Geof Bradfield is the sort of composer who creates room for departure.
—Nate Chinen
Geof Bradfield straddles diverse streams of the African Diaspora, drawing on modern jazz, Southern blues and roots, and African rhythms. With Colossal Abundance, his 10th album as a leader, Bradfield unveils his most ambitious work to date. Colossal Abundance is a meditation on the fabulous wealth—material, intellectual and spiritual—and abject poverty that coexist in modern society. Expanding upon his critically acclaimed Yes, and... Music for Nine Improvisers (2017), Bradfield leads a stellar 12-piece ensemble through a program of his own compositions and new interpretations of John Coltrane, Wayne Shorter, Henry Threadgill and Jaki Byard.
“Twelve is a magic number,” muses Bradfield. “Mathematically it’s the smallest colossally abundant number, meaning it has unusually large number of divisors. Musically, that translates here into combinations of the 12 pulses of African rhythmic cycles, the 12 pitches of the Western chromatic scale, and the 12 musicians.” The core of the ensemble is the quintet heard on Bradfield’s Quaver (CR 0001), Russ Johnson (trumpet), Dana Hall (drums), Clark Sommers (bass) Scott Hesse (guitar). Johnson released his own highly acclaimed album Reveal (CR0004) on Calligram last year, as did the trio with Hesse’s burning live set Intention (CR0008). Returning from Yes, and… are Greg Ward (alto) and Anna Webber (flutes and tenor), both 2024 Downbeat Critics Poll winners on their respective instruments. Powerhouse trumpeter Derrick Gardner leads the brass with Norman Palm on trombone and Momo Hasselbring Seko on French horn. Ben Goldberg (clarinet, contra alto clarinet), a regular collaborator with Hall and Bradfield (General Semantics, Delmark 2020), completes the woodwinds, and percussionist Greg Beyer adds a robust palette of color and texture to the rhythm section.
Colossal Abundance heads in new directions out of the gate as Bradfield’s mbira and Beyer’s berimbau intertwine elegantly on “Mahororo,” a traditional Shona mbira song. Bradfield’s fascination with the mbira began during a 2008 tour in Zimbabwe. “We went to see an mbira group…it was such an uplifting experience, and I wanted to bring elements of that into my own music.” says Bradfield. To this end Bradfield has studied with mbira masters at home and more recently in rural Mhondoro, Zimbabwe. “I want to know the tradition well enough to write something new that would still feel organic to a Shona musician.”
The ensemble coalesces into a cubist portrait of John Coltrane’s classic “Lonnie’s Lament,” the melody fragmented into small cells spread around the band. “I imagined the ensemble as one huge mbira,” remarks Bradfield. After a lyrical and limber solo from Hesse, Bradfield switches to tenor, evoking late-period Trane. Ward closes the proceedings out, his alto soaring over pulsating horns and percussion. “Kaleidoscope” reflects a similar compositional process through its cyclical, layered melodies and shifting time signatures. After the composer’s fluid turn on bass clarinet, flutist Webber steps into the spotlight with stunning technique and imagination.
Bradfield returns to mbira for “Gandanga Blues,” a haunting vehicle for bass flute and muted trumpet, and on “Tuku,” written for Zimbabwean legend Oliver Mtukudzi, whom Bradfield met and performed with on his first trip to Zimbabwe. The rhythms of “Tuku” also recall African jazz legend Abdullah Ibrahim and Bradfield’s mentor Randy Weston. Gardner and Ward bring plenty of firepower to the table, culminating in a gripping exchange between the ensemble and drummer Dana Hall. Switching to tenor, Bradfield relaxes into a soulful half-time groove on a coda replete with shimmering mbiras and horns.
Jaki Byard’s “Mrs. Parker of K.C.” and Bradfield’s “Adelaide Bailey” offer contrasting tributes to Charlie Parker’s mother. “Mrs. Parker” travels far from home in the Éthiopiques-inspired arrangement, while the angular themes of “Adelaide Bailey” set the stage for boundary-pushing improvisation from Golberg on contra-alto clarinet and Johnson on trumpet.
Deep sounds from bassist Clark Sommers and Beyer’s marimba open “Requiem,” a remembrance of the lives tragically lost in the war in Gaza. The chorale builds to a harrowing climax before the bottom suddenly drops out, leaving Golberg’s poignant clarinet alone. Wayne Shorter’s “United” plays on a more hopeful theme, with searing contributions from Gardener, Bradfield, and finally Hall, whose efforts are bookended by virtuosic horn shouts.
The album struts to a close with Henry Threadgill’s Caribbean-flavored “Bermuda Blues.” Drummer Dana Hall channels Bob Marley drummer Carlton Barett with a spot-on One Drop rhythm before shifting to a Dub groove ala Lee “Scratch” Perry and other ‘Mad Professors’ in the second section. Double bass and contra-alto clarinet percolate underneath brash horns and tough solo statements from Palm and Johnson, the whole ensemble laying down furious rhythm to the final groove of Geof Bradfield's Colossal Abundance.
