Jazz Is a Spirit
2002 studio album by Terri Lyne Carrington / From Wikipedia, the free encyclopedia
Jazz Is a Spirit is an album by drummer Terri Lyne Carrington. It was recorded before an audience at Master Control Studio in Burbank, California during February 2001, and was released in 2002 by the German label ACT Music. On the album, Carrington is joined by saxophonists Gary Thomas and Katisse Buckingham, trumpeters Terence Blanchard and Wallace Roney, keyboardists Herbie Hancock and Greg Kurstin, guitarists Paul Bollenback, Kevin Eubanks, Jeff Richman, and Danny Robinson, bassists Bob Hurst and Malcolm-Jamal Warner, and percussionists Ed Barguiarena and Darryl "Munyungo" Jackson.[1][2][3][4]
Jazz Is a Spirit | ||||
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Studio album by | ||||
Released | 2002 | |||
Recorded | February 2001 | |||
Studio | Master Control Studio, Burbank, California | |||
Genre | Jazz | |||
Length | 1:03:17 | |||
Label | ACT 9408-2 | |||
Producer | Terri Lyne Carrington | |||
Terri Lyne Carrington chronology | ||||
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When asked about the album title, Carrington responded: "one day my good friend Dianne Reeves told me that she heard Abbey Lincoln, when asked the same question, proclaim, 'Jazz Is a Spirit.' I immediately realized that I agreed and that she had hit the proverbial nail on the head penning this phrase and I have quoted it, giving her props, ever since."[5]
The track titled "Mr. Jo Jones" is a drum solo accompanied by a spoken recording of Papa Jo Jones, who was a friend of Carrington's family, and who occasionally allowed Carrington to sit in with his band when she was a youth. Carrington reflected: "going to see Papa Jo was special because I knew that he was the father of modern jazz drumming... Also, listening to him and watching him swing, he had a style about him–the way he swung was just different to the more modern players I was listening to at that time."[6] Regarding Carrington's playing on the track, author Meta DuEwa Jones wrote that her "tips, taps, raps, and crackles of percussive sound all color Jones's language while also containing it as a kind of solo performance. In so doing, she reminds us that every moment of speech is a potential performative interaction."[7]