Bird Calls Rudresh Mahanthappa with Adam O'Farrill

• 1 Bird Calls #1 02:51
• 2 On the Dl 08:03
• 3 Bird Calls #2 01:09
• 4 Chillin' 08:03
• 5 Bird Calls #3 02:14
• 6 Talin Is Thinking 06:53
• 7 Both Hands 04:47
• 8 Bird Calls #4 02:12
• 9 Gopuram 07:37
• 10 Maybe Later 07:02
• 11 Bird Calls #5 01:39
• 12 Sure Why Not? 07:49
• 13 Man, Thanks for Coming 01:39
• Total Runtime 01:01:58

Info for Bird Calls

Saxophonist/composer Rudresh Mahanthappa examines the influence of Charlie Parker through a 21st century jazz lens. Featuring Matt Mitchell, François Moutin, Rudy Royston, and 20-year-old trumpet prodigy Adam O’Farrill.

Through a series of critically acclaimed releases over the past decade, saxophonist and composer Rudresh Mahanthappa has explored the music of his South Indian heritage and translated it through the vocabulary of his own distinctive approach to modern jazz. On his latest release, Bird Calls, available February 27, 2015 on ACT, Mahanthappa trains his anthropological imagination on an equally important cultural influence: the music of Charlie Parker. With a stellar quintet of forward-thinking musicians, which includes some long-time collaborators as well as 20-year-old trumpet prodigy Adam O’Farrill, Mahanthappa offers an inspired examination of Bird’s foundational influence and how it manifests itself in a decidedly 21st-century context.

“It’s easy to say that Bird influenced modern music without dissecting that notion,” Mahanthappa says. “If I had any agenda for this album, it was to really demonstrate that. This music says, ‘Yes, Bird’s influence is absolutely indelible, and here’s why.’ This is music that is all directly inspired by Charlie Parker, but it sounds as modern as anything today.” The album is also a passion project for Mahanthappa, who counts Parker as one of his earliest and most enduring inspirations, saying, “Bird has always been a huge influence on me.”

Though it pays homage to one of jazz’s Founding Fathers and arrives at the outset of Charlie Parker’s 95th birthday year, Bird Calls is not a tribute album in the traditional sense. There isn’t a single Parker composition to be found on the album, which consists entirely of new music penned by Mahanthappa for the occasion. But Bird’s DNA is strongly present in every one of these pieces, each of which takes a particular Parker melody or solo as its source of inspiration. Each is then wholly reimagined and recontextualized by Mahanthappa and his quintet which, in addition to O’Farrill (son of pianist and Afro Latin Jazz Alliance founder Arturo O’Farrill), features pianist Matt Mitchell (Dave Douglas, Tim Berne), bassist François Moutin (Jean-Michel Pilc, Martial Solal), and drummer Rudy Royston (Bill Frisell, Dave Douglas). Take the most obvious example, “Talin is Thinking,” whose title is both a play on “Parker’s Mood” and a loving dedication to Mahanthappa’s two-year-old son. The familiar melody of “Parker’s Mood” is essentially intact, but it is transformed into a more somber, serpentine piece by the removal of Bird’s syncopated rhythmic approach. Less immediately recognizable but similar in approach is “Chillin’,” which asks the instrumentalists to navigate melodies derived from Parker’s “Relaxin’ at Camarillo” both in the written material and in their solos.

“Bird’s solos and heads were very advanced harmonically and rhythmically,” Mahanthappa says. “They’re as cutting edge as anything today, and I always feel like we take that for granted as jazz musicians. We know the melody to ‘Donna Lee’ and we know these classic solos like we know ‘Mary Had a Little Lamb,’ but what if we were to dig deeper? If you take an excerpt of one of his solos in isolation, it’s like 21st-century classical music, with a really modern way of thinking about rhythm and melody and harmony.” “On the DL,” for example, dissects the melody of Parker’s classic “Donna Lee” and builds an entirely new melody on that foundation. The piece is marked by Mahanthappa’s intricate melodicism and vigorous, shape-shifting rhythmic approach; he and O’Farrill weave their lines together in a spirit that wouldn’t feel unfamiliar to Dizzy and Bird, even if the material itself would certainly sound startling to 1940s ears. Mahanthappa describes the even more breakneck “Both Hands” as “Bird’s melody from ‘Dexterity,’ but with all the rests removed,” and it’s every bit as electrifying as that description implies. Like countless other pieces before it, “Sure Why Not?” sets an original melody against the harmony of Parker’s “Confirmation,” then disguises its source further by slowing the usually brisk tempo to a tart ballad. “Maybe Later” focuses on Parker’s rhythmic originality, changing the notes to the saxophonist’s famed solo from “Now’s the Time” while keeping the rhythm intact. “Gopuram,” with its Indian raga feel, takes its name from the tower at the entrance of Hindu temples as a play on “Steeplechase” (after prayer, Hindus often circle the temple several times, akin to the circular route of the titular race). The album closes with “Man, Thanks for Coming,” loosely based on “Anthropology.” The CD is punctuated by a series of miniatures called “Bird Calls,” solo, duo and group introductions that allow for more open explorations of the compositions’ thematic material.

