For Christian Scott ATTENDJUAH, the concept of music as a political protest deserves not to be exclusive in Trump’s era. “It doesn’t matter who is sitting in this office,” he told Rolling Stone. “It’s my task to challenge them. ” In fact, the trumpeter trained in Jazz used his Melond gender sounds to solve disorders, such as police brutality and devastation after Katrina since Dubya’s years.

With only 33 years, Scott can be considered as an existing pop jazz ancestor, when charismatic and socially conscious players like Kamasi Washington perform in packaged rock clubs. Raised in the ninth upper district of New Orleans, he grew immersed in the music of his city and the Black Indian culture. Mentality through his uncle Donald Harrison Jr. , a vital saxophonist of Jazz and the wonderful leader of the Nation Square del Congo, Scott won a complete walk in Berklee College of Music in Boston, set in New York and has become a jazz star in small teams with his fashion album, Rewind That.

During the decade beyond the decade and more, it has shown a determination of the company to attach its jazz strategy and its inheritance from New Orleans to styles such as Alt-Rock and Hip-Hop, and its global concept, which calls extensible music, caused collaborations with all in the peace of John Coltrane. His new effort, to set up Rebel (on Friday at Stretch / Ropeadope), launches its centenary trilogy, a series of exits that practice the birthday of the first jazz recordings while reaching the issues of social and political danger. The sovereign rebel moves in its aggregate of biological and electronics, power and age without age, with wide lines and scott’s offspring distributed through the rhythms of trap music, the dynamic rhythms of the jazz battery of the 21st century and the surprising traditions of Western Africa. (Scott has a depth of African cultural history in African from New Orleans, and “welcomed” his call on time for his launch in 2012, Christian Atnde ATTE ADJUAH. )

In those who stand out, the facts of a long revealing verbal exchange with RS took position the day after their participation in a stellar traffic jam on SXSW, Scott spoke more about the influence of the trap of the sovereign rebel, of the existing rebirth of the jazz crossover, why Trump “fuck is not the answer and more.

How its new music, which seems very contemporary, reflects and honors the first discs of the jazz industry, through the Dixieland Jass organization of New Orleans, since 1917? I think that almost everything you hear that comes out of this musical culture is emerging to what was happening in New Orleans in 1917, right? . . . A component of what we are looking with our music is to react all those probable musical realities that have become jazz or improvised artistic music, in music. So, the way we look at it is not so linear. We do not take into account this to return to what happened at the beginning of the century, but in reality [as] a document that celebrates the total trajectory of one hundred years.

Christian Scott rebel rule

How does your sound trap influence? If we go to the nuts and bolts, I can identify with this sound; I can identify with this music. I grew up listening to rebound music; I grew up listening to trap music, hip-hop that has evolved in trap music. . . . in terms of jazz musicians, and I spent a lot of time with artistic improvisers who also play classical music, you listen to some of the things that leave those other people in other musical cultures.

When I pay attention to trap music, when I pay attention to those rhythms, I can listen [all kinds of western Africa rhythms]. . . . I am in love with all this. But I am also the guy who will spend a total day lending to classical Polka music, so I don’t know if that makes me an intelligent user to ask for this or a bad user to ask. But the explanation of why I love is because I love people, and they are all valid, and this music culture is valid for me.

His music occasionally presents his female collaborators, such as the flutist Elena Pinderhughes. Do you have a point of doing this, and do you think women are marginalized in jazz? There are two answers. Sometimes I use musicians and artists [in whom] I can listen to a transparent vision and a determination, which are rigid in their search for greatness and a wonderful narrative. I do not see the gender genre; I don’t see the racial.

Only excellence, and also walk towards her. You can be horrible and I can listen to your potential. . . . Like [the drummer] Ralph Peterson, a wonderful practitioner of this music, said: “Do not cooperate when cooking; kitchens when it is believed. ” . . . I perceive that we have to grow. I was very fortunate because when I expanded, my uncle Donald allowed me to fly the waste in his music kiosk, and McCoy Tyner and Eddie Palmieri, and all those other people allowed me in their surroundings, when at a safe level, he can make forged arguments that was not absolutely in a position for that. So how would I dare to take my platform and say that the musicians who expand are not eligible? 

If we are absolutely honest, the women of this music, have been incredible turtle carriers, at the same point as men; There is no fall there. . . . people have very, very limited criticisms about the women of this music. I cannot tell you how many times I had to entertain the conversations in which other people necessarily deduce that some of the largest female musicians only get what they get because they are girls, which is the brain.

“People have very, very limited criticism about this music. ” 

You said that concert promoters had asked you not to interpret songs like “K. K. P. D. ” [“Police disbursed of Ku Klux”], which was encouraged through an organization of New Orleans police officers who arrested him and have turned his weapons. What is this verbal exchange in general? These are not verbal exchanges with me, because I will not be a component of this [laughs]. But those are verbal exchanges that my agents, my boys, my publicists have. There are many customers in this company and there is also a lot of ego. . . . If you have a festival, you say, ok, we make this jazz festival in Vermont and we have a very express audience, and possibly they would not be open to a six feet black with gold chains that talk about police brutality. I will protect your right to be able to say that; I am American, I understand. This does not mean that I agree with that. It is your business; You can decide to pay me or not to pay me. The fact is that it also deserves to know that if you do not pay, your competitor will do it, and that is also good for me.

