#kinfolk nate smith

[negrolicity]

NATE SMITH + KINFOLK "SQUARE WHEEL (feat. KOKAYI + MICHAEL MAYO)" -- OFF...

[ravenplaylist]

August 20, 2024 - Small Moves: Interlude by Nate Smith

[pistakkiomusic]

From Here: Interlude By Nate Smith From the album KINFOLK: Postcards from Everywhere Added to Discover Weekly playlist by Unknown User on April 15, 2024 at 12:00AM Listen on Spotify https://ift.tt/u8KpqGr

[mathpumamusic]

28-2-2024

[Carling & Will] "Carling & Will" : Music to nourish the primordial part of the soul. [Nate Smith] "Kinfolk: Postcards from Everywhere" : The opener is an insane banger, but it definitely got me geared for a different type of album than the rest of the songs ended up being. [Squarepusher] "Hello Everything" : I thought this album was gonna be restrained, but lo and behold, he got out the dental drill before it was over. [Woody Goss] "Rainbow Beach" : Super beautiful, I crave sunlight. [Moon Tooth] "Photoproph" : Much more refined sound, although I can't decide yet if I like the writing on this one as much as on their previous albums. [The Octopus Project] "Hexadecagon" : Just like with the earlier Nate Smith album, the opener got me geared up for a high intensity album, but the following songs were much calmer. [Arch Echo] "You Won't Believe What Happens Next!" : It's good mood metal, metal which puts you in a good mood. [zabutom] "Zeta Force" : All good listens, but the tracks are more standalone than some of zabutom's later work. [Aphex Twin] "Selected Ambient Works 85-92" : Lots of great listens, but I think his style hits harder when the juxtaposition between songs is more pronounced.

[mynoisycollectionstarlight]

Now I turn the pages of a memory lost Just coming back from long ago Still I turn the page even though it's frayed around the edge

As I turn the pages and I let them take me home I know perfection through it all Still I turn the pages and I follow them all the way back home, home, home, home, home

As I turn the pages and I let them take me home I know perfection through it all Still I turn the pages and I follow them all the way back home, home, home, home, home

And I follow them all the way back home, home

As I turn the pages and I let them take me home I know perfection through it all

---

Nate Smith feat. Gretchen Parlato - "Pages"

Album: KINFOLK: Postcards from Everywhere

[trascapades]

🖤🎼#ArtIsAWeapon

#BlackHistoryMonth My beautiful, brilliant friend @ammawhatt reflects on Black women freedom fighters who have inspired and empowered us! ✊🏿

Check out Amma's performance with @natesmithdrums + KINFOLK & The @MemphisSymphonyOrchestra -

www.npr.org/2022/12/01/1140116646/nate-smith-kinfolk-with-strings-live-at-crosstown-arts

Reposted from @jazznightinamerica & @npr Singer-songwriter, Amma Watt, spoke to @jazznightinamerica about some of the Black women who have inspired her. Visit the link in our bio to watch her perform with Nate Smith + KINFOLK + the Memphis Symphony Orchestra at Crosstown Arts in Memphis, TN. You can also listen to the radio episode, which features an interview with Nate Smith.

Producer: Nikki Birch

Animator: @Jackie.Lay

#SojournerTruth #HarrietTubman #AngelaDavis #ShirleyChisolm

#JazzNightInAmerica #NPR #AmmaWhatt #NateSmithDrums #Jazz

[idontwearblack]

Song of the Week - 11 September 2017

Nate Smith - Pages

Since I purchase Nate Smith’s album earlier this week and it is has been on high rotation every since. It was hard to pick up out a favourite song but it has to be “Pages” featuring the vocals of Gretchen Parlato, which means now I have to check out some of her work. I love it when the work of one musician leads me directly to another.

[projazznet]

The drummer leaves the Big Apple, stays spontaneous, and considers his audience

[crispytimetravelgardener]

This is a fantastic performance by Nate Smith and Kinfolk. Nate is simply amazing. This set ranges from hauntingly beautiful jazz melodies backed by nuance brush playing, to odd-time signature funk, to dillah beats. Definitely one of my favorite drummers, and this whole ensemble is simply top notch.

