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Phil Ranelin and Wendell Harrison JID016

by Phil Ranelin, Wendell Harrison, Adrian Younge, Ali Shaheed Muhammad

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  • Record/Vinyl + Digital Album

    To be an independent artist means to not only be free to share your most ambitious artistic impulses, but to retain ownership of them, working tirelessly to market and produce a body of work that stands apart from corporate decision-making and interference. For Phil Ranelin and Wendell Harrison, it was this guiding principle that led them to found the Detroit-based Jazz label Tribe Records in the early 1970s. Focusing on self-reliance and communal support, Tribe provided a platform for local jazz artists such as Ranelin and Harrison to record and release albums, and had community members taking full control of the promotion and distribution. The label and its magazine set an important early precedent for community-driven arts organizations, and still stands as a testament to their potential and efficacy. Today, the legacy of Tribe lives on in labels like Jazz Is Dead, making these recordings at Linear Lab Studios in Highland Park all the more significant. In their latest dispatch, Adrian Younge and Ali Shaheed Muhammad craft a poignant batch of new material that celebrates the lasting impact of Tribe, and the perpetual greatness of Phil Ranelin and Wendell Harrison.
    Emerging from misty trumpets and tremoring keys is album opener "Genesis", which takes its time introducing each element before breaking out into a fiery funk. On "Open Eye" kaleidoscopic percussion takes over, leading into a cool, Samba-inflicted guitar that flutters in between a formidable saxophone solo, courtesy of Harrison. From the moment the cymbals and bass take off on "Running With Tribe", the exhilaration remains high, before tempering into a slithering strut, the string section lingering in the background, both glistening and nervous.
    Coming in at the album's mid-point, "Fire In Detroit" blossoms from a gentle swing into a kinetic push and pull, showcasing the broad range of Younge and Muhammad's arrangements. Like its celestial namesake, "Ursa Major" illuminates and leads listeners through a sonic roadmap of the album's repertoire, contrasting softer meditative moments with jagged, fuzzed-out guitars and urgent drums. Entering with bass and quickly building into a trenchant groove, "Metropolitan Blues" features an exceptional trombone solo by Ranelin that feels as fresh as the maestro's work on classic albums like "The Time Is Now". Building around a call-and-response between the horns, keys, and percussion, album closer "Black Census" is a supercharged funk burner that peppers in woodwinds alongside hi-hats for an eclectic blend. You can hear the sheer joy of the musicians throughout the recording, so it more than makes sense to hear Harrison laugh at the end of the take.
    As each Jazz Is Dead record focuses on bringing a different legend from the past to the forefront and highlighting their deep contributions to Jazz and popular music, the label's most recent collaboration with Ranelin and Harrison is more than that: it is a symbolic passing of a generational torch, celebrating both groups' continued dedication to remaining independent, and continuing to produce compelling and unique Jazz music.

    Includes unlimited streaming of Phil Ranelin and Wendell Harrison JID016 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ... more
    ships out within 3 days
    Purchasable with gift card

      $26.99 USD or more 

     

