Cuneiform: Wadada Leo Smith’s Golden Quartet – Tabligh / Dieses Wochenende für FIVE

„Smith is working at his highest level since the mid ’70s. This quartet – with its combination of maturity, craftsmanship, and sense of adventure – is the perfect band to realize Smith’s deepening vision.“ – Ed Hazell, Boston Globe

This is the third album by Wadada’s all-star Golden Quartet. Recorded live, the sound on Tabligh veers from a sound akin to early electric jazz ala „In A Silent Way“ and especially ‚the lost quintet‘ of Miles in late 1969/early 1970, to both more sparse and modern jazz fare, all of it informed by the distinctive personalities of these four players and their leader’s musical concepts.

Wadada Leo Smith is a well-respected trumpeter and composer working in avant-garde jazz and improvisation. He was an early member of Chicago’s legendary AACM, joining in 1967 and co-founded the Creative Construction Company, a trio with Leroy Jenkins and Anthony Braxton in the late 60s. In 1971 Smith formed his own label, Kabell, for whom he recorded a number of albums considered classics of their kind.

He is currently a professor of Music at the California Institute of the Arts, and is the director of the MFA program in African American Improvisation. Smith has studied a variety of music cultures (African, Japanese, Indonesian, European and American) and has developed a music theory, and a notation system to fully express this music which he calls „Ankhrasmation“. He has been a major force in contemporary jazz for over 40 years and performs frequently throughout the world.

We first worked with Wadada when we released the two „Yo Miles“ albums, of which he was co-leader, and we both enjoyed working together so much that we decided to work together again on one of his own works.

released May 13, 2008

Wadada Leo Smith – trumpet
Vijay Iyer – piano, Fender Rhodes & synthesizer
John Lindberg – bass
Shannon Jackson – drums

Recorded live at RedCat in Los Angeles, CA at the CalArts Creative Music Festival in 2005.

Recorded by Miriam Kola


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