And don't forget to watch part 2 as well

Zildjian has been putting out so many great videos recently. Makes me want to go buy some cymbals :)

[theloniousbach]

Into the New Year for Jazz

I have submitted the following to a dear friend who runs the jazz show on Toledo Public Radio for inclusion on the website.  

INTO 2020 WITH JAZZ SPECTRUM

Even as I gladly accept these invitations to sum up the year or, even this time, the decade, I don’t quite do as I’m told and so don’t color between the lines I’ve been given.  Sorry.

Like you, our listeners, I rely on Jazz Spectrum to introduce me to current developments and to fill in gaps between 1982, say, and 2015 when, alas, jazz wasn’t my primary listening.  It is again in no small measure due to this show that I am back in this wonderful game.  I am developing enough current knowledge to be on the lookout for current players (let’s start with the members of Artemis who do fascinating work individually and collectively--more shortly) and trends, but I’m not auditioning dozens of recordings every week, putting together a four hour show, and doing all the work that makes the show such a resource.

So I don’t have a best of 2019 or best of the 2010s to offer.  But, I do have some thoughts..  So, bear with me, or don’t and go re/read our host’s more fine grained observations.

In thinking about the impact on hip hop on this music, I offhandedly texted my old friend that jazz has always been fusion music.  I didn’t happen to have a teenager bring home the latest incarnation of African American popular music, rhythm, and rebellion, so I’m learning about it indirectly when I see Terence Blanchard, Robert Glaspar, and Stefon Harris.  Brilliant players all of them with crack bands and a deep grounding in the wider tradition from which they can bring the new energy into the music.  Today I prefer pianos to guitars and acoustic instruments to electric ones, with little affinity for vocoders, looping, and effects.  The beats are infectious and jazz drummers are amazing for their huge ears and magical abilities to move the beat around, using the timbres of the drums to comment on everything the rest of the band is doing.  As an example I was just able to watch Nate Smith+Kinfolk via live streaming from our local club.  He was a dynamo with as much energy and power as the rest of the band--solid and smooth as they are--combined.

Hip hop has to be part of what propels this rhythmic invention.  If my kid perversely stuck with our traditional English and Celtic folk music, then, that I don’t get hip hop from him is my problem, not jazz’s. I embraced my generation’s fusions--rock, funk--and went back to Latin, Afro Cuban, rhythm and blues, show tunes, Third Stream, gospel, blues, and ragtime and saw them come into jazz.  So I’m prepared intellectually at least to welcome these latest developments.  These fusions have made and remade jazz, so yes it’s always been fusion music.

But let me borrow an idea from my quarter century looking at evolutionary biologist Edgar Anderson who worked at the Missouri Botanical Garden from 1922-1969.  His signature idea was that repeated backcrossing is as important a source of genetic variation as mutations and thus gives natural selection something to work on.  To apply it to jazz, it was jazz before and after Dizzy Gillespie started playing with Chano Pozo, but now we have Cuban and Latin and African rhythms in everyone’s musical DNA.  All sorts of tunes from all sorts of players now can just naturally take on a Latin feel.  It’s part of jazz that then continues to listen with its big big ears.

What has always excited me are these hybridizations and that is what will continue to invigorate the music into the 2020s.Kodri Gopalnath who died this October was not a jazz musician, but he brought the saxophone to Carnatic (Indian) classical music.  Rudresh Mahanthappa studied with him and brought that tradition into his playing.  It’s there now all the time whether in his reimagining of Charlie Parker on his 2015 album “Bird Calls” or with Rez Abassi in the Indo-Pak Coalition or his own “just jazz” gigs.  This quote from his Wikipedia article captures this idea of introgressive hybridization:  “In a 2011 interview with Westword newspaper about the resulting album, Samdhi, Mahanthappa said, "my idea was to take whatever I learned—take that knowledge—and really put in a setting that has nothing to do with Indian classical music.” https://en.wikipedia.org/wiki/Rudresh_Mahanthappa

