foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2020-06-26 18:10:06
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Analyzed: Derrick Hodge / COLOR OF NOIZE
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DR Peak RMS Duration Track
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DR4 -0.35 dB -7.50 dB 4:39 01-The Cost
DR5 -0.20 dB -6.35 dB 6:27 02-Not Right Now
DR8 -0.35 dB -10.84 dB 1:15 03-Little Tone Poem
DR7 -0.35 dB -11.07 dB 4:44 04-You Could Have Stayed
DR3 -0.35 dB -5.48 dB 7:00 05-Color Of Noize
DR7 -0.35 dB -8.91 dB 4:58 06-19
DR7 -0.35 dB -10.06 dB 6:24 07-Fall
DR9 -0.35 dB -13.30 dB 5:12 08-Looking At You
DR10 -0.35 dB -12.56 dB 3:33 09-Heartbeats
DR5 -0.35 dB -7.57 dB 5:29 10-New Day
DR13 -0.35 dB -17.97 dB 2:58 11-You Could Have Stayed (Piano Version)
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Number of tracks: 11
Official DR value: DR7
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2091 kbps
Codec: FLAC
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Об исполнителе (рус.) | About Artist (ru)
Деррик Ходж
Деррик Ходж (родился 5 июля 1979 года в Филадельфии, Пенсильвания, США) – американский бас-гитарист, композитор и музыкальный продюсер. Известен как универсальный басист, работающий как с соул и хип-хоп исполнителями (Q-Tip, Канье Уэст, Тимбалэнд, Джилл Скотт, Мос Деф, Musiq Soulchild, Floetry, Джеральд Леверт и др.), так и со звездами джаза (Роберт Гласпер, Крис Дейв, Кейси Бенджамин, Кларк Терри, Малгрю Миллер, Терелл Стаффорд, Теренс Бланшар и др.). На культовом лейбле Blue Note Records выпустил три сольных альбома: 'Live Today' (2013), 'The Second' (2016), 'Color Of Noize' (2020). https://www.last.fm/ru/music/Derrick+Hodge/+wiki
Об исполнителе (англ.) | About Artist (en)
Derrick Hodge
Two-time Grammy Award-winning bassist and Blue Note Recording Artist Derrick Hodge grew up right outside of Philadelphia in Willingboro, N.J. Within his formative years, Hodge pursued multiple styles of music as early as 6 years old ranging from gospel and pop music to jazz and orchestral music, continuing his formal music education at Temple University where he studied Jazz Composition and Performance. While attending Temple, Hodge uniquely became the first jazz major to participate in the Temple University Symphony Orchestra conducted by Luis Biava and New Music Chamber Orchestra.
During this influential time, Hodge began to show his colors as a “Renaissance” musician, with incredible diversity in musical tastes and abilities. Hodge played with such Philly Jazz greats as tenor saxophonist Bootsie Barnes and trumpeter Terrell Stafford, meanwhile reaping considerable session work with some of Philly’s finest modern R&B artists such as Jill Scott, Musiq Soulchild, Floetry, and DJ Jazzy Jeff.
Throughout his early career, Hodge continued to show an adept proficiency and broad ability across numerous musical genres, and platforms. Ranging from orchestrations with Common and Kanye West for Common’s album Be, (which reached Billboard No.1) and production work on Common’s Finding Forever to winning R&B Grammys in 2012 and 2014 with the Robert Glasper Experiment as a founding member of the group. Hodge has always been held with the highest respect of his peers which led to roles such as the Musical Director for Maxwell for nearly a decade, continued work as a producer and writer for numerous albums, including co-producing Justin Kauflin’s album “Coming Home” with Quincy Jones, and several Blue Note projects along side Don Was, all while maintaining his solo projects and touring. Hodge has performed, written and/or recorded with artists such as Maxwell, Kanye West. Herbie Hancock, Q-Tip, Mos Def, Timbaland, Jill Scott, MusiqSoulchild, Gerald Levert, Common, Bilal, Lupe Fiasco, Andre 3000, Sade, Terence Blanchard, Ledisi, Terell Stafford, Donald Byrd, Stefon Harris, Bootsie Barnes, Kirk Franklin, Kenny Lattimore, Donnie McClurkin, and many more.
His writing and arranging accomplishments straddle both the recording and live arenas, from composing original music for the Smithsonian National Museum of African American History and Culture, to arranging for Nas and the National Symphony Orchestra, Common and the Chicago Symphony, Maxwell and the National Symphony, as well as composing the original work “Infinite Reflections” for the Chicago Brass Ensemble, and being a Sundance Composer Fellow. He has also directed and scored other projects from being co-Musical Director for the 2015 Triumph Awards and arranging strings for Mos Def’s 2008 premiere at Carnegie Hall, to writing for films such as Back to School Mom, the 180 Days Documentary Series, Land of Opportunity, The Black Candle, The Army Recruiter and Uneasy Listening. Early film work includes When the Levees Broke: A Requiem in Four Acts in which he did additional writing and scoring, as well as Who the $%@ Is Jackson Pollock?,and Faubourg Treme: A Story of Black New Orleans. Hodge’s most recent film projects include music consultant credit for the Feb 2020 Universal release “The Photograph”, as well as composer for the American library system documentary “Free For All Lives”, directed by Dawn Logsdon.
