Darius Jones

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24. September 2014 um 8:17 #3577 | PERMALINK

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Eine der interessantesten Stimmen im Jazz der letzten Jahre ist Darius Jones. Neben seiner Beteiligung an Little Women und seinen Duo-Auftritten mit Matthew Shipp sind vor allen Dingen seine letzten Alben für Aum Fidelity extrem spannend.

Im Oktober erscheint sein neues Album „The Oversoul Manual“:

DARIUS JONES featuring The Elizabeth-Caroline Unit – The Oversoul Manual

1….. o o o o o…..2:15
2….. o o o o…..1:50
3….. o o o…..1:29
4….. o o…..1:42
5….. •…..2:48
6….. ••…..6:29
7….. •••…..2:24
8….. ••••…..1:19
9….. •••••…..3:15
10 . Δ ••••• Δ…..2:17
11 . Δ•••••Δ…..4:40
12 . Δ••••Δ…..4:24
13 . Δ•••Δ…..5:37
14 . Δ••Δ…..7:16
15 . Δ•Δ…..4:55

AUM Fidelity wrote:

The Oversoul Manual is the long-awaited fourth installment / revelation in Darius Jones’ central, highly acclaimed, and on-going Man’ish Boy epic; it further reveals — indeed fully features — the great talents of Jones as composer & arranger, with originality, conceptual richness and deep emotive power to the fore. An a cappella work comprised of 15 pieces performed by his vocal quartet, The Elizabeth-Caroline Unit (featuring the great vocal talents of its devoted members Amirtha Kidambi, Sarah Martin, Jean-Carla Rodea, and Kristin Slipp), it utilizes a heretofore unheard (by Earthlings) sacred language of sound / composition used in the alien birthing ritual of a new being.

The Oversoul Manual is both an elemental / genesis part of Jones’ Mani’sh Boy mythology and a fully illuminated / radical expression of his profound love for the human voice, which remains at the foundation of Darius’ singularly potent creative life. The voice was his first instrument; it was his gateway into music. He grew up singing hymns and duets with his sister as a young boy, later becoming gospel choir director at his church in Virginia as a young man. Darius’ intent with this work was to manifest an experience of great purity, communicative potency, and cleansing joy. And once again, he has succeeded magnificently.

Since the release of Man’sh Boy (A Raw & Beautiful Thing), „one of the great jazz debuts of the past decade“ (Britt Robson, eMusic), Jones has been called „a singular talent“ (Brian Morton, Jazz Journal), „one of the most impressive and unique voices of our time“ (Troy Collins, AllAboutJazz), “a magnificently gifted musician“ (Peter Margasak, DownBeat), and possessed of „titanic, trail-blazing originality“ (John McBeath, The Australian).

On his last album, Book of Mæ’bul (Another Kind of Sunrise), critics wrote: „this walks the line between exploration and accessibility that most musicians are afraid — or unable — to touch“ (Marc Medwin, Dusted), „he gets into areas that are almost impossible to describe, though the feeling is of a gentle roundness and liquid caress both incredibly pure and powerful“ (Clifford Allen, The New York City Jazz Record), and „Jones‘ playing and composing may have some of the mercurial energy associated with the avant-garde but the communicative immediacy of African-American folk traditions stands like a bedrock in his work“ (Kevin LeGendre, Jazzwise). As DownBeat publisher Frank Alkyer wrote in his Editor’s Pick review, „He has a big, adventurous plan. He’s telling a story that’s long and involved, but gripping. It’s one of the best, most thought-out recordings I’ve heard this year, and now I can’t wait to hear the next from Darius Jones.“

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Hey man, why don't we make a tune... just playin' the melody, not play the solos...

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