Since some of Miles Davis’s 1970s work incorporated sitars and tablas and remembering John Coltrane’s “India,” this music has been in the mix for decades.  It prompted a “Miles from India” two-CD set from 2008.  I try to keep an eye on Mahanthappa, Abassi (recording 1970s fusion tunes acoustically is damned clever), and especially Vijay Iyer to watch how jazz varies and is enriched.  I saw Iyer with his trio in 2016 catching extended hypnotic improvisations, one phased into “Epistrophy” before churning on.  He has recorded in lots of other settings, including duos with Wadada Leo Smith and Craig Taborn and with a sextet.  It is important music.

That’s one hybridization that backcrosses into jazz.  Another is with Middle Eastern, including Israeli, music.Abdul Al-Malik recorded on oud as well as bass in the late 1950s and early 1960s and Anour Brahem played oud with Dave Holland and Jack DeJohnette on “Blue Maqams” in 2017.  Those are first generation crosses.  It’s when someone like Omer Avital plays jazz informed by his Israeli upbringing that the introgression happens, when there are new scales, new rhythms to incorporate.  Avital’s own albums and with the OAM trio (including a set with the intriguing tenor Mark Turner) are favorites.  I also owe Jazz Spectrum an exposure to the Chicago trumpeter Amir ElSaffar and his Two Rivers Project which explores his Iraqi roots in a jazz context.

Anat Cohen is an exuberant player, exuding joy at what she and her bands do.  She has played with her brothers, Avishai and Yuval, with lots of Israeli in the mix, but she has Brazilian and Edith Piaf too.  She is in the multinational band Artemis: two Canadians--leader Renee Rosnes and trumpeter Ingrid Jensen, Chilean Melissa Aldana on tenor, bassist Noriko Ueda from Japan, and the lone American, and the amazing drummer Alison Miller.  Their debut album, probably with Cecile McLorin Salvant, will be a highlight of the coming year as their run here in St. Louis this October was.

I am particularly astounded by what drummers are doing these days.  Of course, there are sources--Max Roach, Jack DeJohnette’s insistent but subtle cymbals--and Art Blakely and Elvin Jones were not simply powerful engines driving the band.  But Miller is a fine example of, call it, “melodic drumming” where each drum/brush stroke is perfectly placed on the drum head, cymbal, even rim or side of the drum, to deliver not just a beat but a harmonic/melodic comment on the rest of the band.  There are so so many players and they make just about every show I see special.  Witnessing the magic in the making is why live performance is so much richer than recordings.

But to return to hybridizations, starting at least with Mid East ones, let me focus on London as a key world center for this music.  Precisely as the still Metropolitan center of a thankfully fading empire (Imagine there’s no countries/It isn’t hard to do/Nothing to kill or die for), it is a hybrid zone.  Yazz Ahmed is a Bahrani-Brit whose trumpet playing is enriched as she explores her Arab heritage.  She does exciting stuff and has followed up “La Saboteuse” with “Polyhymnia” this year.  Shabaka Hutchings has Barbadian heritage and brings that to his tenor and several key projects in the London scene.  I’m drawn to the intensity of Sons of Kemet where he solos over Theon Cross’s tuba and two drummers, but Hutchings also works with The Comet Is Coming and The Ancestors.  I’m a sucker for low brass, so I keep an eye on Cross too and he has his own FYAH released and is in the SEED Ensemble.

That London is a major jazz center is a development worth monitoring.  I think it speaks to the vibrancy of this music and the role of these hybridizations in keeping it so exciting.

I am eager for the 2020s.

