#elena pinderhughes

[therafanatics]

RAFAEL CASAL WITH JASMINE CEPHAS JONES AND ELENA PINDERHUGHES - PHOENIX CELEBRATION (2024)

Still on cloud 9 from last night. Thank you to everyone who came out to hang and celebrate PHOENIX. Getting to be able to do it with my LA community meant the world to me.🥹

Next stop… NEW YORK! See y’all at SOBS on Monday 🐦‍🔥

Pic by: jazzy_joness

[donospl]

Milton Nascimento & esperanza spalding  "Milton + esperanza"  

Concord Records, 2024 Współpraca z Miltonem Nascimento była marzeniem esperanzy spalding od czasów studiów w Berklee College of Music. Wtedy właśnie, w początkach  lat dwutusięcznych, po raz pierwszy usłyszała Miltona na koncercie. Do pierwszych wspólnych nagrań doszło już w roku 2010, dzięki pośrednictwu Herbiego Hancocka. Nascimento pojawił się wówczas w jednych utworze na albumie Chamber…

[oublietonorgueil]

Christian Scott aTunde Adjuah: NPR Music Tiny Desk Concert

[danbenzvi]

On The Jukebox: "American Fiction (Original Motion Picture Score)"

Original music composed by Laura Karpman, Elena Pinderhughes and Patrice Rushen.

[burlveneer-music]

aja monet - when the poems do what they do - the poetry hits, the jazz backing from top players is a bonus

aja monet’s poems are a work of gravity. A surrealist blues poet, storyteller, and organizer born and raised in Brooklyn, NY, aja won the legendary Nuyorican Poets Cafe Grand Slam poetry award title in 2007. In 2018, she was nominated for a NAACP Literary Award for Poetry and in 2019 was awarded the Marjory Stoneman Douglas Award for Poetry for her cultural organizing work in South Florida. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, releasing June 9 via drink sum wtr, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy. In when the poems do what they do, aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, “Who’s got time for poems when the world is on fire?!.” And this work isn’t one to pull apart into one liners, these are poems of things felt. There is a fullness here that can’t be encapsulated in even the boundaries that language offers. aja is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together, creating music that is insistent and unrelenting. When you finally reach the end of this album, you are left with a similar feeling you get when heartbroken, the gravity of barrelling back down to earth, sopping wet with tears, out of breath, overcome with love, despair, hope, and all too aware that all of this, is over far too soon. When the poems do what they do, they do absolutely everything. 

[rich4a1]

Kandance Springs RUN YOUR RACE

1.86.0-2UFZ7Q4BV3IHGQ2WFJN3CBH3JM.0.1-0 KANDACE SPRINGS RUN YOUR RACE SPR Records Kandice Springs, piano/Fender Rhodes/vocals; Caylen Bryant, bass/cello; Camille Garner, drums; Carl Sturken & Bob Palmeiri, guitar; Theo Griffin, cello; Elena Pinderhughes, flute; Jeanette Williams, Cajon; David Mann, string arrangements. BACKGROUND VOICES: Cindy Mizelle, Theo Griffin, Caylen Bryant, & Christie…

[mynoisycollectionstarlight]

This is amazing.....

*****

Samora Pinderhughes: vocals, piano, keyboard

Nio Levon: vocals, vocal arrangements

Elliott Skinner: vocals, guitar

Jehbreal Muhammad Jackson: vocals

Dani Murcia: vocals

Elena Pinderhughes: flute

Clara Kim: violin

Giancarlo Latta: violin

Carly Scena: viola

Saul Richmond-Rakerd: cello

[rad-review-of-gigs]

Herbie Hancock

Barbican, 17.11.2019

Fusion’s voyager continues to push the outer limits

At seventy nine Herbie Hancock is still stargazing and looking to the future. “The joy is in the striving,” he said in 2018 and he expresses reverential awe of the young musicians he has assembled to disrupt a set of his standards, spinning them into new and intricate orbits. It’s not stretching things to say there were distinct nods to Radiohead amongst the ballads, funk and Southern African vocal harmonies. Bassist James Genus is  “always doing something unexpected, yet in the groove.” Guitarist Lionel Loueke is “nine people in one body. Voices, guitars, pianos.”

