Power Vibe Steph Richards feat. Joshua White, Stomu Takeishi, Gerald Cleaver, Max Jaffee

• 1 Prey 04:32
• 2 Power Vibe 07:00
• 3 October to July 05:51
• 4 Moutons 04:43
• 5 Reculez 05:52
• 6 Supersense (Live in Bolzano) 12:04
• Total Runtime 40:02

Info for Power Vibe

Trumpeter Steph Richards’ latest full-length, Power Vibe marries avantgarde and cinematic moods with an infectious and patently pleasing tunefulness. “Sensory electronics” –– subtle but compelling textures and tactile rhythms which are physically triggered by drum-mounted sensors –– compel fascination here, interweaving a kind of aural hyper-lucidity throughout the record.

Though boldly original, this music strides sure-footedly alongside the work of contemporaries like Nicole Mitchell and the late jaimie branch. What’s more, the record is built around a series of musical cues that, when played, redirect all the players to move into a new structure. The trick is that any of the players can play one of these cues at any time, ensuring that the music unfolds in an even more radically democratic way than in totally open-ended improvised music performance. While Richards’ virtuosity and boundless creativity is clearly on display here, pianist Joshua White, whose playing sometimes veers into McCoy Tyner rapture, and drummers Gerald Cleaver and Max Jaffe do more than simply support –– instead, their playing proceeds from a sense of commitment and soulfulness that is born of that redistribution of power. And Stomu Takeishi’s upright and electric bass guitar playing helps to push these tunes headlong into realms of groove and infectious kinesis that make it what it is: remarkable.

Certainly fans of Ron Miles’, Wadada Leo Smith’s or Don Cherry’s adventurous and joyful playing and collaborating will find much to love in this work. But the vibe here belongs to Steph Richards.

Steph Richards, trumpet and flugelhorn
Joshua White, piano
Stomu Takeishi, acoustic bass, electric bass
Gerald Cleaver, drum set (tracks 1-5)
Max Jaffe, sensory electronics (tracks 1-5), drum set (track 6)

Steph Richards
is a dynamic improvisor known for her innovative approach to the trumpet and interdisciplinary expression as a composer. An “innately adventurous trumpeter”, (Downbeat), she has collaborated with visionaries Henry Threadgill, Anthony Braxton, Muhal Richard Abrams and John Zorn as well as art pop luminaries Yoko Ono, St. Vincent, David Byrne and Laurie Anderson. Characterized by The New York Times as “boldly inventive…Richards composes in ways that standard notation could never document.” her works span interactions with film, poetry, electronics, choreography and scent and have garnered critical acclaim including Record of the Year by the New York Times and Downbeat. Her seminal record Supersense (2019) featuring all-star improvisers Jason Moran, Stomu Takeishi and Kenny Wolleson includes multimedia artist Sean Raspet creating singular, abstract scents to both inform and converse with the recording.

Her work as an improviser has brought her into contact with progressive voices in jazz and experimental music, including Ravi Coltrane, Roscoe Mitchell, Mary Halvorson, Tomeka Reid, Nicole Mitchell, Ingrid Laubrock and Jeff Parker while her conducting work, informed by the concept of "Conduction" developed by Butch Morris, has taken her to orchestras around the world, where she continues to push the boundaries of musical expression.

As a founding member of Bang on a Can's Asphalt Orchestra and a collaborator with the International Contemporary Ensemble (ICE), Anthony Braxton's Tricentric Orchestra, Henry Threadgill's Kestra, and the Kronos Quartet, Richards’ ensemble work has resulted in hundreds of premiered works by composers including Nico Muhly, Tyondai Braxton and John Luther Adams, interdisciplinary artists Mike Kelley, Laurie Anderson and Yoko Ono, and with choreographers Susan Marshall, Paul Taylor, David Dorfman and the Merce Cunningham company. She joined the faculty of music at the University of San Diego, California in 2014. Richards is a Yamaha artist.

“Listening through Steph's music can feel like scrolling through an extravagant special effects library, one uniquely attuned to the human condition as well the remarkable expanse of music that makes up avant garde and experimental Jazz. Sounding like everything from a synthesized Louis Armstrong to whales barking at the moon, Steph has created a sonic palette contoured perfectly to the bands she leads, as well as the internationally renowned artists she collaborates with. Working with everyone from Henry Threadgill, Anthony Braxton, and John Zorn, to Yoko Ono, David Byrne and electro-pop star St. Vincent, Steph consistently finds ways to fit into music that often defies acceptable norms within a variety of traditional musical landscapes. Benefiting from a versatile technical toolset, fluid musical imagination, and ingenuity, Steph is delightfully indiscriminate when it comes to exploring the vast tonality of music she entertains. “ --Kevin Whitehead, NPR’s Fresh Air.

This album contains no booklet.