  • Compact Disc (CD) + Digital Album

    To be an independent artist means to not only be free to share your most ambitious artistic impulses, but to retain ownership of them, working tirelessly to market and produce a body of work that stands apart from corporate decision-making and interference. For Phil Ranelin and Wendell Harrison, it was this guiding principle that led them to found the Detroit-based Jazz label Tribe Records in the early 1970s. Focusing on self-reliance and communal support, Tribe provided a platform for local jazz artists such as Ranelin and Harrison to record and release albums, and had community members taking full control of the promotion and distribution. The label and its magazine set an important early precedent for community-driven arts organizations, and still stands as a testament to their potential and efficacy. Today, the legacy of Tribe lives on in labels like Jazz Is Dead, making these recordings at Linear Lab Studios in Highland Park all the more significant. In their latest dispatch, Adrian Younge and Ali Shaheed Muhammad craft a poignant batch of new material that celebrates the lasting impact of Tribe, and the perpetual greatness of Phil Ranelin and Wendell Harrison.
    Emerging from misty trumpets and tremoring keys is album opener "Genesis", which takes its time introducing each element before breaking out into a fiery funk. On "Open Eye" kaleidoscopic percussion takes over, leading into a cool, Samba-inflicted guitar that flutters in between a formidable saxophone solo, courtesy of Harrison. From the moment the cymbals and bass take off on "Running With Tribe", the exhilaration remains high, before tempering into a slithering strut, the string section lingering in the background, both glistening and nervous.
    Coming in at the album's mid-point, "Fire In Detroit" blossoms from a gentle swing into a kinetic push and pull, showcasing the broad range of Younge and Muhammad's arrangements. Like its celestial namesake, "Ursa Major" illuminates and leads listeners through a sonic roadmap of the album's repertoire, contrasting softer meditative moments with jagged, fuzzed-out guitars and urgent drums. Entering with bass and quickly building into a trenchant groove, "Metropolitan Blues" features an exceptional trombone solo by Ranelin that feels as fresh as the maestro's work on classic albums like "The Time Is Now". Building around a call-and-response between the horns, keys, and percussion, album closer "Black Census" is a supercharged funk burner that peppers in woodwinds alongside hi-hats for an eclectic blend. You can hear the sheer joy of the musicians throughout the recording, so it more than makes sense to hear Harrison laugh at the end of the take.
    As each Jazz Is Dead record focuses on bringing a different legend from the past to the forefront and highlighting their deep contributions to Jazz and popular music, the label's most recent collaboration with Ranelin and Harrison is more than that: it is a symbolic passing of a generational torch, celebrating both groups' continued dedication to remaining independent, and continuing to produce compelling and unique Jazz music.

    Includes unlimited streaming of Phil Ranelin and Wendell Harrison JID016 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ... more
    ships out within 3 days
    Purchasable with gift card

      $14.99 USD or more 

     

  • Poster/Print

    11x17 Hand Pulled, silk-screen printed poster with on #130 epic black Classic Crest archival paper. Made in Los Angeles by Hit & Run, limited to 50 total.

    To be an independent artist means to not only be free to share your most ambitious artistic impulses, but to retain ownership of them, working tirelessly to market and produce a body of work that stands apart from corporate decision-making and interference. For Phil Ranelin and Wendell Harrison, it was this guiding principle that led them to found the Detroit-based Jazz label Tribe Records in the early 1970s. Focusing on self-reliance and communal support, Tribe provided a platform for local jazz artists such as Ranelin and Harrison to record and release albums, and had community members taking full control of the promotion and distribution. The label and its magazine set an important early precedent for community-driven arts organizations, and still stands as a testament to their potential and efficacy. Today, the legacy of Tribe lives on in labels like Jazz Is Dead, making these recordings at Linear Lab Studios in Highland Park all the more significant. In their latest dispatch, Adrian Younge and Ali Shaheed Muhammad craft a poignant batch of new material that celebrates the lasting impact of Tribe, and the perpetual greatness of Phil Ranelin and Wendell Harrison.
    Emerging from misty trumpets and tremoring keys is album opener "Genesis", which takes its time introducing each element before breaking out into a fiery funk. On "Open Eye" kaleidoscopic percussion takes over, leading into a cool, Samba-inflicted guitar that flutters in between a formidable saxophone solo, courtesy of Harrison. From the moment the cymbals and bass take off on "Running With Tribe", the exhilaration remains high, before tempering into a slithering strut, the string section lingering in the background, both glistening and nervous.
    Coming in at the album's mid-point, "Fire In Detroit" blossoms from a gentle swing into a kinetic push and pull, showcasing the broad range of Younge and Muhammad's arrangements. Like its celestial namesake, "Ursa Major" illuminates and leads listeners through a sonic roadmap of the album's repertoire, contrasting softer meditative moments with jagged, fuzzed-out guitars and urgent drums. Entering with bass and quickly building into a trenchant groove, "Metropolitan Blues" features an exceptional trombone solo by Ranelin that feels as fresh as the maestro's work on classic albums like "The Time Is Now". Building around a call-and-response between the horns, keys, and percussion, album closer "Black Census" is a supercharged funk burner that peppers in woodwinds alongside hi-hats for an eclectic blend. You can hear the sheer joy of the musicians throughout the recording, so it more than makes sense to hear Harrison laugh at the end of the take.
    As each Jazz Is Dead record focuses on bringing a different legend from the past to the forefront and highlighting their deep contributions to Jazz and popular music, the label's most recent collaboration with Ranelin and Harrison is more than that: it is a symbolic passing of a generational torch, celebrating both groups' continued dedication to remaining independent, and continuing to produce compelling and unique Jazz music.
    ... more
    ships out within 3 days
    Purchasable with gift card