[burlveneer-music]

Nate Smith - Kinfolk: Postcards from Everywhere - another winner from Ropeadope

“In conceiving this project, I wanted to focus on creating the material with very few ingredients; just improvising at the drums or piano or singing ideas into a voice recorder, focusing primarily on rhythm and melody. I want to see what other ingredients the players or singers would bring to the material. I’m interested in a true band sound: I want to know how the musicians will color, shape, and season the raw ingredients, and how to pull all of those pieces together to a whole.” - Nate Smith

Nate Smith: drums, percussion, fender rhodes, synths, sounds Kris Bowers: piano, fender rhodes Fima Ephron: electric bass Jeremy Most: guitars Jaleel Shaw: alto and soprano saxophones

Featuring: Dave Holland: acoustic bass, “Skip Step” “Spinning Down” Lionel Loueke: guitar, “Skip Step” “Spinning Down” Chris Potter: tenor saxophone, “Bounce parts I + II” Gretchen Parlato: vocals, “Pages” Michael Mayo: vocals, vocal percussion/effects, “Skip Step” “Retold” Amma Whatt: vocals, “Disenchantment: The Weight” “Morning and Allison” Adam Rogers: acoustic and electric guitars, “Spiracles”

Strings on “Disenchantment: The Weight” arranged by Kris Bowers Strings on “Home Free (for Peter Joe)” arranged by Nate Smith

Stephanie Matthews: violin I Juliette Jones: violin II/contractor Christiana Liberis: viola Reenat Pinchas: cello

[john-keener]

(via https://open.spotify.com/track/51q5PRyyUcgtH3mqUq92qe?si=SmvPcbhpT4a_nU3v__j_qQ)

This is an exceptionally wonderful song, from an exceptionally wonderful album. Nate Smith is a master drummer with an incredible feel and ideas that are an extension of tradition in a way that never feels stale. He has a way of playing grooves and songs which are so emotive and, for me as a drummer, a very comforting, human phenomenon in an age of programmed beats (which I don’t mean to disparage. I just like examples of drumming that inherently make the case for why live performance is still relevant). In addition, I find it beautifully arranged, weaving together strings - a relatively unusual choice of instrumentation for a jazz/fusion record, a climactic sax solo, and Amma Whatt’s soulful vocals.

[kokayi]

1 time for Dope Shots!!!! s/o to and #RP from @brookehoyer & this fuego image. peep his post for all the photos from Pickathon and many more and additional thanks to @natesmithdrums for having me there. ・・・ Nate Smith and KINFOLK @pickathon Sunday night. Since I had no idea about this band it turns out the only shot I have with Mr Smith is the first one where you can barely see him on the drums. Anyway, wild show! Talk about fusion, it was jam packed with all styles of musical influence all held together with some tight jazz. #pickathon2022 #pickathon #paddockstage #concertphotography #livemusic #jazz #natesmith #natesmithdrums #kinfolk #pdx #portlandoregon #pdxphotographer https://www.instagram.com/p/ChkxbAwuI9N/?igshid=NGJjMDIxMWI=

[diyeipetea]

31 Canarias Jazz & Más 2022 (1 al 24 de julio de 2022) [Noticias de jazz]

31 Canarias Jazz & Más 2022 (1 al 24 de julio de 2022) [Noticias de jazz]

Entre el 1 y el 24 de julio de 2022 tendrá lugar el 31 Canarias Jazz & Más. Entre otros, actuarán SFJazz Collective, Gregory Porter, Avishai Cohen Big Vicious, Nate Smith + Kinfolk, Lucía Fumero Trío, Marcus Miller, Ben Wendel Quartet, Pepe Rivero & Ángeles Cervantes, Sumrrá, Alexis Alonso Ensemble o Berta Moreno “Tumaini”, entre muchos otros. Como es habitual, Canarias Jazz & Más 2022 reparte…

[ngpopgun]

Kinfolk

Nate Smith is a jazz drummer of the highest quality. In fact, many consider him to be the best in the world ( something Mark Guiliana might like to dispute)

His album ‘Kinfolk: Postcards from Everywhere’ is a superbly accessible album that exists in the land where Pop meets jazz. One of the standout tracks is the sublime ‘Skip Step,’ which sounds like it might have been the theme tune for an…