BRANDEE YOUNGER

GADABOUT SEASON

Impulse Records

Brandee Younger, harp/composer; Rashaan Carter, bass; Allan Mednard, drums; SPECIAL GUESTS: Makaya McCraven, drums/percussion; Shabaka Hutchings, flute/clarinet; Joel Ross, vibraphone; Ele Howell, drums; Courtney Bryan, piano/Fender Rhodes; Niia, vocals; Josh Johnson, saxophone.

On this musical adventure by Brandee Younger, instead of interpreting music by inspirational artists like Dorothy Ashby or Alice Coltrane, the harpist is presenting us with her own compositions. She actually recorded this album in her Harlem apartment.  This project showcases a new and creative exploration of Brandee’s talents at the harp and her composer skills. This album reflects a hybrid of influences that includes jazz, classical, R&B, hip-hop and cultural patterns and rhythms.  Her producer and collaborator, Rashaan Carter, calls Brandee Younger’s music an “Afrofuturist sonic palette.”

Younger opens with a tune called “Reckoning.” It not only spotlights her technique on the harp, but she lays down electronic textures.  The arpeggio notes fly over each other, like the sparks from a fireplace when you throw the log onto it.  The music is hot, sparkling, full of movement and fire. The tune that follows, calms the moment.  It’s called “End Means” and features Shabaka Hutchings on flute sweetly singing the melody.  Rashaan Carter adds bass notes that stabilize the arrangement.

“This album is a diary of a most challenging year. An exploration of life’s complexities and the resilience found within music.  This album marks a shift,” Brandee Younger explains in her liner notes.

Her title tune quickly becomes a favorite.  The groove is intoxicating, and the staccato melody grabs my attention.  Then comes Younger’s beautiful harp exploration, that washes over me like waves of emotion.  Shabaka is back to add her flute to the mix and Joel Ross brings beauty pulled from his vibraphone. The vibes and the harp are sweetly compatible.

Another favorite of mine on this album is the very beautiful “Unswept Corners” that features the vocals of Niia. She enhances the dreamy effect of this composition.  All those vocal harmonies are layered above the absolutely beautiful harp solo. They are sweet, like warm icing dripping over grandma’s butter-caramel cake. This song makes me feel at peace and think good thoughts.

“As a young harpist, I often felt detached from the music I was studying.  That is, until the moment I heard Alice Coltrane’s ‘Blue Nile.’  The very first notes stopped me in my tracks.  I had never heard a harp swing with such soul.  That moment rewired everything I thought I knew about the instrument.  … Alice Coltrane’s Harp introduced me to a world beyond classical music,”  Brandee wrote in her liner notes.

On her tune, “Breaking Point” I hear Brandee Younger reaching deeply into her soul and pulling out something new and exciting when she composed this song.  I also enjoyed her tune called, “Reflection Eternal.” Clearly, she is finding her own voice. This song cuts through space with her own style.  Like on the piece called “BBL,” it reminded me of Indonesia and the Angklung orchestras. I love the tasty Mednard drums that tick-tock the rhythm in creative ways.  This becomes another favorite. Mednard uses his drums to introduce the final tune “Discernment.” Here comes the saxophone of Josh Johnson, who adds a nice touch to Younger’s music. I feel a cultural attachment to this tune. It probes my imagination and whisks me to the shores of an African nation. It lifts me into space, surrounded by a million fireflies. This Brandee Younger project may be her best one to date.

Reviewed by Dee Dee McNeil

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