      $30 USD or more 

     

  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      $9.99 USD  or more

     

  • Phil Ranelin and Wendell Harrison TEST PRESS LP
    Record/Vinyl + Digital Album

    To be an independent artist means to not only be free to share your most ambitious artistic impulses, but to retain ownership of them, working tirelessly to market and produce a body of work that stands apart from corporate decision-making and interference. For Phil Ranelin and Wendell Harrison, it was this guiding principle that led them to found the Detroit-based Jazz label Tribe Records in the early 1970s. Focusing on self-reliance and communal support, Tribe provided a platform for local jazz artists such as Ranelin and Harrison to record and release albums, and had community members taking full control of the promotion and distribution. The label and its magazine set an important early precedent for community-driven arts organizations, and still stands as a testament to their potential and efficacy. Today, the legacy of Tribe lives on in labels like Jazz Is Dead, making these recordings at Linear Lab Studios in Highland Park all the more significant. In their latest dispatch, Adrian Younge and Ali Shaheed Muhammad craft a poignant batch of new material that celebrates the lasting impact of Tribe, and the perpetual greatness of Phil Ranelin and Wendell Harrison.
    Emerging from misty trumpets and tremoring keys is album opener "Genesis", which takes its time introducing each element before breaking out into a fiery funk. On "Open Eye" kaleidoscopic percussion takes over, leading into a cool, Samba-inflicted guitar that flutters in between a formidable saxophone solo, courtesy of Harrison. From the moment the cymbals and bass take off on "Running With Tribe", the exhilaration remains high, before tempering into a slithering strut, the string section lingering in the background, both glistening and nervous.
    Coming in at the album's mid-point, "Fire In Detroit" blossoms from a gentle swing into a kinetic push and pull, showcasing the broad range of Younge and Muhammad's arrangements. Like its celestial namesake, "Ursa Major" illuminates and leads listeners through a sonic roadmap of the album's repertoire, contrasting softer meditative moments with jagged, fuzzed-out guitars and urgent drums. Entering with bass and quickly building into a trenchant groove, "Metropolitan Blues" features an exceptional trombone solo by Ranelin that feels as fresh as the maestro's work on classic albums like "The Time Is Now". Building around a call-and-response between the horns, keys, and percussion, album closer "Black Census" is a supercharged funk burner that peppers in woodwinds alongside hi-hats for an eclectic blend. You can hear the sheer joy of the musicians throughout the recording, so it more than makes sense to hear Harrison laugh at the end of the take.
    As each Jazz Is Dead record focuses on bringing a different legend from the past to the forefront and highlighting their deep contributions to Jazz and popular music, the label's most recent collaboration with Ranelin and Harrison is more than that: it is a symbolic passing of a generational torch, celebrating both groups' continued dedication to remaining independent, and continuing to produce compelling and unique Jazz music.

    Includes unlimited streaming of Phil Ranelin and Wendell Harrison JID016 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ... more

