr Songwrights Apothecary Lab in New York City einrichtete. Die zweite Hälfte des Albums, Formwelas 7-13, ist in dieser Zeit entstanden und aufgenommen worden und enthält eine Mischung aus Musik, die sowohl beruhigend als auch aufrüttelnd sein soll. Bei diesen sechs Stücken wird esperanza von Schlagzeuger Francisco Mela, Pianist Leo Genovese, Gitarrist Matthew Stevens und Saxophonist Aaron Burnett unterstützt.

Frühere Iterationen des Labs fanden in Wasco County, Oregon, und Portland, Oregon, statt – wo die ersten sechs Musikstücke des neuen Albums entstanden sind und Beiträge von Wayne Shorter, Phoelix, Raphael Saadiq, Justin Tyson, Ganavya Doraiswamy und Corey King enthalten.

“The well of this interdisciplinary mode of music creation is deep. We dip and dip and draw and draw and pour the best of what we find into each Formwela…”, sagt spalding.

Esperanza Spalding
“Ms. Spalding is still enamored of Wayne Shorter’s harmonic depth and Stevie Wonder’s melodic lift, but her frame of reference has broadened in salutary ways: ‘Funk Your Fear’ ha(s) the serpentine gnarl of a Funkadelic anthem, and ‘Noble Nobles’ brazenly evoke(s) Hejira-era Joni Mitchell.”--NY Times

“...a fresh artistic vision for the four-time Grammy winner, a daring tapestry of music, vibrant imagery, performance art and stage design.”--Ebony

“Emily’s D+Evolution is more than a recording project, it’s an awakening of her inner child. It’s an audio portrait stretching Spalding beyond music and into storytelling through acting, staging, and movement.”--Amy Poehler’s Smart Girls

Seven collaborative and five solo albums into her career at 31, Esperanza Spalding has always resolutely, intuitively, deftly expanded upon both her art and herself as a world-renowned genre- bending composer, bassist and vocalist. Spalding’s work, grounded in jazz traditions but never bound by them, has won her four Grammy awards and brought her onstage at the Oscars, the Nobel Prize Ceremony, the White House, and with Prince and Herbie Hancock. Not only does she know who she is, we know who she is.

Or, rather, we think we do. The elastic self and work of a true artist is always changing; ideas are channeled, shape-shifting becomes necessary. Emily’s D+Evolution (pronounced “d plus evolution”) is where we meet Emily--both Esperanza’s middle name and the label for the spirit- muse that flows through this multi-dimensional, theatrical performance artwork wrapped in a brilliantly urgent, vivacious record. With 6 tracks co-produced by Tony Visconti (David Bowie) and drawing, at times, from wellsprings as disparate as Cream to Shostakovich to St. Vincent, Emily’s D+Evolution is a kaleidoscopic project; raw, honest, luminous.

"Whether you want to see it as devolution and evolution, and the place where they co-exist without one diminishing the other, or...barely having the tools that you need, but having to move forward, and having to keep moving," Spalding explained to NPR in a recent interview, the album conceptually addresses the always exciting, sometimes messy process of reconciling the aspects of our selves that are in conflict. Exploding with literal and proverbial electricity, this album’s complex but immediate compositions were committed to tape partially live, and partially in front of a control room packed full of 20 or more onlookers. The trio of Spalding (fretless electric bass and vocals), Matthew Stevens (electric guitar) and Justin Tyson and Karriem Riggins (splitting drum duties) often decided to use the first take--a testament to the project’s particular energy and Spalding’s virtuosity. Many of the compositions on Emily’s D+Evolution were, after all, incubated onstage during the rigorous live performance schedule that preceded it.

Armed with the entity of Emily flowing through her, Spalding’s visionary performance of the album is an experience to behold and an integral part of the project itself. Here, Spalding is, for the first time, incorporating stage design, movement and acting into her already vivid musical storytelling practice. She’s working with stage director and playwright Will Wiegler to manifest her concepts physically now that they’ve come to life aurally. Each track on the album, from the soaring ode to uninhibited self-expression “Good Lava” to the affecting, shimmery funk ballad “Unconditional Love”, Emily’s D+Evolution is rich, surprising and labyrinthian, yet classic and timeless, as if these songs have always existed out there in the ether. Turns out that Spalding just had to tune in to Emily to bring them here to Earth.

Dieses Album enthält kein Booklet