Label: WAX Industry / Whirlwind Recordings, 2021
Personnel - Logan Richardson: alto saxophone; Igor Osypov: guitar; Peter Schlamb: vibraphone, keys; Laura Tagliatela; vocals; Dominique Sanders: bass; Ryan J. Lee: drums; Corey Fonville: drums; Ezgi Karakus: strings.
Afrofuturism signals the 5th album release from alto saxophonist Logan Richardson, who summoned the most recent convening of his Blues People group to play two of the 14 tracks on the album. Born in Kansas, Missouri, and having lived in New York and three different European countries, Richardson is influenced by all kinds of music, but here he pivots away from his previous albums to engage in a more encompassing style that, even if not so triumphant, comes with important social messages.
The album kicks off with the voice of vibist Stefon Harris on “Say My Name”, after which the aforementioned unit is called for “The Birth of Us”, a mid-tempo romp whose rawness is partially softened by the production. The formidable drumming of Ryan J. Lee joins a well-calibrated mass of synth and guitar. Together they spread the energy, which is given a considerable boost through Richardson’s explorations on the higher register.
There are a lot of interlude-like pieces whose broad sonic variety causes a sensation of dispersion. We have archive recordings, vocal tracks, synth-soaked soundscapes, vignettes driven by hard-hitting beats, and a solo sax piece, “For Alto”, whose familiar title discloses a tribute to the sensational living legend Anthony Braxton.
The assortment of genres continues even when the bandleader plays unaccompanied and takes full control of the instrumentation. If “Light” is a mellow ballad with reverb-drenched synth beams, “Trap” paves the balladic Southern terrain with a hip-hop rhythm. In turn, “According to You” blends playful R&B with some neo-soul and psychedelia.
With a lot of elements tossed in, the album comes off feeling more conflicting and sketchy than integral, yet the whole quintet has a positive come back for the circular “Round Up”, which tries to call attention for the police behavior during recent American protests. Here, Richardson’s lamenting riff becomes part of the base that supports Igor Osypov’s mordant guitar. Nonetheless, it was “Black Wallstreet” that impressed me the most. Remembering the Tulsa Race Riots in 1921, the latter cut not only features Ezgi Karakus' magnificent string arrangement but also motivates the alto saxophonist, who rises well above the sonic tapestry with poignancy and intervallic awe.
Decidedly not the most vital work from Richardson, the uneven Afrofuturism will still find an enthusiastic niche audience. The thing is: ample eclecticism doesn't necessarily come into a favorable outcome. And that’s the case with this record.
Grade C
Favorite Tracks:
02 - The Birth of Us ► 07 - Trap ► 10 - Black Wallstreet