    Sold Out

1.
Genesis 06:50
2.
Open Eye 03:30
3.
4.
5.
Ursa Major 03:33
6.
7.
Black Census 04:07

about

To be an independent artist means to not only be free to share your most ambitious artistic impulses, but to retain ownership of them, working tirelessly to market and produce a body of work that stands apart from corporate decision-making and interference. For Phil Ranelin and Wendell Harrison, it was this guiding principle that led them to found the Detroit-based Jazz label Tribe Records in the early 1970s. Focusing on self-reliance and communal support, Tribe provided a platform for local jazz artists such as Ranelin and Harrison to record and release albums, and had community members taking full control of the promotion and distribution. The label and its magazine set an important early precedent for community-driven arts organizations, and still stands as a testament to their potential and efficacy. Today, the legacy of Tribe lives on in labels like Jazz Is Dead, making these recordings at Linear Lab Studios in Highland Park all the more significant. In their latest dispatch, Adrian Younge and Ali Shaheed Muhammad craft a poignant batch of new material that celebrates the lasting impact of Tribe, and the perpetual greatness of Phil Ranelin and Wendell Harrison.
Emerging from misty trumpets and tremoring keys is album opener "Genesis", which takes its time introducing each element before breaking out into a fiery funk. On "Open Eye" kaleidoscopic percussion takes over, leading into a cool, Samba-inflicted guitar that flutters in between a formidable saxophone solo, courtesy of Harrison. From the moment the cymbals and bass take off on "Running With Tribe", the exhilaration remains high, before tempering into a slithering strut, the string section lingering in the background, both glistening and nervous.
Coming in at the album's mid-point, "Fire In Detroit" blossoms from a gentle swing into a kinetic push and pull, showcasing the broad range of Younge and Muhammad's arrangements. Like its celestial namesake, "Ursa Major" illuminates and leads listeners through a sonic roadmap of the album's repertoire, contrasting softer meditative moments with jagged, fuzzed-out guitars and urgent drums. Entering with bass and quickly building into a trenchant groove, "Metropolitan Blues" features an exceptional trombone solo by Ranelin that feels as fresh as the maestro's work on classic albums like "The Time Is Now". Building around a call-and-response between the horns, keys, and percussion, album closer "Black Census" is a supercharged funk burner that peppers in woodwinds alongside hi-hats for an eclectic blend. You can hear the sheer joy of the musicians throughout the recording, so it more than makes sense to hear Harrison laugh at the end of the take.
As each Jazz Is Dead record focuses on bringing a different legend from the past to the forefront and highlighting their deep contributions to Jazz and popular music, the label's most recent collaboration with Ranelin and Harrison is more than that: it is a symbolic passing of a generational torch, celebrating both groups' continued dedication to remaining independent, and continuing to produce compelling and unique Jazz music.

credits

released January 27, 2023

Phil Ranelin & Wendell Harrison JID016 Liner Notes

All music composed by Phil Ranelin, Wendell Harrison, Adrian Younge and Ali Shaheed Muhammad unless otherwise noted; produced, recorded and mixed by Adrian Younge & Ali Shaheed Muhammad at Linear Labs Studios, Los Angeles, CA. Mastered by Dave Cooley for Elysian Masters. Executive Produced by Andrew Lojero. Associate Produced by Adam Block. All songs published by Adrian Younge, Linear Labs Crew (GMR) & Ali Shaheed Muhammad Cool Abdul Publishing (GMR). Graphic Design by Julian Montague Photography by The Artform Studio.
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1) Genesis
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Tenor saxophone
iii. Adrian Younge: Fender Rhodes piano, Electric guitars, Marimba, Clavinet, Electric sitar, Alto and Sopranino saxophone, Percussion
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Drums: Greg Paul

2) Open Eye
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Tenor saxophone
iii. Adrian Younge: Fender Rhodes piano, Electric guitars, Monophonic synthesizers, Clavinet, Marimba, Percussion
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Drums: Greg Paul

3) Running with the Tribe
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Bass Clarinet
iii. Adrian Younge: Fender Rhodes piano, Electric guitars, Clavinet, Mellotron, Percussion
iv. Ali Shaheed Muhammad: Electric bass guitar, Congas
v. Drums: Greg Paul

4) Fire in Detroit
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Bass clarinet
iii. Adrian Younge: Fender Rhodes piano, Flutes, Marimba, Hammond B3 organ, Acoustic guitar,
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Greg Paul: Drums

5) Ursa Major
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Bass Clarinet
iii. Adrian Younge – Fender Rhodes piano, Electric guitars, Monophonic Synthesizers, Clavinet
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Greg Paul - Drums

6) Metropolitan Blues
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Bass clarinet
iii. Adrian Younge – Fender Rhodes piano, Clavinet
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Greg Paul – Drums

7) Black Census
a. Musicians:
i. Phil Ranelin: Trombone
ii. Wendell Harrison: Tenor saxophone
iii. Adrian Younge – Fender Rhodes, Clavinet
iv. Ali Shaheed Muhammad: Electric bass guitar
v. Greg Paul – Drums

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Phil Ranelin and Wendell Harrison Detroit, Michigan

Trombonist Phil Ranelin and saxophonist Wendell Harrison are among the last people to be surprised at jazz’s resurgent popularity. Together, they have dedicated over half a century to making Jazz education and concerts accessible to all. In the early 1970s in Detroit, Ranelin and Henderson would found Tribe Records, a small jazz label that grew to become a model of independent enterprise ownership ... more

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