Charlie Parker was a key influence for Mahanthappa from the time a junior high music teacher handed him the Parker album Archetypes along with a copy of Jamey Aebersold’s well-known collection of transcriptions, the Charlie Parker Omnibook. “I was blown away,” he recalls. “I couldn’t believe the way he was playing, gorgeous with so much charisma and flying all over the horn. I think hearing Charlie Parker was what planted the first seeds of wanting to do this for the rest of my life. It was very powerful.” Poring over the transcription book, which listed catalogue numbers for the compositions but not album titles, the young altoist noticed that nearly half of them were accompanied by the label Savoy 2201. Not long after, while searching the bins at a local chain record store, he spotted a copy of the collection Bird: Master Takes – and there, on the spine, was the magic number: Savoy 2201. He describes the moment as “like finding the Holy Grail.” Despite the stunning array of influences that have impacted his playing since that time, Parker has always remained an overweening inspiration. “If I ever feel uninspired or down I can always go back to Charlie Parker,” he says. “That always makes me feel invigorated and joyful about playing jazz and playing the saxophone. I always say that what I play still sounds like Bird, just a little bit displaced. It’s coming from the same language and the same foundations. I feel like I’ve always been playing Bird.”

Rudresh Mahanthappa, alto saxophone
Adam O'Farrill, trumpet
Matt Mitchell, piano
François Moutin, acoustic bass
Rudy Royston, drums

Recorded August 4 & 5, 2014
Mixed August 24 & 25, 2014
Mastered September 3, 2014 by Mike Marciano at Systems Two, Brooklyn, New York

Consistently heralded by critics as one of the most original composers in his field, altoist Rudresh Mahanthappa's prolific contributions to contemporary jazz have earned him a Guggenheim Fellowship, commissions to create new work from the likes of the Rockefeller Foundation MAP Fund, Chamber Music America and the American Composers Forum, and a win in the 2011 Downbeat international Critics Poll. His rare ability to synthesize South Indian music concepts with a seemingly boundless range of unexpected influences frequently characterizes him as one of the most important artists in the music today -- a distinction the Jazz Journalists Association recently echoed by naming him Alto Saxophonist of the Year three consecutive times from 2009-2011.

But accolades aside, it's what the New Yorker has called Rudresh's "visceral tone and grab-you-by-the-collar attack" that's driven new, international audiences to each of the seven projects he currently leads or co-leads. His critically acclaimed 2010 release, Apex (Pi), with alto saxophone legend Bunky Green, featuring Jason Moran and Jack DeJohnette, was widely lauded as one of the year's best recordings, as NPR, the Los Angeles Times, the Village Voice, the Boston Globe, JazzTimes and other publications hailed the rhythmic dynamism and exuberant ensemble interaction sparked by the group both on stage and on the record. The material Rudresh recorded in 2008 with Carnatic sax guru Kadri Gopalnath for their Kinsmen, (Pi) project displayed a wholly different concept -- executed with equally breath-taking chops. And since the 2009 release of Apti, the tabla and guitar-studded Indo-Pak Coalition has provided a more playful take on Mahanthappa's symbiosis between the music of his ancestors and the jazz he grew up listening to in Colorado. In 2011, Rudresh set about revamping his own quartet by adding guitarist Dave Fiuczynski to the lineup and composing an entirely new body of work for the band. Other projects currently include trios MSG and Mauger, and the quintet, Dual Identity. Most recently Rudresh has signed a multi-record deal with the major European label ACT Music + Vision. The first release will be of his electro-acoustic quartet Samdhi in Fall 2011.

Though the formats vary widely, Rudresh's purpose shines through them all. In both his composition and his playing, he seeks to explore new musical territory and, in Rudresh's words, "to address what it is to be Indian-American by digesting Indian music on my own terms." By meticulously searching for a new swath of musical possibilities, Rudresh casts a wide net, incorporating inspiration from the gamut of his experience -- from his days as an undergrad at Berklee to his studies in DePaul University's Jazz Composition Masters program to his professional work with artists in North America, Europe, India, and beyond. Rudresh is a Yamaha artist and uses Vandoren reeds exclusively.

Guggenheim fellow and 2011 Downbeat International Critics Poll Alto Saxophonist of the Year, Rudresh Mahanthappa is one of the most innovative composers and performers in jazz today, fusing the musical culture of his Indian ancestry and jazz with myriad other influences to create a groundbreaking artistic vision.

Mahanthappa leads/co-leads several groups including his award winning quartet, the Indo-Pak Coalition with guitarist Rez Abassi (guitar) and Dan Weiss (tabla) and the critically-acclaimed project, Kinsmen, featuring Carnatic saxophone legend, Kadri Golpalnath. His 2010 release, Apex, highlighted the highly influential alto-sax master Bunky Green with Time Out Chicago calling it "a force, blowing with ferocious power, clarity and creativity."

For his debut release on ACT Music & Vision, Samdhi, Mahanthappa unveils a electro-acoustic quintet featuring David Gilmore (guitar), Rich Brown (bass), Damion Reid (drums), and "Anand" Anantha Krishnan (Mirdangam / Kanjira), in "an edgy & soulful synthesis of kinetic jazz, Indian influences, and percolating electronica beats & loops" (Anil Prasad, Innerviews).

Booklet for Bird Calls