Arguably the most technically gifted trumpeter of his generation… lately Akinmusire has been making some of the most intimate, spellbinding music of his career.’ – New York Times
Composer and trumpeter Ambrose Akinmusire’s honey from a winter stone, which he calls a “self-portrait”, features improvisational vocalist Kokayi, pianist Sam Harris, Chiquitamagic on synthesizer, drummer Justin Brown, and the Mivos Quartet (violinist Olivia Deprato and Maya Bennardo, violist Victor Lowrie Tafoya, cellist Tyler Borden). Akinmusire also says, “In many respects this entire work is inspired by and is an homage to the work of the composer Julius Eastman and his organic music concept.”
“This album is about the fears and struggles I personally face, as well as those many Black men endure: colorism, erasure, and the question of who gets to speak for my community, and why,” Akinmusire explains. “There’s also the constant negotiation of what happens when I don’t conform to certain expectations or when I choose to reject those imposed on me. These are the complexities I navigate daily.”
“When I made this album, I was thinking about others who face these same struggles,” he continues. “I’m always considering who I represent—on all levels, in all the roles I play within my various communities. It’s about understanding the weight of those roles and the responsibility that comes with them.”
On the track “muffled screams,” Akinmusire reflects, “It emerged from a near-death experience, which I survived because I wanted to be alive to protect my son. Kokayi improvised the lyrics based on personal stories I shared with him.”
“Some of these ideas didn’t require direct conversation,” he adds. “The experience is so universally understood that words become unnecessary. Kokayi’s approach is pure improvisation, ensuring each performance is unique. I don’t simply view him as a rapper—he’s an instrument in his own right. The way he interacts with rhythm, rapping in harmony with the chords, brings a dynamic and profound quality to the music every time.”
During his career, Ambrose Akinmusire has paradoxically situated himself in both the centre and the periphery of jazz, most recently emerging in classical and hip-hop circles. He is on a perpetual quest for new paradigms, masterfully weaving inspiration from other genres, arts, and life in general into compositions that are as poetic and graceful as they are bold and unflinching. His unorthodox approach to sound and composition makes him a regular on critics’ polls and has earned him grants and commissions from the Doris Duke Foundation, the MAP Fund, the Kennedy Center, The Berlin Jazz Festival, and the Monterey Jazz. While Akinmusire continues to garner accolades, his reach is always beyond—himself, his instrument, genre, form, preconceived notions, and anything else imposing limitations.
Motivated primarily by the spiritual and practical value of art, Akinmusire wants to remove the wall of erudition surrounding his music. He aspires to create richly textured emotional landscapes that tell the stories of the community, record the time, and change the standard. While committed to continuing the lineage of Black invention and innovation, he manages to honor tradition without being stifled by it. Akinmusire is a rigorous practitioner with an uncompromising dedication to creation. “I’ve learned to accept the consequences of believing in invention and creativity. You’re gonna be misunderstood. But my horse blinders have gotten a lot longer and lot thicker over the years.”
In 2010, Ambrose Akinmusire was signed to Blue Note Records; his debut for the label, When the Heart Emerges Glistening, drew worldwide accolades. The Los Angeles Times observed that “Akinmusire sounds less like a rising star than one that was already at great heights and just waiting to be discovered.” Akinmusire’s first Nonesuch release, 2023’s Owl Song, was recently nominated for a Best Jazz Instrumental Album Grammy Award and received critical praise, with the Guardian calling it a ‘beautiful trio album … As befits the title, Owl Song doesn’t raise its voice much, but what it quietly says is joyously vivid, even spine-tingling.’