12 Little Spells (Deluxe Edition) Esperanza Spalding

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  • 112 Little Spells (thoracic spine)04:53
  • 2To Tide Us Over (mouth)04:53
  • 3Til the Next (eyes)04:17
  • 4Thang (hips)04:35
  • 5Touch in Mine (fingers)04:53
  • 6The Longing Deep Down (abdominal portal)04:35
  • 7You Have to Dance (feet)03:27
  • 8Now Know (solar portal)04:26
  • 9All Limbs Are (arms)03:36
  • 10Readying to Rise (legs)05:07
  • 11Dancing The Animal (mind)05:07
  • 12With Others (ears)05:52
  • 13Lest We Forget (blood)05:16
  • 14How To (hair)03:54
  • 15Move Many (joints)02:55
  • 16Ways Together (shoulders)03:45
  • Total Runtime01:11:31

Info zu 12 Little Spells (Deluxe Edition)

Die Sängerin, Komponistin und Bassistin Esperanza Spalding wurde mit nur 20 Jahren die jüngste Dozentin am renommierten Berklee College of Music und spielte nicht nur bei seiner Nobelpreisverleihung für Barack Obama.

Spätestens als sie 2011 in der Kategorie »Best New Artist« ihren ersten Grammy gewann - als erste*r JazzmusikerIn überhaupt - und dabei Justin Bieber, Drake, Florence & The Machine und Mumford & Sons hinter sich ließ, wurde deutlich, was für ein Ausnahmetalent sie ist.

Ende 2018 veröffentlichte Esperanza Spalding die ersten zwölf Songs ihres Albums »12 Little Spells« in digitaler Form, jeden einzelnen davon begleitet von einem Video. Inspirieren ließ sie sich dabei von den heilenden Eigenschaften der Kunst, der Art und Weise, wie Musik und Körper interagieren. Mit jedem Song widmet sie sich einem anderen Körperteil und erforscht ihn im Detail.

Esperanza Spalding, Gesang, Bass, Kalimba
Matt Stevens, Gitarre, Gesang, Bass
Justin Tyson, Schlagzeug, Orgel, Synths, Beats

Esperanza Spalding
“Ms. Spalding is still enamored of Wayne Shorter’s harmonic depth and Stevie Wonder’s melodic lift, but her frame of reference has broadened in salutary ways: ‘Funk Your Fear’ ha(s) the serpentine gnarl of a Funkadelic anthem, and ‘Noble Nobles’ brazenly evoke(s) Hejira-era Joni Mitchell.”--NY Times

“...a fresh artistic vision for the four-time Grammy winner, a daring tapestry of music, vibrant imagery, performance art and stage design.”--Ebony

“Emily’s D+Evolution is more than a recording project, it’s an awakening of her inner child. It’s an audio portrait stretching Spalding beyond music and into storytelling through acting, staging, and movement.”--Amy Poehler’s Smart Girls

Seven collaborative and five solo albums into her career at 31, Esperanza Spalding has always resolutely, intuitively, deftly expanded upon both her art and herself as a world-renowned genre- bending composer, bassist and vocalist. Spalding’s work, grounded in jazz traditions but never bound by them, has won her four Grammy awards and brought her onstage at the Oscars, the Nobel Prize Ceremony, the White House, and with Prince and Herbie Hancock. Not only does she know who she is, we know who she is.

Or, rather, we think we do. The elastic self and work of a true artist is always changing; ideas are channeled, shape-shifting becomes necessary. Emily’s D+Evolution (pronounced “d plus evolution”) is where we meet Emily--both Esperanza’s middle name and the label for the spirit- muse that flows through this multi-dimensional, theatrical performance artwork wrapped in a brilliantly urgent, vivacious record. With 6 tracks co-produced by Tony Visconti (David Bowie) and drawing, at times, from wellsprings as disparate as Cream to Shostakovich to St. Vincent, Emily’s D+Evolution is a kaleidoscopic project; raw, honest, luminous.

"Whether you want to see it as devolution and evolution, and the place where they co-exist without one diminishing the other, or...barely having the tools that you need, but having to move forward, and having to keep moving," Spalding explained to NPR in a recent interview, the album conceptually addresses the always exciting, sometimes messy process of reconciling the aspects of our selves that are in conflict. Exploding with literal and proverbial electricity, this album’s complex but immediate compositions were committed to tape partially live, and partially in front of a control room packed full of 20 or more onlookers. The trio of Spalding (fretless electric bass and vocals), Matthew Stevens (electric guitar) and Justin Tyson and Karriem Riggins (splitting drum duties) often decided to use the first take--a testament to the project’s particular energy and Spalding’s virtuosity. Many of the compositions on Emily’s D+Evolution were, after all, incubated onstage during the rigorous live performance schedule that preceded it.

Armed with the entity of Emily flowing through her, Spalding’s visionary performance of the album is an experience to behold and an integral part of the project itself. Here, Spalding is, for the first time, incorporating stage design, movement and acting into her already vivid musical storytelling practice. She’s working with stage director and playwright Will Wiegler to manifest her concepts physically now that they’ve come to life aurally. Each track on the album, from the soaring ode to uninhibited self-expression “Good Lava” to the affecting, shimmery funk ballad “Unconditional Love”, Emily’s D+Evolution is rich, surprising and labyrinthian, yet classic and timeless, as if these songs have always existed out there in the ether. Turns out that Spalding just had to tune in to Emily to bring them here to Earth.

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