Renegade independent label turned collaborative artist community Ropeadope announces the return of their acclaimed Experiment series, beginning with a 2022 release of The Chicago Experiment. The Experiment series began in June 2001 with The Philadelphia Experiment - featuring ?uestlove, Christian McBride, and Uri Caine with special guest Pat Martino. Widely known as a hallmark in progressive Jazz, The Philadelphia Experiment set a standard for artist-controlled improvisation in the studio. The Detroit Experiment, produced by Aaron Luis Levinson and Carl Craig, followed soon after with a stellar cast including Amp Fiddler, Geri Allen, Karriem Riggins and many more. 2007 saw the release of The Harlem Experiment, once again produced by Levinson, which dug into a crossover blend of Latin Jazz and Funk with a diverse cast including Steven Bernstein, Carlos Alomar, Don Byron, Taj Mahal, Olu Dara, Queen Esther, and Steve Berrios.� At a time when communities are physically disconnected, and even history is being disrupted by a global pandemic and restricted travel, Ropeadope returns to the series to highlight the musical legacy of cities around the globe. The Chicago Experiment was born of collaborations organized by Greg Spero (Spirit Fingers) and his hometown friends Makaya McCraven, Marquis Hill, Joel Ross, Irvin Pierce, Jeff Parker, and Darryl Jones.

Continuing the legacy of The Experiment Series, Ropeadope teams up with longtime collaborator and head of Ropeadope SUR Todd Clouser to document the vibrant music scene in Mexico City. With a great number of world class musicians from Mexico and beyond living in the city, Clouser chose a close group of adventurous spirits to join him on the project. The Mexico City Experiment features German Bringas, Jeronimo Gonzalez, Orestes Gomez, Erik Deutsch, Todd Clouser, and Guadalupe Galvan.

Cyro Baptista is a Brazilian born percussionist and composer whose vast talent and penchant for innovation brought him to be praised as one of the most respected musicians in the world. His talent and versatility have led to associations with a wide range of leading artists. From Paul Simon to Yo-Yo-Ma, Herbie Hancock to Trey Anastasio, Wynton Marsalis to Laurie Anderson, Caetano Veloso to Sting - they all wanted Cyro's magic touch on their recordings or live performances.

Jacques Schwarz-Bart has been at the center of several musical revolutions: Neo Soul next to D'angelo and Erika Badu, New Jazz as a founding member of Roy Hargrove's RH Factor, and he is a leading pioneer in the creation of two surging new styles: Gwoka Jazz, and Voodoo jazz, reuniting jazz music with it's Afro-Caribbean and spiritual origins. Jacques' impressionistic writing, powerful tone, and wide-ranging language - both lyrical and angular - have fueled a growing presence on the world stage.

South African based saxophonist and flute player Mthunzi Mvubu started his music career at the age of 14 at the Music Academy of Gauteng under the mentorship of the late Dr. Johnny Mekoa. His intent and approach are evident in the title of his debut album, as is his deep respect for the art form. Comfortable in any Jazz club or stage, the music speaks to a deep spiritual connection between player and listener at the heart of improvisational Jazz.

11 years after their last release, The Headhunters release a new full length album featuring Summers, Clark, NEA Jazz master Donald Harrison, Stephen Gordon, bassist Reggie Washington, and organist Jerry Z. The album also features Scott Roberts and Fode Sissoko on kora. The Headhunters spirit is alive and well on the album, which fuses the band's African and New Orleans influences with their ever-present technical jazz-funk, rooted in music history and growing in the present moment.

A prolific composer and bandleader, Erik's seven albums have received critical acclaim by RollingStone, Jazz Times, USA Today, and the Huffington Post, including Relix magazine naming Deutsch's 4th album Outlaw Jazz the #16 best album of 2015. He was recently voted the #5 Rising Star Organist in Downbeat Magazine's annual poll, where he has been recognized for consecutive years. Deutsch's most recent album, Live at Lunatico, was recorded in Bedstuy, Brooklyn and features his NYC sextet: Avi Bortnick, Mike McGinnis, Tony Mason, Brian Drye, and Fred Cash. � From 2016-19 Deutsch was a full-time member of the pioneering Colorado jamband Leftover Salmon, performing 100+ shows per year throughout the US. In 2020 Erik changed directions and joined forces with 12-time Grammy-winning band The Chicks (formerly Dixie Chicks). � The eclectic path of Erik's 25-year career has led him to performances in North and South America, Europe, Africa, and Asia; to Red Rocks, Carnegie Hall, Lincoln Center, the Blue Note, and Madison Square Garden; to Late Night with David Letterman, the Tonight Show with Jay Leno, Ellen and The View; and to appearances in the feature films "Begin Again" and "Trans." Erik has played on more than 150 records and has taught thousands of students-who knows what to expect in the next 25 years? You can plan on a wealth of music and creative spirit from this one-of-a-kind pianist.

Brad Mehldau / JACOB'S LADDER - The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Jacob's Ladder is made up of original compositions by Mehldau alongside interpolations and covers of songs by Rush, Gentle Giant and Yes. Featured musicians on the album include Mehldau's label mates Chris Thile and C�cile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others.

