Oh took the quick observe to jazz prominence, rising on the scene within the 2000s and changing into the bass participant in bands led by Pat Metheny and Vijay Iyer. Her new album is a glance again at her early work.
TONYA MOSLEY, HOST:
That is FRESH AIR. Bassist and composer Linda Could Han Oh took the quick observe to jazz prominence, rapidly rising on the scene within the 2000s and changing into the bass participant in bands led by Pat Metheny and Vijay Iyer. However on her newest recording, “Unusual Heavens,” she’s inviting listeners to look again at her early work. “Unusual Heavens” options an uncommon trio – bass, drums and trumpet – identical to her debut recording in 2009. Jazz critic Martin Johnson says that there is vital perception within the comparability.
(SOUNDBITE OF LINDA MAY HAN OH’S “PORTAL (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
MARTIN JOHNSON: Linda Could Han Oh’s album “Entry” was one of the crucial intriguing recordings of 2009. The lineup was each austere and feisty, and it was for good purpose. Oh and her bandmates, trumpeter Ambrose Akinmusire and drummer Obed Calvaire, had been of their 20s and keen to inform the jazz world in no unsure phrases that they belonged. Mission achieved. Now every has a longtime tutorial place, and all three are on the prime tier of their occupation.
For this recording, Oh convened a brand new trio that includes Akinmusire and drummer Tyshawn Sorey, who’s her colleague in Vijay Iyer’s trio. As you could possibly hear on the observe we simply heard, “Dwelling Proof,” they nonetheless make assertive music, but it surely’s extra relaxed now. Her new band has the convivial air of associates buying and selling triumphs and challenges over drinks or a meal.
(SOUNDBITE OF LINDA MAY HAN OH’S “PORTAL (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
JOHNSON: The bass has lengthy been thought to be a foundational or a cornerstone instrument, however in Oh’s fingers, it is nimbler. She will transfer from setting the beat to dancing with the soloist within the blink of an eye fixed, as she does there on “Portal.” Or, as we will hear on “The Sweetest Water,” her solos energize the music like an accelerant.
(SOUNDBITE OF LINDA MAY HAN OH’S “THE SWEETEST WATER (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
JOHNSON: In between Oh’s trio recording, she constructed a fame as a composer with a broad tonal palette and an urge for food for experimental configurations. Her earlier recording featured vocalese from Sara Serpa and Mark Turner’s reserved method to saxophone on the entrance line. And he or she’s written compelling music that honors her Asian heritage and Australian upbringing. This recording additionally provides a possibility to distinction trumpeter Akinmusire’s improvement. A lot of his work is complicated and thematic, however right here he lets his hair down and reveals his playful aspect.
(SOUNDBITE OF LINDA MAY HAN OH’S “THE SWEETEST WATER (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
JOHNSON: By going again to her first setting, a smaller group than her typical band, Linda Could Han Oh is presenting an argument that with the precise musicians, much less is extra.
(SOUNDBITE OF LINDA MAY HAN OH’S “NOISE MACHINERY (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
MOSLEY: Jazz critic Martin Johnson writes for The Wall Avenue Journal and Downbeat. He reviewed “Unusual Heavens,” the brand new album by bassist and composer Linda Could Han Oh. Tomorrow on FRESH AIR, we speak in regards to the man behind President Trump’s dismantling of the federal paperwork and enlargement of government energy – Russell Vought, the director of the Workplace of Administration and Funds. He is additionally one of many folks behind Undertaking 2025. We’ll speak with Andy Kroll about his investigation of Vought for ProPublica and The New Yorker. I hope you possibly can be a part of us.
(SOUNDBITE OF RAY ANDERSON’S “BLUES BRED IN THE BONE”)
MOSLEY: To maintain up with what’s on the present and get highlights of our interviews, observe us on Instagram at @nprfreshair. FRESH AIR’s government producer is Danny Miller. Our technical director and engineer is Audrey Bentham. Our managing producer is Sam Briger. Our interviews and opinions are produced and edited by Phyllis Myers, Ann Marie Baldonado, Lauren Krenzel, Therese Madden, Monique Nazareth, Thea Chaloner, Susan Nyakundi and Anna Bauman. Our digital media producer is Molly Seavy-Nesper. Our consulting visible producer is Hope Wilson. Roberta Shorrock directs the present. With Terry Gross, I am Tonya Mosley.
(SOUNDBITE OF RAY ANDERSON’S “BLUES BRED IN THE BONE”)
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