As a Blue Note Recording Artist, Hodge has released three solo projects under the label: Live Today (2013), The Second (2016) and Color Of Noize (2020).
With his third record, Derrick Hodge unleashes his freest work yet. Color of Noize is the band, the concept, and the album, and if that name evokes more questions than answers for you, then you’re reading it right. The title is perfectly wide-open and inquisitive for a composer, bandleader, and bassist (etc.) with Hodge’s history. While the music heard here indeed reflects a melting pot of influence and experience — a primordial soup of jazz flow, hip-hop groove, soulful depth, spiritual heft, and creative fire — the sound is best described in more abstract terms. As Hodge lays it out: “It’s the contrast, it’s the beauty, it’s the chaos, it’s the freedom — all of that.” This album also includes a few firsts. It’s the first Hodge record to use a live band throughout. It was that band’s first time playing together, and their first time hearing the songs Hodge wrote for their session. It was also Hodge’s first time bringing in a co-producer, who happened to be Blue Note president Don Was himself.
“It was powerful to see this group of young, brilliant improvisers set up in a circle at Hollywood’s historic United Studio A,” says Was. “It felt like a throwback to what it might have been like on the floor of a Blue Note Session at Rudy Van Gelder’s studio in the mid-sixties. These were ‘old school’ sessions yielding modern music so forward-looking and visionary that there is no existing genre within which to categorize it.”
“Don has this selflessness where he really wants to get to the root of what makes a musician tick and what’s pushing them in the moment,” says Hodge, who flew out to Los Angeles from his home in Denver to record. “It felt invaluable to have someone like that in my corner for a project like this, to help see everything through a different lens.” That goes to the heart of the Color of Noize concept — an intentionally broad thing meant to embrace the fluidity of sound and inspire a sense of collective ownership over that sound’s development and interpretation. “It’s an idea I feel is really relevant to our time,” Hodge says. “A new artistic heartbeat that’s about acceptance. It all relates to the spirit of now, not overly thinking, and moving forward.” https://derrickhodge.com/about-me/
Об альбоме (англ.) | About Album (en)
Info for 'Color Of Noize'With his third record, Derrick Hodge unleashes his freest work yet. Color of Noize is the band, the concept, and the album, and if that name evokes more questions than answers for you, then you’re reading it right. The title is perfectly wide-open and inquisitive for a composer, bandleader, and bassist (etc.) with Hodge’s history. He’s been a go-to collaborator for Robert Glasper, Maxwell, Terence Blanchard, and Common alike — and played on GRAMMY-winning albums by all four. He’s helped shape striking sounds in producing albums by Blue Note labelmates Kendrick Scott and James Francies, and teamed with Quincy Jones to co-produce an album by Justin Kauflin on Jones’ label Qwest. He’s brought subtly subversive concepts to world-class orchestras in Atlanta, Chicago, and D.C., and new ideas to the Monterey Jazz Festival as a 2019 artist-in-residence. R+R=NOW is only the most recent supergroup he’s co-founded. If there’s one takeaway to be had from his career, it’s this: you can put Hodge in a band — any band — but you can’t put him in a box.
Color of Noize is in many ways a culmination of all that, and also completely separate. While the music heard here indeed reflects a melting pot of influence and experience — a primordial soup of jazz flow, hip-hop groove, soulful depth, spiritual heft, and creative fire — the sound is best described in more abstract terms. As Hodge lays it out: “It’s the contrast, it’s the beauty, it’s the chaos, it’s the freedom — all of that.” This album also includes a few firsts. It’s the first Hodge record to use a live band throughout. It was that band’s first time playing together, and their first time hearing the songs Hodge wrote for their session. It was also Hodge’s first time bringing in a co-producer, who happened to be Blue Note president Don Was himself.
“It was powerful to see this group of young, brilliant improvisers set up in a circle at Hollywood’s historic United Studio A,” says Was. “It felt like a throwback to what it might have been like on the floor of a Blue Note session at Rudy Van Gelder’s studio in the mid-sixties. These were ‘old school’ sessions yielding modern music so forward-looking and visionary that there is no existing genre within which to categorize it.”
