James Brandon Lewis

James Brandon Lewis website

James Brandon Lewis, a jazz saxophonist in his 30s, raw-toned but measured, doesn't sound steeped in current jazz-academy values and isn't really coming from a free-improvising perspective. There's an independence about him, and on "Days of FreeMan" (Okeh), he makes it sound natural to play roaming, experimental funk, with only the electric bassist Jamaladeen Tacuma and the drummer Rudy Royston, and without much sonic enhancement. The record sounds a little reminiscent of what James Blood Ulmer and Ornette Coleman were doing in the late '70s and early '80s - on records that included Mr. Tacuma - but it's not clearly evoking a particular past. Maybe it's an improvised take on early '90s hip-hop, as Mr. Lewis has suggested, but it sounds less clinical than that. It sounds like three melodic improvisers going for it.
The New York Times

AKAMU representation: European exclusivity
For info and costs please contact Alberto Lofoco

• projects as a leader/co-leader •

James Brandon Lewis & Val Jeanty
James Brandon Lewis - tenor sax
Val Jeanty (Val-Inc) - electronics and dj

Val Jeanty is a Haitian born, Afro-Electronic music composer, drummer and turntablist. Her installations have been showcased at The Whitney Museum of American Art, The Museum of Modern Art and The Brooklyn Academy of Music in New York as well as at international venues including Jazz a la Villette in France and Biennale di Venezia in Italy. Other highlights include "Fascinating Her Resilience" a Wesleyan University commissioned multimedia performance collaboration with professor Gina Ulysse and with Afro-Cuban bassist Yosvany Terry on his grammy nominated album "New Throned King".

James Brandon Lewis & Aruán Ortiz
James Brandon Lewis - tenor sax
Aruan Ortiz - piano and percussion

James Brandon Lewis & D.D. Jackson
James Brandon Lewis - tenor sax
D.D. Jackson - piano

James Brandon Lewis & Chad Taylor "Radiant Imprints"
James Brandon Lewis - tenor sax
Chad Taylor - drums and mbira

James Brandon Lewis Trio "No Filter"
James Brandon Lewis - tenor sax
Luke Stewart - electric bass
Warren Trae Crudup III - drums
also featuring Anthony Pirog - electric guitar

James Brandon Lewis Quartet
James Brandon Lewis - tenor sax
Aruan Ortiz - piano and percussion
Brad Jones - double bass
Chad Taylor - drums

Exploring Fragments as coded information as sound collages as inspiration to launch into unknown known territories

Fire Breathers - A Totally Improvised Ensemble
Patrick Holmes - clarinet
James Brandon Lewis - tenor sax
Josh Werner - electric bass
Ches Smith - drums

James Brandon Lewis' Lotus
James Brandon Lewis - tenor sax
Kirk Knuffke - cornet
Hank Roberts - cello
Chad Taylor - drums and percussion

James Brandon Lewis "An UnRuly Quintet"
Jaimie Branch - trumpet
James Brandon Lewis - tenor sax and composition
Anthony Pirog - electric guitar
Luke Stewart - electric bass
Warren Trae Crudup III - drums

A contained controlled quite freedom is not freedom at all, a staff is another kind of cell, a prison, a box to be boxed out of by An UnRuly Manifesto, notes of an immediate liberation, a reverberation never held down but forever echoing a natural resistance to the status quo of accepted unacceptable and broken norms of being. Each note embodies fire and gives light to the environment it's played in never ignoring but informing with sound. "An UnRuly Manifesto" search the freedom before a taught understanding, an understanding before birth, and after death.

Heroes Are Gang Leaders
Thomas Sayers Ellis - spoken word
James Brandon Lewis - tenor sax and composition
Randall Horton - spoken word
Bonita Penn - spoken word
Nettie Chickering - vocalist
Melanie Dyer - vocalist and viola
Heru Shabaka-Ra - trumpet
Devin Brahja Waldman - alto sax & synthesizer
Brandon Moses - electric guitar
Jenna Camille - vocals, piano and keyboards
Luke Stewart - electric bass
Warren Trae Crudup III - drums

The passing of Imamu Amiri Baraka in 2014 was a major loss for various facets of Black Radicalism. In politics, culture, and community, Baraka was a strong figure who was a shining example for so many to follow in his footsteps.
Formed from the love and respect of Baraka, a group of poets and musicians, led and founded by James Brandon Lewis & Thomas Sayers Ellis, have come together with a name lifted from one of Baraka's stories. The group embarked on a recording session last fall that blended poetry and music to "outishly" echoe and honor his legacy.
In the tradition of a signifying protest groove comes Heroes Are Gang Leaders. Their style has many mothers, many fathers, and nonecombining jazz, groove, black hollerin and extensions of paged and oral literary text by Gwendolyn Brooks, Bob Kaufman and Amiri Baraka.
Album "Secret Heroes R U A" (feat. Thurston Moore)