There is something of a school’s most beloved and respected teacher about Hancock, underpinned by his conversion to Buddhism following crack addiction.  He has said in the past that jazz is about sharing and he calls on the “citizens of this planet” to “fix things.”

The first half is full of electrifying quantum leaps. Loueke’s thrilling lead guitar sounds like a conduit for a keyboard. James Genus’ bass has the tone of lead guitar in an extraordinary solo on ‘Secret Sauce’; gurgling, rubbing , a gathering storm of insect wings, which he records at the same time and  then overlays with a standard bass line. It’s as if we are in the studio. Only percussionist, Justin Tyson, “borrowed from Robert Glasper”, plays trad.

The whole of 1978’s Sunlight was sung through a vocoder and ‘Come Running With me’ begins with flautist Elena Pinderhughes’ Minnie Riperton-esque vocals and ends with  what feels like an emotionally intelligent robot’s dying words “You don’t have to be afraid anymore. I’m no good without you” from Hancock. This can seem cheesy and akin to Marvin the Paranoid Android to 21st century sensibilities, but like most things with Hancock, he’s somehow able to pull it off.

Those who may not have appreciated the fresh takes on the back catalogue are eventually rewarded with straightforward renditions of his most famous crowd pleasers in the second half. Elena Pinderhughes’ flute gives ‘Cantaloupe Island’s melody a more laid back feel, evoking the amble of a contented man whistling down a street. Hancock struts the stage like Chuck Berry with his keytar for the encore ‘Chameleon’ , accompanied by a great echo on Justin Tyson’s snare.

Some of the interstellar veerings cut the night’s best grooves too swiftly, leaving a sense of a present being snatched out of the hands, but, in sum, this was still vintage Hancock and no one could begrudge him the handshake with every member of the front row as he vacates the stage.

[audiomatiquecfou]

Audiomatique 05-07-23 feat. : Delrei - Suuns - Medicine Singers - Christian Scott aTunde Adjuah - The Chameleons - Pro>Tech - Insurgent - Theremyn_4 - Architect • Sonic Area • Hologram - Arcade Fire

L’émission de radio Audiomatique du 5 juillet 2023 Transmission 453 présentée de 17 h à 18 h sur les ondes de CFOU 89,1 FM animée par Les Sonoristes

Radio show Audiomatique July 5, 2023 Transmission 453 aired from 5 PM to 6 PM on CFOU 89,1 FM hosted by Les Sonoristes

1) Delrei : « Into The Wasteland » (Desolation and Radiation)

2) Suuns : « Breathe » (Fiction)

3) Medicine Singers : « Shapeshifter » (Medicine Singers)

4) Christian Scott aTunde Adjuah : « Completely (Feat. Elena Pinderhughes) » (Diaspora)

5) The Chameleons : « Truth Isn’t Truth Anymore » (Why Call It Anything)

6) Pro>Tech : « Pheromne » (Orbiting Cathedrals)

7) Insurgent : « Citadel » (Supercollider)

8) Theremyn_4 : « Barry Extended '21 » (Mi Vida En Infrarrojo 20-A)

9) Architect • Sonic Area • Hologram : « Primordial Soup » (We Are The Alchemists)

10) Arcade Fire : « In The Backseat » (Funeral)

Écoutez en différé / Listen : https://archive.org/details/audiomatique-05-07-23 https://www.tumblr.com/audiomatiquecfou Contact : audiomatiquecfou@gmail.com Facebook : www.facebook.com/audiomatiquecfou

[misslibraprincesa]

Thank you for tagging me💞 @eatyourheartoutt

You by Lucy Pearl, Snoop Dog, Q-Tip

Beige by Terrace Martin, Arin Ray, Elena Pinderhughes

Got to Give It Up - Pt.1 by Marvin Gaye

Come Back to Earth by Mac Miller

Plain Jane by A$AP Ferg

I’m tagging✨ @butterflykisses331 @crystalizedeyes @fight0rfall @floralenta @hachitamaa @manicpixistonergirl @mercuryvixen @pinkprincess @pinkflowerbabe @strawberryflowerbomb @srslystoned11 @sanriobbygirl @thatlibragirl ✨

my top 5 songs rn

tagged by @jxrdansdiary777 xoxo <3

how to disappear ldr

words gregory alan isakov

homesick noah kahan

1979 smashing pumpkins

gooey glass animals

@ethel2009 @rosyclouds22 @i-know-you-wanna-kiss-me i’d love to see y’alls ;)

