Oh took the quick monitor 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 Might Han Oh took the quick monitor 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 – similar to her debut recording in 2009. Jazz critic Martin Johnson says that there is important perception within the comparability.
(SOUNDBITE OF LINDA MAY HAN OH’S “PORTAL (FEAT. AMBROSE AKINMUSIRE AND TYSHAWN SOREY)”)
MARTIN JOHNSON: Linda Might 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 cause. 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 completed. Now every has a longtime tutorial place, and all three are on the prime tier of their career.
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 monitor we simply heard, “Dwelling Proof,” they nonetheless make assertive music, however it’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 be able to 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 are able to 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 status 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 chance to distinction trumpeter Akinmusire’s improvement. A lot of his work is advanced 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 Might 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 Road Journal and Downbeat. He reviewed “Unusual Heavens,” the brand new album by bassist and composer Linda Might Han Oh. Tomorrow on FRESH AIR, we discuss in regards to the man behind President Trump’s dismantling of the federal forms and growth of govt energy – Russell Vought, the director of the Workplace of Administration and Funds. He is additionally one of many individuals behind Mission 2025. We’ll discuss with Andy Kroll about his investigation of Vought for ProPublica and The New Yorker. I hope you possibly can be 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, comply with us on Instagram at @nprfreshair. FRESH AIR’s govt 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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