The New World Symphony: Dvorák in America
Czech-American Marionette Theatre
Written and directed by Vít Horejs
Music by Antonín Dvorák and saxophonist/composer James Brandon Lewis

The show explores the influence of African-American and Native American music upon the work of the famed 19th century Czech composer Antonín Dvorák and consequently on music development worldwide. Performed with puppets, composed of musical instrument parts, actors, and musicians, and with an original hybrid score of classical, jazz, and rock music.
See the Trailer

• video •

Video of James Brandon Lewis on YouTube
James Brandon Lewis & Chad Taylor "Imprints" live at PointCulture - Charleroi (31-1-2018)
James Brandon Lewis & Chad Taylor "Imprints" - Live @ Sons d'Hiver (30-1-2018)
James Brandon Lewis & Chad Taylor "Imprints" - Live @ Sons d'Hiver (30-1-2018)
James Brandon Lewis Trio - at Sonic City (11-11-2017)
James Brandon Lewis Trio live at Villa Nachini-Cabassi - Corno di Rosazzo (27-10-2017)
James Brandon Lewis & Chad Taylor at 6BC Gardens - Arts for Art, NYC (2-10-2016)
James Brandon Lewis' Lotus - at NYC Free Jazz Summit / Arts for Art (5-4-2016)
James Brandon Lewis Trio - at Not A Police State / Arts For Art (5-1-2016)
Thomas Sayers Ellis - James Brandon Lewis - Nothing Personal - Part 4 (12-12-2013)

Heroes Are Gang Leaders at JazzFest Berlin (31-10-2017)
Heroes Are Gang Leaders at Kennedy Center for the Performing Arts

• discography •

2010 - Moments
2014 - Divine Travels - with William Parker, Gerald Cleaver and Thomas Sayers Ellis
2015 - Days of Freeman - with Jamaaladeen Tacuma, Rudy Royston, Pearl Lewis, Supernatural HPrizm
2016 - No Filter - with Luke Stewart, Warren Trae Crudup III, P.SO the Earth Tone King, Anthony Pirog and Nicholas Ryan Gant

• interviews •

James Brandon Lewis Pushes Genre Boundaries with "Days of Freeman" by Andrew Rodriguez - Jazz Vibes (13-8-2015)

• biography •

Visionary composer and tenor saxophonist James Brandon Lewis's bravest, yet most palpable artistic feat, "Days Of FreeMan", opens with a poignant and profound introductory monologue from a maternal sage. She says, "The best thing of living is living who you are. You can't be somebody else; you gotta be what God gave you to be and who you are. You look in the mirror and see yourself and say I'm James Brandon Lewis".
Next, bass and drums congeal around the sapphire melodic motif of "Brother 1976", recalling one of those jazzy jewel-like hooks from a 1990s Native Tongue hip-hop jam. The effect is like 1990s hip-hop's fascination with jazz being spit back by a prodigious jazz innovator. Welcome to "Days Of FreeMan".

James Brandon Lewis is one of the modern titans of the tenor. He's received accolades from mainstream cultural tastemakers such as Ebony Magazine who hailed him as one of "7 Young Players to Watch", and earned the respect of a diverse cross section of esteemed artists. James has shared stages with such icons as Benny Golson, Geri Allen, Wallace Roney, Grammy® Award-winning singer Dorinda Clark Cole, and the late "Queen of Gospel Music", Albertina Walker. In bold contrast, James has also worked with such intrepid artists as Weather Report bassist Alphonso Johnson, William Parker, Gerald Cleaver, Charles Gayle, Ed Shuller, Kirk Knuffke, Jason Hwang, Marilyn Crispell, Ken Filiano, Cooper Moore, Darius Jones, Eri Yamamoto, Federico Ughi, Kenny Wessel, Marvin "Bugalu" Smith, and Sabir Mateen. In addition, he has collaborated with the dance company CircuitDebris under the direction of Mersiha Mesihovic. James attended Howard University and holds an MFA from California Institute of the Arts.