[emonstrosity]

Herbie and friends (Mystery Monster, 2019)

[goodmusicsavedourlife]

Lupe Fiasco - Cripple (Feat. Elena Pinderhughes)

[hiiglediggle]

Songs of The Week 3.26.22

We are back with another Songs of The Week list! Take this musical trip with me into playing with romantic doubt.

Um…I Guess I Have a Podcast Now Ep. 7 Welcome to Songs of The Week. This is a little thing I like to do to keep myself sane. Every week I curate a list of songs that are new, old, in between but usually just not celebrated enough. This will be available as a podcast episode and will be linked when it drops. This week we seem to have a theme of love songs. But not lovey-dovey songs, the type…

[sinceileftyoublog]

Immanuel Wilkins Album Review: The 7th Hand

(Blue Note)

BY JORDAN MAINZER

Almost half of The 7th Hand, the incredible second album from alto saxophonist Immanuel Wilkins, is its final track, “Lift”. It’s a free jazz tune on an otherwise metered record; while John Coltrane’s Ascension has been an obvious point of comparison for many music journalists, the song’s inspirations actually hark back about another century. With bendy, squeaky playing atop Micah Thomas’s jagged piano, drummer Kweku Sumbry’s popping snares, and Daryl Johns’ bowed and plucked bass, “Lift”, according to Wilkins, is an exercise in radical empathy. Its various explosions are meant to emulate speaking in tongues and recall Black Pentecostalism. “To the slave owner, Aunt Hester’s screams were just screams,” Wilkins writes. “But to the other slaves, those screams carried messages to flee, to sing, to run, to keep working — a host of things.” Wilkins knowingly explores forms that “listeners might not understand.” Indeed, even when “Lift” quiets down over its 26 minutes, or Wilkins’ saxophone drones, the song remains breathless.

Wilkins’ lack of fear in not just challenging the listener but purposefully bypassing their understanding is what makes The 7th Hand a monumental album. His debut Omega was just as socially conscious, a record about the Black experience in America. But The 7th Hand breaks the rules while establishing some of its own. The first track, “Emanation”, ends in the middle of a vamp. Each track from then on out relates to the next by a triple meter, going down and then back up until the free “Lift”; if, in Biblical terms, 6 represents man and human weakness, 7 represents divine intervention, a concept represented at first by an instrument and later by the freedom of the album’s final track.

Throughout the album, Wilkins plays with the idea of his band as a vessel, in the spiritual sense, possessed by greater powers to deliver music and messages. “Don’t Break” features the Farafina Kan Percussion Ensemble, with which Sumbry often performs, on djembe drums. Juxtaposed with the band’s traditional jazz instrumentation, the song not only explores music of the African Diaspora but explicitly references the Yoruba drumming and dancing tradition, where the drums call down a deity that then possesses a dancer. Elsewhere, a minimal track like “Shadow” takes inspiration from Wayne Shorter’s composition “Fall” from Miles Davis’ Nefertiti, while “Fugitive Ritual, Selah”, is a hymn to the Black church. If selah means “pause,” giving space to a holier spirit, the band provides that space. Johns’ bass introduces the latter track, eventually calling in Wilkins’ and Thomas’ soulful playing, while Sumbry shows his true versatility, with gentle, yet off-kilter drumming. And if “Lift” represents divine intervention--the ability for a higher power to come in and offer freedom--it’s foreshadowed by “Witness” and “Lighthouse”, two tracks that feature flutist Elena Pinderhughes. It provides timbral differences to Thomas’ mellotron and Wilkins’ improvisations on the respective tracks, allowing “Witness” to sway to a calm, appearing vocal and angelic on the skittering “Lighthouse”. Though intentional in its references and inspirations, The 7th Hand is the type of album destined to play that same role as a benchmark for future jazz masters.