The ensemble will celebrate the release of Colossal Abundance, available on double vinyl, CD, and digital download September 6, with performances at the Jazz Showcase (September 19-22) and the Hyde Park Jazz Festival (September 28th).
“Twelve is a magic number,” muses Bradfield. “Mathematically it’s the smallest colossally abundant number, meaning it has unusually large number of divisors. Musically, that translates here into combinations of the 12 pulses of African rhythmic cycles, the 12 pitches of the Western chromatic scale, and the 12 musicians.” The core of the ensemble is the quintet heard on Bradfield’s Quaver (CR 0001), Russ Johnson (trumpet), Dana Hall (drums), Clark Sommers (bass) Scott Hesse (guitar). Johnson released his own highly acclaimed album Reveal (CR0004) on Calligram last year, as did the trio with Hesse’s burning live set Intention (CR0008). Returning from Yes, and… are Greg Ward (alto) and Anna Webber (flutes and tenor), both 2024 Downbeat Critics Poll winners on their respective instruments. Powerhouse trumpeter Derrick Gardner leads the brass with Norman Palm on trombone and Momo Hasselbring Seko on French horn. Ben Goldberg (clarinet, contra alto clarinet), a regular collaborator with Hall and Bradfield (General Semantics, Delmark 2020), completes the woodwinds, and percussionist Greg Beyer adds a robust palette of color and texture to the rhythm section.
Colossal Abundance heads in new directions out of the gate as Bradfield’s mbira and Beyer’s berimbau intertwine elegantly on “Mahororo,” a traditional Shona mbira song. Bradfield’s fascination with the mbira began during a 2008 tour in Zimbabwe. “We went to see an mbira group…it was such an uplifting experience, and I wanted to bring elements of that into my own music.” says Bradfield. To this end Bradfield has studied with mbira masters at home and more recently in rural Mhondoro, Zimbabwe. “I want to know the tradition well enough to write something new that would still feel organic to a Shona musician.”
The ensemble coalesces into a cubist portrait of John Coltrane’s classic “Lonnie’s Lament,” the melody fragmented into small cells spread around the band. “I imagined the ensemble as one huge mbira,” remarks Bradfield. After a lyrical and limber solo from Hesse, Bradfield switches to tenor, evoking late-period Trane. Ward closes the proceedings out, his alto soaring over pulsating horns and percussion. “Kaleidoscope” reflects a similar compositional process through its cyclical, layered melodies and shifting time signatures. After the composer’s fluid turn on bass clarinet, flutist Webber steps into the spotlight with stunning technique and imagination.
Bradfield returns to mbira for “Gandanga Blues,” a haunting vehicle for bass flute and muted trumpet, and on “Tuku,” written for Zimbabwean legend Oliver Mtukudzi, whom Bradfield met and performed with on his first trip to Zimbabwe. The rhythms of “Tuku” also recall African jazz legend Abdullah Ibrahim and Bradfield’s mentor Randy Weston. Gardner and Ward bring plenty of firepower to the table, culminating in a gripping exchange between the ensemble and drummer Dana Hall. Switching to tenor, Bradfield relaxes into a soulful half-time groove on a coda replete with shimmering mbiras and horns.
Jaki Byard’s “Mrs. Parker of K.C.” and Bradfield’s “Adelaide Bailey” offer contrasting tributes to Charlie Parker’s mother. “Mrs. Parker” travels far from home in the Éthiopiques-inspired arrangement, while the angular themes of “Adelaide Bailey” set the stage for boundary-pushing improvisation from Golberg on contra-alto clarinet and Johnson on trumpet.
Deep sounds from bassist Clark Sommers and Beyer’s marimba open “Requiem,” a remembrance of the lives tragically lost in the war in Gaza. The chorale builds to a harrowing climax before the bottom suddenly drops out, leaving Golberg’s poignant clarinet alone. Wayne Shorter’s “United” plays on a more hopeful theme, with searing contributions from Gardener, Bradfield, and finally Hall, whose efforts are bookended by virtuosic horn shouts.
The album struts to a close with Henry Threadgill’s Caribbean-flavored “Bermuda Blues.” Drummer Dana Hall channels Bob Marley drummer Carlton Barett with a spot-on One Drop rhythm before shifting to a Dub groove ala Lee “Scratch” Perry and other ‘Mad Professors’ in the second section. Double bass and contra-alto clarinet percolate underneath brash horns and tough solo statements from Palm and Johnson, the whole ensemble laying down furious rhythm to the final groove of Geof Bradfield's Colossal Abundance.
The ensemble will celebrate the release of Colossal Abundance, available on double vinyl, CD, and digital download September 6, with performances at the Jazz Showcase (September 19-22) and the Hyde Park Jazz Festival (September 28th).
