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████ ■ ███▓█ █▓███ ■ ████
████ · ▄▓███▓ OPEN MUSiC ASSOCiATiON ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ Cassie Kinoshi's seed. - gratitude: movements i & ii ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ARTiST..[ Cassie Kinoshi's seed. ▓▓▓▓█
█▓▓▓▓ TiTLE...[ gratitude: movements i & ii ▓▓▓▓█
████ GENRE...[ Jazz CAT#....[ ████
████ LABEL...[ International Anthem ENCODER.[ Lame 3.100 ████
████ YEAR....[ 2024 QUALiTY.[ 320kbps ████
████ SOURCE..[ WEB (FLAC) MODE....[ Joint Stereo ████
████ PLAYTIME[ 09:22 REL.DATE[ 03.27.2024 ████
████ TRACKS..[ 02 RiPPER..[ TEAM OMA ████
████ SiZE....[ 21,47 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
█▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
█▓▓▓▓ ▓▓▓▓█
████ 01 I (Single Version) 05:03 ████
████ (Feat. Niknak & London Contemporary Orchestra) ████
████ 02 II (Single Version) 04:19 ████
████ (Feat. Niknak & London Contemporary Orchestra) ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 09:22 ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ▓▓▓▓█
█▓▓▓▓ ▓▓▓▓█
████ https://www.deezer.com/album/536593322 ████
████ ████
████ In March of 2023 composer, arranger & alto ████
████ saxophonist Cassie Kinoshi premiered a ████
████ commissioned suite of music in front of a sold ████
████ out crowd at LondonÆs Southbank Centre. She ████
████ wrote the piece û gratitude û for her flagship ████
████ large ensemble seed., in a special augmented ████
████ formation that also featured turntablist NikNak ████
████ and the London Contemporary Orchestra (LCO). ████
████ ████
████ Followers of UK Jazz know Kinoshi from her ████
████ previous work with seed. (including the Mercury ████
████ Prize-nominated album Driftglass, released by ████
████ jazz re:freshed in 2019), or as a former member ████
████ of Kokoroko. But her compositional resume also ████
████ extends deeply into orchestral work for concert ████
████ hall, contemporary dance, film, visual art, and ████
████ theatre, with high profile collaborators ████
████ including London Sinfonietta, Philharmonia ████
████ Orchestra, and the London Symphony Orchestra. ████
████ That depth of experience is on full display on ████
████ gratitude, with the textural and dynamic ████
████ flexibility of her large ensemble covering ████
████ musical ground from groove-focused modal ████
████ melancholia to anthemic brass and string ████
████ themes. Striking upon first listen and even ████
████ richer on repeat visits, gratitude scores the ████
████ soul of contemporary Black London with ████
████ philharmonic craftwork in the tradition of ████
████ legendary jazz arrangers like Mary Lou ████
████ Williams, Oliver Nelson, and Carla Bley. ████
████ ████
████ Similar to those keystone writer-arrangers, ████
████ here Kinoshi wields the power of a large ████
████ ensemble to convey nuanced human emotion. ████
████ ôgratitude was written as a means of guiding my ████
████ own healing,ö says Kinoshi. ôMy mother told me ████
████ that she keeps a gratitude book where she ████
████ writes one thing, no matter how big or small, ████
████ every day that helps to re-focus her mind on ████
████ practicing gratitude. The examples that she ████
████ gave were seeing the flowers that she'd ████
████ recently planted in her garden bloom and a ████
████ kaleidoscope of butterflies that she saw ████
████ flitting about a tree in her garden.ö ████
████ ████
████ Inspired by her motherÆs focus on natural ████
████ beauty and the meaningful minutiae of everyday ████
████ life, Kinoshi was driven to work through her ████
████ own relationship with mental health and to pour ████
████ that into composition. ôI was spending a lot of ████
████ time on my own, often at my desk writing ████
████ continuously,ö says Kinoshi. ôAt 3pm everyday, ████
████ the winter sun would be positioned opposite my ████
████ window and shine directly onto my face. The ████
████ task of writing this piece was one of the most ████
████ difficult I've endured û because of the ████
████ headspace that I was in at the time û and this ████
████ would be the one thing in the middle of the day ████
████ that would bring me a very deep sense of ████
████ contentmentà my first attempt at consciously ████
████ practicing gratitude for something that I so ████
████ often take for granted.ö ████
████ ████
████ ôAt this point in my artistic career, ████
████ highlighting the often overlooked subject of ████
████ mental health and what it means to move towards ████
████ creating healthy, positive and introspective ████
████ practices in regards to both understanding and ████
████ regulating one's own mental health is of the ████
████ utmost importance to me.ö ████
████ ████
████ Throughout the writing process Kinoshi had the ████
████ privilege of knowing that her composition would ████
████ eventually be interpreted by seed. ù an ████
████ ensemble of players she founded in 2016 and ████
████ whose collective talents she knows through and ████
████ through. ôThe binding concept of seed. has ████
████ always been to have a creative outlet that ████
████ allows me to express and highlight subject ████
████ matter important to me alongside musicians that ████
████ I deeply respect, admire and enjoy spending ████
████ time with,ö explains Kinoshi. ôIt is the one ████
████ environment where I feel extremely comfortable ████
████ being able to experiment with sound ████
████ authentically. Over the years, it has evolved ████
████ in the sense that the more comfortable the band ████
████ members get with interpreting my music, and the ████
████ more we develop a creative language together, ████
████ the more honest the music sounds.ö That ████
████ profound musical and personal trust helped make ████
████ the ensemble a perfect vehicle for a ████
████ composition augmented by new collaborators ù in ████
████ this case the LCO and NikNak. ████
████ ████
████ Kinoshi and seed. first met turntablist NikNak ████
████ at the Marsden Jazz Festival in 2019. After ████
████ spending some time talking politics and sharing ████
████ jokes it was clear that a creative relationship ████
████ was possible. ôI find that working with ████
████ formidable artists that I get on well with on a ████
████ personal level always leads to my best work, ████
████ and knew as soon as I met NikNak that I wanted ████
████ to work with them.ö ████
████ ████
████ On the genesis of her collaboration with the ████
████ LCO, Kinoshi says: ôI have always wanted to ████
████ combine seed. with electronics and orchestral ████
████ elements, as I have always envisioned the band ████
████ performing multi-disciplinary works. I have ████
████ long admired the members of the LCO and their ████
████ way of successfully melding orchestral ████
████ arrangements and improvisation with more ████
████ contemporary artists. I was introduced to them ████
████ via Lexy Morvaridi during his time at the ████
████ Southbank Centre. It was through his support, ████
████ creative insight and trust that we were able to ████
████ make this project happen.ö The beauty and ████
████ harmony of these communal connections plus the ████
████ depth and deftness of all the musickers ████
████ involved truly made Kinoshi's dream of this ████
████ composition a reality. ████
████ ████
████ Running confidently at 21 minutes and 33 ████
████ seconds (not including the albumÆs B Side / ████
████ final track ôSmoke in the Sun,ö which was ████
████ recorded separately at Total Refreshment ████
████ Centre) and going straight for the heart, ████
████ gratitude is an evolved, emotionally attuned, ████
████ creatively ambitious and compositionally ████
████ exquisite philharmonic expression of post- ████
████ millennial UK jazz. ████
████ ████
████ ████
████ ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ MAiL: oma@never-ever.com ▓ │▀▀▀█▓▄▄ █████
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████▀ The only thing that really matters is music!!! ▀████
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▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀
▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀
▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .