Christian Scott, also known as Christian Scott aTunde Adjuah (born March 31, 1983, in New Orleans, Louisiana) is a two-time Edison Award winning (2010 and 2012) and Grammy Award nominated trumpeter, composer, producer and music executive. Christian’s Grammy nominated international recording debut, Rewind That was called “arguably the most remarkable premiere the genre has seen in the last decade” by Billboard Magazine, earning Christian two prominent features on their cover and inclusion in their list of “Ones to Watch in 2006.”
Christian is the nephew of jazz innovator and legendary sax man, Donald Harrison, Jr. He began his musical tutelage under the direction of his uncle at the age of thirteen. After graduating from the New Orleans Center for Creative Arts (NOCCA) in 2001, Christian received a full scholarship to Berklee College of Music, where he earned a degree thirty months later.
Since 2002 Christian has released seven critically acclaimed studio recordings and two live albums. Christian is known for developing the harmonic convention known as the “forecasting cell” and for his use of an un-voiced tone in his playing, emphasizing breath over vibration at the mouthpiece, widely referred to as his “whisper technique.” Christian is also widely recognized as one of the progenitors of “Stretch Music,” a jazz rooted, genre blind musical form that attempts to “stretch” jazz’s rhythmic, melodic and harmonic conventions to encompass as many other musical forms, languages and cultures as possible.
Stretch Music in its approach to communicating sentiment in composition is akin to a musical version of a cubist’s rendering of an object. In analytic cubism, objects are taken apart, analyzed, and re-assembled in an abstracted form that depicts the object from a multitude of perspectives. This gives a more global viewing of what comprises the object and a clearer representation of what the object is. It is a violent attempt to rid the listener of any uncertainty of meaning or intention and to enforce a more focused reading of the sentiment being articulated.
This program is supported in part by the CAC’s JazzNet Endowment Fund, made possible by the Doris Duke Charitable Foundation.