Angel Bat Dawid
Requiem for Jazz
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
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Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
Out of Stock
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
Black vinyl double LP.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
Back in stock - Limited edition indies exclusive "Thy Kingdom Come" purple coloured double vinyl LP.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Staggering new 12-part opus by Chicago’s jazz standard-bearer Angel Bat Dawid, advancing the vision of 2019’s ‘The Oracle’ with a compelling critique of racial politics in contemporary USA
‘Requiem for Jazz’ is a sprawling treatise on the African American story by one of jazz music’s leading protagonists and significant creative voices. Inspired in part by the dialogue of Edward O. Bland’s 1959 film ‘The Cry of Jazz’, Angel’s 2nd solo album delineates the documentary’s themes in a world, some 60 years later, where jazz music still serves a potent purpose as an expression of Afro-American identity, and specifically “draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.” In the process, ‘Requiem For Jazz’ bridges the sprawling space-operatic nature of Sun Ra albums, and the cosmic ambition of Alice Coltrane, and the epic theatric staging of contemporary R&B and rap albums by likes of Beyonce or Kendrick lamar, to realise a peerless hour of music that ties together and transcends the past generations of Black music made post-the Civil Rights movement.
Side-eying a multibillion £$£$ industry built on repackaging the sounds of Black people’s sufferation into manageable commerce, Angel takes 1959 film ‘The Cry of Jazz’, and its images of Sun Ra in the ‘hood, as a diving point for her huge ensemble, Tha ArkeStarzz, to explore a wonderfully free mix of acoustic and electronic jazz licked with contemporary inflections of the drill sound that originated in her native Chicago, and most impressively, a sense of operatic staging or dramaturgy that strikes heavily on first listen, but will take many repeat listens to fully grasp. As that implies, it’s not an “easy” listen on any level, but it is a richly satisfying and spirit-raised one for anyone willing to step back and try to take it all in; from the alien vocoders of the intro, thru the haunting recital of ‘Kyrie Eleison’, a stately ‘Confutatis-repression’, and the inclusion of Arkestra bandleader Marshall Allen, or the spine-shattering finale of keening choral ‘Long Tone for Rayna Golding (A Binti Zawadi our Future).’
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