Currently, James resides in New York City where he actively gigs as a sideman and leads his own ensembles. In NYC, he is a co-founder of "Heroes Are Gang Leaders" with poet Thomas Sayers Ellis-a collective of poets and musicians-and he is a member of the collective "Dark Matter", a conceptual musical collaboration exploring that which is invisible but is detected by it's gravitational effects. Outside NYC, James is an active national and international touring artist with a highly respected profile. Some career highlights are playing such esteemed festivals as Winter Jazz Festival /Sony Okeh records Showcase with William Parker and Gerald Cleaver; The Eric Dolphy Festival with an ensemble featuring Grachan Moncur III, Richard Davis, Andrew Cyrille, Angelica Sanchez, Ted Daniel, and Alfred Patterson; and Princeton University as part of Fred Ho's "Journey to the West", an interdisciplinary dance and music project.

James is deep in an intrepid artistic continuum that explores identity and spirituality through challenging and awe-inspiring concepts and epiphanic playing that melds formalistic technique, bold exploration, and strains of gospel and blues. Each new James Brandon Lewis release presents a rich dialogue with his audience that is both fiery and cerebral. For his third album, Days Of FreeMan, he uses ideas from 1990s hip-hop to masterfully weave together threads of cultural identity, cross-generational identity, and personal reflection.
"I didn't grow up a hip-hop head, but where I grew up in Buffalo, New York, on Freeman Street, the sound of 1990s hip-hop was ubiquitous", James says. "I decided to go back and explore that time through music".

Days Of Freeman is imaginatively organized in chapters with classic hip-hop style breaks and interludes functioning as chapter breathers. Like the cross-cultural and generational mosaic on Freeman Street proper, the album invites the listener into many dialogues. It is a nod to 1990s hip-hop, and explores rhyme-scapes and the musical conventions of that golden age of hip-hop in a revolutionary way. The album also explores hip-hop as a culture through taking inspiration from the original four pillars of hip-hop: dance, rapping, graffiti, and DJ-ing.Days Of FreeMan also loosely functions as a memoir with an underlay of nostalgia for the carefree boyhood days of fly nicknames, basketball, and those first encounters with the transformative power of music. Adding to the power and emotionality of this thread on growing up, are pontifications on love, identity, and God peppered throughout the album, culled from informal conversations James recorded with his grandmother, Pearl Lewis. James's immersive creative process to realize his vision for Days Of FreeMan include poring over hip-hop documentaries for up to eight hours a day, and dissecting albums by KRS-One, Digable Planets, Pete Rock & CL Smooth, A Tribe Called Quest, Medeski, Martin & Wood, along with fearless jazz trumpeter Don Cherry's 1985 album Home Boy and Lauryn Hill's 1998 masterpiece the Miseducation Of Lauryn Hill.

How all of this preparation plays out musically is stunning. For years instrumentalists held fast to the lofty notion of "singing through the instrument", but on Days Of FreeMan, James aspires to MC through his tenor. The album's title track perfectly captures the clipped cadence of a master MC with speech-like phrases and a long flowing solo that conjures up a blazing freestyle battle rap session. "Black Ark" traces the legacy of hip-hop from the balmy and pioneering dub explorations of Lee "Scratch" Perry in Jamaica ("Black Ark" is the name of his famed studio) to the burgeoning sounds of hip-hop blaring out in the Bronx. On "Lament for JLew", in five vigorous minutes James ties together the dual lineages of classical music to hip-hop and classical music to rock using original classical-flavored motifs to illustrate the overlaps.The second to last track of Days Of FreeMan is the political and timely "Unarmed With A Mic" and is a reminder of hip-hop's power as a form of protest music. On this track James plays with seething sentimentality. The album concludes with "Epilogue", a reprise of the infectious melody of the opening track "Brother 1976".

On the album James is accompanied by former Ornette Coleman Prime Time bassist Jamaaladeen Tacuma and Bill Frisell and Ravi Coltrane drummer Rudy Royston. Both took the weighty undertaking of album deeply, researching 1990s hip-hop jams for inspiration and vision. Their attention to the vocabulary of the era James sought to explore, and their panoramic musicality and sympathetic musical skills, match James's artistic ideal to authentically and thoroughly fuse genres and cultures without pandering to trends in jazz-groove records. The record also features a guest spot from the gifted freestyle rapper Supernatural on the track "Days Of FreeMan".

Days of FreeMan has turned out to be one James Brandon Lewis's most ambitious works, and, interestingly enough, his most accessible. Reflecting on this intriguing duality he says: "The artist is charged with taking creative risks, but the universe lined up this time and I was able to connect with my audience conversationally".

• texts •

All Elders be Eloquence, or One Way to Pay Dem You Owe - On Recording the track "Sad Dictator"
Amiri's Green Chim Chim-knees Growth Tribe
James Brandon Lewis Takes Two. For the rising saxophonist's first Before & After listening session, it's all sax-and-drum duos
AKAMU - James Brandon Lewis
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