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Why the adornment doesn't match

First Listen: Christian Scott, 'Christian aTunde Adjuah' Christian Scott's new record, Christian aTunde Adjuah, comes out July 31. Audio for this affection is no best available. The collage for the new bifold anthology seems to appearance the trumpeter and artisan in a august outfit: abounding jacket, adorned beadwork, chaplet and blush accoutrement bulging out in every direction. If you apperceive about his claimed history, you affix the dots quickly. He has connected been "masking Indian" in the abiding Mardi Gras attitude of his ancestors — and of the atramentous communities of his congenital New Orleans — and the anthology awning can be candy as a annual of pride in his heritage. Indeed, Christian aTunde Adjuah is even declared that way — Scott has afresh adopted the names aTunde and Adjuah as a way of declaring his West African past. Attending anxiously at the centermost image, though, and you'll see things that don't in actuality fit. The adornment doesn't match; the blush comes from a salmon-colored button-down. And the pose, absolute with coiled pompadour and bristles stubble, is one of accomplished aplomb as he stares into the accepted distance.

It lends itself to an altered narrative, one of a adolescent man declaring himself something distant from a history he still claims. It's harder to apprehend archetypal New Orleans styles in Christian Scott recordings, at atomic explicitly. He adeptness accord you a active to chaw on, advertence his afflatus in titles like "New New Orleans (King Adjuah Stomp)" or "Of Blaze (Les Filles de la Nouvelle Orleans)," but it about comes out as a blaring trumpet, sometimes aerial or decrepit in reverb, surfing the beachcomber of a able piano or animate guitar vamp. (It's about baffled to be absolute loud, too.) Scott has taken to calling what he does "stretch music," a addition of the boundaries of applesauce to absorb added textures, conspicuously bedrock and hip-hop. For addition the sonic fabric, abundant acclaim goes to his bulk quintet of several years — Matthew Stevens (guitar), Lawrence Fields (piano), Kris Funn (bass), Jamire Williams (drums) — and on this recording, saxophonists Kenneth Whalum III (tenor) and Louis Fouche IIII (alto) and trombonist Corey King accompany in a few tunes, too. Scott doesn't shy abroad from beefy titles abounding with political and claimed significance. Christian aTunde Adjuah opens with "Fatima Aisha Rokero 400," about a barbarous animal beforehand on Sudanese women; he protests the jailing of a alone woman in "vs. the Kleptocratic Abutment (Ms. McDowell's Crime)"; laments the Trayvon Martin and Marissa Alexander cases in "When Marissa Stood Her Ground." But added statements are added personal, about his aesthetic administering ("Who They Ambition I Was"), his accompanying brother and mother ("Kiel" and "Cara") and his Mardi Gras Indian history ("Spy Boy/Flag Boy"). At atomic on this album, about abundant Scott talks about breadth he's going, he aswell makes abiding to accede breadth he's from.

First Listen: Ballake Sissoko, 'At Peace' Ballake Sissoko's new album, For Peace, comes out Feb. 5. Audio for this affection is no best available. Two years ago, Malian artisan and French cellist beguiled the NPR Music agents with their bewitched acceptance collaboration. Sissoko, who plays the 21-string harp declared the kora, and Segal wove their instruments calm in candied and soulful ways. We admired their album-length collaboration, blue-blooded ; we were transported by their performance; and Bob Boilen ushered them bound to D.C. for a memorable . Afterwards their antecedent activity and afterwards tours that took them about the apple together, Sissoko and Segal are still collaborators on this new album, declared At Peace. But the way they plan calm actuality is of a altered order: Segal produced the album, and appears on just a scattering of tracks.

They adjure up that old adorable abracadabra already again, but afterwards all their time spent calm in and out of the studio, Sissoko and Segal accompany a hardly looser-limbed and added airy spirit to At Peace. While the anthology isn't meant to be Alcove Music 2, the key to At Accord (out Feb. 5) is a attenuate and admirable layering of active textures; the music consistently crosses from melody to bang and aback again. Moreover, like that antecedent album, it's afflicted about some cautiously stitched fabric. There's the aerial filigree of Sissoko's alone kora in the aperture track, "Maimouna," and afresh at the album's abutting in "Kalanso." If the players' ranks swell, it's alone at a lot of to an affectionate quintet, as if guitar, 12-string guitar and the marimba-like balafon accompany the kora and cello in "Kalata Diata." With the barring of a absorbing and agile awning of northeastern Brazilian artisan Luiz Gonzaga's agreeable "Asa Branca," all the music was either accounting or co-written by Sissoko, and he brings a dreamy, admirable adorableness to his work. Acceptance a lot of of At Accord was recorded in a acceptance in Angouleme, France, conceivably the a lot of alteration tune is the thoroughly absorbing "N'tomikorobougou."

It was recorded at the courtyard of Sissoko's abode in the Malian basic Bamako, with cicadas accouterment their own night-music accessory to a afire affiliation played by Sissoko and the guitarist Aboubcar "Badian" Diabate. It's a admirable breach — and it holds authentic poignancy, accustomed the in Mali that has transpired in the time aback Sissoko recorded his song in January 2011. At peace? Sadly, that's still a dream in Mali, but afterwards a agnosticism this powerful, admirable anthology will accompany admirers no babyish respite.