Review: Christian Scott aTunde Adjuah’s ‘Axiom’

In the field of philosophical logic, an axiom serves as a starting point from which other statements are derived. It is regarded as an essentially true foundation for further developments built off of it. Originating from the Greek word ἀξίωμα (axíōma), the term suggests worthiness and equal balance as it extends substance to those crafted from it. Christian Scott aTunde Adjuah’s third live release, Axiom (Stretch Music/Ropeadope, 2020), adopts an appropriate title as it takes previously presented compositions and pushes them in new directions. 

Generally speaking, this is an area already significantly explored by the trumpeter. His concept of “stretch music” has orbited around this viewpoint as it pulls the conventions of “jazz” to envelope other styles; to create a sound that can encompass as many diverse influences as possible. In the case of the album named after this approach, this was accomplished by adopting from jazz, hip-hop, alternative rock, R&B, African drums, Caribbean music, brass band and second-line music, and others. But the preciseness of a studio session sometimes comes at a price. Technical limitations and the lack of an energetic crowd can somewhat negate a more fully developed artistic freedom which can result. Put another way, a live setting provides potentially greater imprecision, but it is in these uncertainties that beauty and progress can bloom. And so, when already expanded ideas are let loose, often the art can further grow. 

Consider “Sunrise in Beijing.” The original on Stretch Music (Stretch Music/Ropeadope, 2015) is tightly structured with overtly precise beats by percussion, both acoustic and electronic. Repeated motif gives rise to winding flute and trumpet lines before Elena Pinderhughes soars to a new horizon. On Axiom, its general outline remains even as it shifts its prior incarnation to a different paradigm. The once pounding drumline is more relaxed, taking on an increasingly human-like quality. It also opens up additional space for the flautist to play a wider-range on her instrument as she darts in an increased frenzy alongside the occasional statement on bass or piano. Whereas her solo once rose above, she now weaves through to find a new spot. 

Ancestral Recall (Stretch Music/Ropeadope, 2019)’s “I Own the Night” depicted the excitement of a drum circle or parade. The slightly retitled “X. Adjuah [I Own the Night]”’s rhythms appear less organic but allow the group to explore new corners. At times it even seemingly evokes flamenco with a proud and confident bullfighting trumpeter before transitioning into the blues and the avant-garde. While the perceived Spanish influence does not connect directly with Scott’s other projects, it does add further credence to his stated goals of “de-colonizing sound” by morphing the traditions of a historically imperialist nation with those outside their direct sphere. 

On Stretch Music, “West of the West,” was replete with thunderous electric guitar, bass, and drums and only hints of keyboards lurking underneath the surface. It now begins with an impressively spirling solo by Lawrence Fields on the latter before forging the theme. Slight traces by alto saxophone and trumpet flow through until Alex Han takes control with an incendiary solo that takes the piece to new heights. The freedom, the passion, and the intensity all remind of a young Kenny Garret as captured on November 1, 1988, in Graz, Austria. And yet, it is also distinctly unique and true to his own voice. 

Which, somewhat unusually, brings one to the influence of another boundary-pushing trumpeter. Although a member of the Miles Davis Electric Band, Scott has also made clear his dislike of comparisons to anyone else, including the “Dark Prince of Jazz.” On Christian Atunde Adjuah (Concord, 2012)‘s “Who They Wish I Was” he touches upon this particular issue by using a Harmon mute as a seemingly tongue-in-cheek tribute. And so, it is interesting to see Axiom include a piece somewhat associated with the predecessor artist. Although originally penned by folkster David Crosby, “Guinnevere” is a song with which Miles took such great artistic liberties in 1970 that the composer himself did not realize it was the same song when he first heard it. With its unique place between “folk” and “jazz”, the tune’s appeal is apparent. However, interestingly, the band tends towards the Davis version rather than the original. That is not to say it duplicates, or even attempts to, that version but merely to note the apparent cues. The differences lie in the subtleties. While Miles’ tone was softer and placed atop a backdrop of sounds from the East, Africa, and rock, Scott’s is brighter and interacts more with those from hip hop and R&B. But, still,  “Guinnevere”’s inclusion raises an interesting question – while we should each be assessed on an individual level, how much can we truly say we are beyond the influence of another?

This thought adopts on particular importance in light of the context of the March 10, 2020 concert at the Blue Note concert captured on the album. It was the band’s last performance for at least half a year due to the COVID-19 pandemic. As the world begins to reemerge from its social quarantine, individuals will increasingly question the choices presented to them. This extends to not only how individuals interact with one another but also how they approach intangible concepts like art. Axiom is a capable guide in these thought processes. It suggests a new approach to sound, one even less defined by rigid categories. Instead, it builds off of the theory that if the underlying musical concept is of value, all that extends from it must be equally worthy. In the interim, it provides much to consider. 

Christian Scott aTunde Adjuah’s ‘Axiom’ will be available for streaming on August 28, 2020 from Stretch Music/Ropeadope. A vinyl release will be available in October with two bonus tracks.

Tracklist: 1. X. Adjuah [I Own the Night], 2. The Last Chieftain [for Big Chiefs Donald Harrison Sr. & Jr.], 3. Guinnevere, 4. Songs She Never Heard, 5. Sunrise in Beijing, 6. Huntress [for Cara], 7. Incarnation [Chief Adjuah – Idi of the Xodokan], 8. Diaspora, 9. Introductions.

Personnel: Christian Scott aTunde Adjuah (trumpet, Adjuah trumpet, sirenette, reverse flugelhorn, percussion), Elena Pinderhughes (flute), Alex Han (alto saxophone), Lawrence Fields (piano, keyboards), Kris Funn (bass), Weedie Braimah (djembe, congas, bata, percussion), Corey Fonville (drums, SPDSX).