I think several times, other people have concluded that, because I write music on social and political issues, I am a black boy [laughs]. But the other people who know me know that I am a great silly and a Soft.

Often, when we built this music since 2006, 2007, for years, our organization was the only organization that spoke of Guyy of those social / political disorders and the evils we deal with. . . . Many of my friends, other music professionals, will say: “What are you doing” Ku Klux Police Ram United States. It was an appointment because he saw something.  

So I refuse to leave other people because what I say makes them feel uncomfortable, it stops what I have here to say. . . . If that bothers you to communicate about it, think about how awkward it was with the gun in the back of my head. You are in a jazz concert, drinking a cosmo, when you consult: Is it uncomfortable for you?

In Trump’s era, is the service of the change of jazz musician? If I were president of the United States, I would like to have an environment in which other people challenge me about the things that will have to be done, because in the end, you are an official. He intends to need to hear disparate perspectives on what he does. This is the most productive way of knowing if what you are doing is the right thing for other people. It doesn’t matter who is sitting in this office; It is my task to challenge them.

But as Obama said, we can adapt to ourselves without being unpleasant. Obviously, it can be in the music kiosk with a blouse that says “JODER Trump” and shake the banners, but at the end of the day, it is not my specific style. . . . Do not build a tribe, do not build the community, do not build nations with hate. In the end, he ends up turning himself. So, if I can tame a usable truth that says love, love, love, then I hope that type of politicians can see this and can replace your mind.

Do you live lately in New Orleans? Yes, I live in New Orleans. But I move, boy; Fainting [laughs]. I went to Los Angeles I lived there for a year. I had an intelligent moment. But now, my brother [twin] Kiel is there, and works in his first movie and on some television programs. And I am extremely cheerful to have the possibility to spend time with him. I was married a few years Apass and I moved to New Orleans after my wedding, and it’s fun. It is no longer my reality, so I am interested in verifying other spaces in another way, because I am in an appointment for a long time.

But I will never be in New Orleans; I’m still in New Orleans. My circle of relatives has a non -profit organization for cultural detention called The Guardians Institute, so I am still with young people, either giving horns, we have given [in] 44,000 pounds of stretch marks.

With artists like you, Esperanza Spalding, Robert Glasper and Kamasi Washington do it so well, do you have the impression that jazz is in an era where it has been happening more effectively than for several years? It turns out that popular attention around this music has just exploded. I think a giant component of this is the characters, Guy. When you think of someone like Terrace Martin; You think about Rob; You think about what we do: they are other people who have a strong and palpable character, and their music reflects this, and I think this generation is related to this. And that does not mean that the generation in the past lacked characters, but I don’t think they were as sharp as ours, musically. And there are other tactics to think about this.

What is about is a preference for us to build bridges. It can present arguments according to which what was happening 25 to 35 years ago in this music was notarray as a concept, involved through the structure of the bridges between cultures stretch marks . . . but that is partly why we are. Each generation, in terms of its artistic contribution, is a product of what preceded them. I remember that when I was a child who grew up in New Orleans, if he did not play what was known as the neoclassical style, he was not considered valid. So, for me, it was vital to create a musical environment that erases this idea. . . . I did not think it was logical that someone simply did not paint because they expressed themselves differently. So I think that the preference of building bridges between these cultures, and despite everything the listeners, is partly why other people react so blandly and magnificently to our music.

Globalism has happened. You have a child in Dubai who can pay attention to Eric B. and Rakim, then passing attention to an Indian raga and then spending attention to John Coltrane. . . . Then, the appetite of this person, to which he pays attention, will be another one of someone who grew at a time when his tastes of attention were concentrated due to the generation or his absence. So I think technical technician that is a byproduct of globalism. But we do it in a way that understands love, and I think many other people can also feel that.

Do you think public attention is lasting? Do you think Kamasi will play in those rock clubs wrapped in five or 10 years? I hope so. We are talking about American public. The public in Europe, the public in Asia: falls. They are still there, boy. They appreciate this music; They will be there. So, finally, what we are talking about is the appetite of the American public for this music.

I believe that what is happening lately is historically and historically, Americans did not like to be directed; They are independent thinkers, critical thinkers, other people who challenge everything. But there was a time when they were peaceful, and I think other people wake up now, and they no longer need to be intimidated and dragged into one direction or some other, politically or through record companies. Therefore, the lack of this freedom in their lives, socially and personally, the hunger of this freedom: jazz is the American way to explain this. This is the first musical way to explain all those things. . . . So I think that while there is a hunger for genuine freedom in the United States, and a genuine speech and discussion about what is really happening in this place, so the music trajectory will continue to increase. . . . When the minds of the Americans are hungry, they go to jazz to eat.