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Track List
01) Sunrise in Beijing
02) Twin
03) Perspectives
04) West of the West
05) Liberation Over Gangsterism
06) The Corner
07) Of a New Cool
08) Runnin in 7's (For Big Chief Donald Harrison
09) Tantric
10) The Last Chieftain
11) The Horizon
01) Sunrise in Beijing
02) Twin
03) Perspectives
04) West of the West
05) Liberation Over Gangsterism
06) The Corner
07) Of a New Cool
08) Runnin in 7's (For Big Chief Donald Harrison
09) Tantric
10) The Last Chieftain
11) The Horizon
5:04
4:15
4:22
8:07
4:09
1:34
7:34
2:07
4:24
7:11
2:10
Data Complete
50%
Total Rating
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First Released
2015
Jazz
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Jazz
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Medium
Album
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Album Description 
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User Album Review
Stretch music, according to New Orleans jazz musician Christian Scott, is an approach that engenders a more absorbent and sensitive kind of jazz. "We are attempting to stretch—not replace—jazz's rhythmic, melodic and harmonic conventions to encompass as many musical forms/languages/cultures as we can," he says on his website. He titled his fifth album after the concept, but this sensibility is visible even in his earliest work as a leader; the title track of 2007's Anthem is jazz in its instrumentation, but it also obeys the rhythms and structures of post-hardcore, a series of contrasting shapes which build an atomically tense and spectral space, like a cathedral at night.
His description of "stretch music" somewhat resembles the omnivorous jazz approaches of bassist/singer Esperanza Spalding and pianist Robert Glasper. It's similarly collaborative and elastic. But Scott's genre splicing is not as mosaic as Glasper's. It’s doesn’t lock different genres together in unusual patterns as much as it melts them down into asymmetrical and indivisible sculpture. It's almost curious to call it "stretch music" when it feels as if jazz isn’t so much expanded here as collapsed into small, oblique jewels.
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User Comments
Click yellow EDIT Button add one in English or another language
User Album Review
Stretch music, according to New Orleans jazz musician Christian Scott, is an approach that engenders a more absorbent and sensitive kind of jazz. "We are attempting to stretch—not replace—jazz's rhythmic, melodic and harmonic conventions to encompass as many musical forms/languages/cultures as we can," he says on his website. He titled his fifth album after the concept, but this sensibility is visible even in his earliest work as a leader; the title track of 2007's Anthem is jazz in its instrumentation, but it also obeys the rhythms and structures of post-hardcore, a series of contrasting shapes which build an atomically tense and spectral space, like a cathedral at night.
His description of "stretch music" somewhat resembles the omnivorous jazz approaches of bassist/singer Esperanza Spalding and pianist Robert Glasper. It's similarly collaborative and elastic. But Scott's genre splicing is not as mosaic as Glasper's. It’s doesn’t lock different genres together in unusual patterns as much as it melts them down into asymmetrical and indivisible sculpture. It's almost curious to call it "stretch music" when it feels as if jazz isn’t so much expanded here as collapsed into small, oblique jewels.
External Album Reviews
None...
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