“Don has this selflessness where he really wants to get to the root of what makes a musician tick and what’s pushing them in the moment,” says Hodge, who flew out to Los Angeles from his home in Denver to record. “It felt invaluable to have someone like that in my corner for a project like this, to help see everything through a different lens.” That goes to the heart of the Color of Noize concept — an intentionally broad thing meant to embrace the fluidity of sound and inspire a sense of collective ownership over that sound’s development and interpretation. “It’s an idea I feel is really relevant to our time,” Hodge says. “A new artistic heartbeat that’s about acceptance. It all relates to the spirit of now, not overly thinking, and moving forward.”
That’s why Hodge formed a brand-new group, and often just played them a quick run-through of each song on piano before letting them rip. Of course, it took a special crew to bring Color of Noize to life: Jahari Stampley and Michael Aaberg on keys, Mike Mitchell and Justin Tyson on drums, and DJ Jahi Sundance on turntables, with Hodge supplying bass, keys, guitar, and voice. Jump ahead to the title track, an honest-to-god first take, to get a feel for their collective might. “Color of Noize,” the song, is a shimmering, skittering masterwork where slowly shifting tones stretch across a flurry of constantly exploding percussion. “You can hear the drummers going for blood,” says Hodge. “I just wanted everyone to trust their own artistry. They did.”
In an outfit whose credits run a mile long and cross countless genres, Stampley stands out. The 18-year-old was brought in based off of a single short YouTube clip Glasper sent Hodge. This was his first studio recording ever — proof that, as Hodge says, “We’re putting something on the line here.” That anything-can-happen feeling courses through Color of Noize. Opener “The Cost” starts on a mellow drift before a dam bursts and piano pours out. “Not Right Now” finds funk groove and classical poise occupying the same pocket. “You Could Have Stayed” is a pillowy dream of bowed bass and humming organ. And a particularly swung cover of Wayne Shorter’s “Fall” lands between one song that evokes Flying Lotus’ rich electronica (“19”), and another that brings to mind the lonesome digitized folk of Bon Iver (“Looking at You”).
While most of Color of Noize was captured in two studio days, the foundation of “Looking at You” is a piece Hodge recorded via phone at home, sitting at the 1902 Ludwig upright where these songs began. “I wanted people to feel like they’re in the room with me, imagining,” he says. That piano also appears on “Little Tone Poem” along with his family, continuing a Hodge tradition of working raw snippets of his life into his albums despite how different each one has been, from 2013’s guest-packed Live Today to 2016’s almost entirely solo The Second to this live band set. But of course, eclecticism has been a constant too, going as far back as Hodge can remember: his mother used to play him a different radio station each night before bed.
Growing up in Philadelphia and nearby Willingboro, New Jersey, Hodge moved between two different hotbeds of talent, taking all the music classes he could while also sitting in with local players (Color of Noize’s double drums/double keys approach was inspired by those informal, inclusive sessions). As he wrapped things up at Temple University’s Boyer College of Music, he was already cutting his teeth in Philly’s burgeoning neo-soul scene, not to mention playing various shades of jazz in the Mulgrew Miller Trio. Although the Color of Noize concept is much bigger than one man, it’s impossible not to hear all of Hodge’s history come to bear on a song like “Heartbeats,” which sounds as carefully composed as it does instinctive and off-the cuff.
Before the album comes to a close, we get “New Day,” where Hodge breaks out the acoustic guitar and coos, “Yeah, we can talk about it.” The lyric feels like a promise to the listener — an invitation to join the conversation. But the project’s openhearted spirit is best heard on the last song, Stampley’s solo piano version of “You Could Have Stayed.” When the young man first arrived at the studio, Hodge was secretly running tape. As a trial run, Hodge played the song once, then left Stampley to try it out. This is that performance, made within 15 minutes of their meeting. It’s gorgeous, and hugely symbolic. Color of Noize began with Hodge, but it ends on the next generation. As Hodge puts it, “Ultimately this is y’all music. Take it, and run with it.” http://www.bluenote.com/spotlight/derrick-hodge-color-of-noize/
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GET COLOR OF NOIZE NOW!
Multi-instrumentalist, composer, and producer Derrick Hodge’s 3rd album Color of Noize reflects a melting pot of influence and experience with jazz flow, hip-hop groove, soulful depth, spiritual heft, and creative fire. Co-produced by Hodge and Don Was, it’s his 1st album to use a live band throughout with Jahari Stampley and Michael Aaberg on keys, Mike Mitchell and Justin Tyson on drums, DJ Jahi Sundance on turntables, and Hodge supplying bass, keys, guitar, and voice. https://derrickhodge.com/
Состав | Artists
Derrick Hodge bass, guitar, keyboard, voice, composition
Jahari Stampley keyboard, piano
Michael Aaberg keyboard
Mike Mitchell drums
Justin Tyson drums
Jahi Sundance turntables
Co-produced by Derrick Hodge and Don Was
/1 
发表于 2020-9-24 13:12:08
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