Mehldau performs four preludes, from a thirty-seven-year span of Gabriel Faur�'s career, as well as a reduction of an excerpt from the Adagio movement of his Piano Quartet in G Minor. Here Mehldau's four compositions that Faur� inspired are presented in a group, sandwiched between two sections featuring the French composer's works. Discussing the Apr�s Faur� album in his note, Mehldau says: "If the sublime foreshadows our mortality, this music might communicate the austerity of death-Faur�'s as it approached him, but also the apprehension of our own. We find a kinship with the composer finally, in the form of a question that he tossed off into the future, to us. I have composed four pieces to accompany Faur�'s music here, to share the way I have engaged with Faur�'s question, with you, the listener."This format is similar to my After Bach project," he continues. "The connections are less overt, but Faur�'s harmonic imprint is on all four. There is also a textural influence, in terms of how he presented his musical material pianistically-he exploited the instrument's sonority masterfully, as an expressive means. So, for example, in my first 'Prelude,' melody is welded to a continuous arpeggiation, both part of it and hovering above it; in my 'Nocturne,' it is possible to hear the harkening chordal approach in the opening of Faur�'s No. 12."

MOTHER STUMP

BEEN UP SO LONG IT LOOKS LIKE DOWN TO ME: MICROS

1951

Born three decades ago, this 18-piece big band made a particular name for themselves with their reverently irreverent arrangements of Frank Zappa compositions. Here, though, they offer something tasty for jazz heads and rock lovers alike: inspired big-band arrangements of "Eleanor Rigby," "21st Century Schizoid Man," "The Low Spark of High Heeled Boys," the Crazy World of Arthur Brown's "Fire," the Beatles' "Don't Bother Me," Radiohead's "The Tourist," Miles Davis's "Nardis" and more, from Jethro Tull to Green Day! Cuneiform.

CHAD TAYLOR: Drums BRIAN SETTLES: Tenor Saxophone NEIL PODGURSKI: Piano As the debut recording of an ensemble rooted in deep and abiding friendships The Daily Biological is a creatively rolling conversation. The unusual trio of drums (Chad Taylor), saxophone (Brian Settles) and piano (Neil Podgurski) creates tough and engaging music that unfurls in kinetic conversational bursts.

Gibbs' intermittent relationship with Germany's NDR Bigband, one the world's longest-running jazz ensembles, dates back to the early 1970s and has provided a particularly valuable vehicle for his vivid musical imagination. "I feel I know the individual players so well, that I write for them personally, or use how I know them in making orchestrational choices," Gibbs says of the NDR Bigband. "That's a luxury these day, when other projects are written more for the standard instrumentation without knowledge of the personal attributes (stunning as though they might be, and often are)." Born on September 25th, 1937, Gibbs has studied with such noted figures as Gunther Schuller, George Russell J.J. Johnson, Aaron Copland, Iannis Xenakis, and Lukas Foss. By the beginning of the 70s, he was recognized as one of jazz's leading young arrangers and composers, and he developed a personal, thickly textured approach inspired by Gil Evans, Charles Ives and Olivier Messiaen. Gibbs has honed a subtle and highly personal approach to arranging and composition, incorporating driving rock rhythms and asymmetrical phrasing. When first emerging, his work anticipated the jazz/rock movement of the 70s. Although better known as an arranger than a composer, he really is one of the great writers to emerge out of the 'Brit-jazz' scene, and four wonderful, new original pieces are highlighted here. With 'In My View', Gibbs makes an unimpeachable case that this jazz cat in winter hasn't lost a step. Gibbs' View adds up to one of the year's most rewarding and successful big band projects.

NIGHT WALKING THROUGH MIRRORS

The music is both avant-garde and accessible, one of the highpoints of the decade for Sun Ra

BEHIND THE VIBRATION

HEARTS REFLECTION

LIVE AT CBC STUDIOS (1960)

ONE CHILD LEFT BEHIND

Dawn presents Mike Osborne in both his earliest surviving recording, as a co-leader with John Surman of a quartet from 1966, and in 1970 with the first known recordings of his mighty trio with the transplanted South African rhythm team of Harry Miller and Louis Moholo. These unearthed recordings not only fill in important gaps in Osborne's own discography but in the history of British jazz as a whole. The first six tracks, recorded in 1970, are by his trio, his main vehicle as a leader and featuring his most long-standing partners in Miller and Moholo. The band only made two albums during it's lifetime, Border crossing and All Night Long. Dawn is significant for presenting the trio years before these sessions and demonstrating that the group's sound, marked by Osborne's tart melodicism, Miller's brawny lines and Moholo's propulsive freedom, was established at the beginning of their partnership. Listeners will then travel back four years earlier, with four recordings taken from a period when names now famous were just coming out from the shadow of Britain's traditional jazz scene. Osborne, 24, is there in his first recording, Surman, 21, in only his second, supported by Miller and drummer Alan Jackson. This was an era of formal suits and allegiance to the innovations in American jazz happening on labels like Blue Note and ESP-Disk', reflected in the performances and the material. In all, there is well over an hour of excellent quality, previously unheard and unreleased recordings here, as well as a 12 page booklet with informative liner notes and many previously unseen photos. This is an important document historically, but even more importantly, it's really great music.

1976

HOLY ABYSS

1967