Dwain

• Christian Scott takes the title Stretch Music and applies it to his style and approach to the music. He experiments with different instruments, feels, and textures all while keeping the music’s origin in mind. This album has a distinct attention to the textures that are conveyed and it seems like that is where the emphasis is placed for Christian Scott and company here.

• We get the recording debut for Elena Pinderhughes who has since proven herself as one of the mainstays in modern jazz and as always, I can’t get enough of her on the album. She shows her flexibility from tunes like Sunrise in Beijing to Liberation over Gangersterism. Another standout on the album is Corey Foneville (who we have mentioned before in Butcher Brown’s Camden Session). HE has a unique and ever-driving and present feel and sound. His style is eclectic, ranging from jazz to hip-hop and out into deep-pocketed funk. There are also some brief but very tasteful appearances from young and talented saxophonist Braxton Cook.

• It feels like for Christian Scott this album is all about the sounds of the music and you can tell he’s very focused on the texture throughout his playing on the album. There is a very kind of Miles Davis less is more approach being taken by Christian Scott on this one and it’s well done and stylistic but there are some times when I want a little more in the way of solo development and bop-focused lines.

• This album gives you a good taste of what Christian Scott is about and what he is capable of in the current jazz landscape. There are many interesting moments to take note of and many things that are musically very well done. There are some points where it leaves me wanting a little bit more such as the solo section on “Twin”. Definitely a good album to take a look at if you are interested in getting in to Christian Scott’s music.

Overall score: 7.8/10

Max

• I think there are many moments on Stretch Music that reveal themselves to be awesome, attention-grabbing musical masterpieces, while other moments make my head spin into a state of confusion. I was disappointed with a number of things here. First, there’s a considerable lack of trumpet on at least three of the tracks. This practice happens throughout jazz history, yet I’m not sure about 3 songs or more either having limited trumpet or no trumpet at all. Secondly, if an album’s title uses the word stretch, one would imagine that musical-stretching would be a considerable aspect to most tunes on the album; yet, it seems as if some selections are actually way too short (“The Corner” and “The Horizon” are case-in-point). Maybe Christian Scott is stretching the bounds of the definition of the word “stretch,” but any way you slice it, “The Corner” is just too short! Also, a few of these song endings lack attention. Some added sounds or electronic attributes are over-done. I get a sense of inconsistency with this album too. As one song gets really groovin’, it’s as if the next tune will be lacking.

• Added instrumentalists like Elena Pinderhughes add greatly to this album. Elena’s work on “Sunrise in Beijing,” and “Liberation Over Gangsterism” is dynamite. Braxton Cook ‘cooks’ on “The Corner,” despite the shortness of the tune. Bassist Kris Funn is really ‘fun’ to listen to; I mean it! Kris is groovin’, in-the-pocket and always listening. Fonville on drums is a treat to listen to, and is likely the most consistently interesting player on this record.

• All things considered, this is a good album from Christian Scott (Atunde Adjuah). Great grooves, nice interactions and directional, interesting instrumental solos are a key part to this recording. There’s an appreciated, evident influence from Miles Davis in many moments. These songs are musically intricate and beyond interesting, with enough feel-good moments to glue your attention. It’s an album that contains significant meaning as well. I’ll be sure to visit it now and then; however, it will likely never meet the ‘favorites shelf’ of my record collection.

Overall score: 7.3/10