Cacao ||| Linked Here (I have linked them here because the site wouldn't allow me to upload them)

Brent Birckhead, the multi-instrumentalist, producer, arranger, and composer, presents CACAO—an album that chronicles his journey of expansion and self-reclamation. This 9-track sophomore release serves as a testament to his evolution as both an artist and a person.

Born amidst the COVID-19 pandemic lockdown, CACAO reached completion as societies around the globe emerged from their collective hibernation. Four years after his eponymous solo debut, this harmonious masterpiece represents Birckhead's courageous decision to forge a new path guided by the rhythmic beat of his heart. It is an album engineered to inspire those brave enough to create their own road as they walk it, and Birckhead ensures that the path he has paved is impossibly smooth.

During the historic pandemic and the ensuing solitude of quarantine, the Downbeat Award-winning artist chose to abandon the geographic and stylistic elements that once defined his musical identity. In a spiritual and physical exodus from New York City, he rediscovered his hometown of Baltimore, Maryland.

In this unexpected journey, Birckhead found a wellspring of growth. The forced isolation refined his creative process, transforming him into a one-man band driven by a relentless pursuit of productivity, experimentation, and dynamism—reminiscent of Stevie Wonder's growth during the TONTO era.

Equipped with analog instruments, samplers, and an array of digital tools, Birckhead embarked on an ambitious approach to improvisation and solo arranging. This path required him to embrace discomfort in order to achieve true artistic maturation.

As Birckhead explains, "Sometimes, we find ourselves clinging to habits and experiences that no longer serve us, instead of embracing the discomfort that accompanies growth."

A studio overhaul provided him with a streamlined workflow, enabling him to become a more prolific composer and giving him the confidence to operate as both maestro and accompanist within a single record. Simultaneously, his physical relocation allowed for the deepening of personal relationships with immediate family members and the community that had supported him since childhood.

CACAO draws from the profound growth experienced during these endeavors. Opening with "There's Salt In The Honey," Birckhead references the bitterness that precedes life's sweetest moments. In this case, relinquishing his identity as a New Yorker playing on some of the city's grandest stages was a challenging pill to swallow. However, it paved the way for a reclamation of identity just a few hours down the turnpike.

Throughout the album, contrasting sensations of sourness and sweetness symbolize the symbiotic relationship necessary for achieving balance in all aspects of life. Birckhead's saxophone cuts through in tracks like "Late Breakfast," alluding to the disciplined approach to early mornings that aided his personal homeostasis. Meanwhile, "Headspace" serves as a rapturous meditation on the anxiety experienced during challenging times, racing to capture the light at the end of the tunnel.

Birckhead's identity finds its place in 'Skyline,' an homage to his former home of New York City. Featuring Christie Dashiell, Mic Renaissance, and his wife, Christian, the song encapsulates the iconic view of the city's skyline that Birckhead left behind upon departing from his East Harlem residence with panoramic views of the Bronx. The sticky melody, inspired by the birthplace of hip-hop, is counterbalanced by razor-sharp bars, emphasizing the art form's chameleonic ability to adapt to any arrangement—a trait mirrored by Birckhead himself.

The title track, "CACAO" (The Main Ingredient), exudes an overwhelming sense of coolness. This smooth and sweet composition marks the formal debut of Birckhead's enveloping signature sound. With a bright fanfare of woodwinds and a dense funk bass line, the song mirrors the complex yet addictive flavor profile of its namesake. The versatility of Birckhead's musicianship shines throughout the entire album, creating a cohesive body of work.

Closing with the exclamation, "that's the one!," Birckhead's observation about the track also applies to the album as a whole. With each track, he raises the bar and pushes boundaries.

In "Ging Gang Gong Goong," the bass takes the lead ahead of Birckhead's horns. The track derives its name from the pronunciation of the bass line, which serves as its main theme. It pairs a simple melody with a dramatic ending, adding a touch of cinematic flair. Within this alternate universe, levitating arpeggios and bright stabs play hide and seek in the depths of a rich bottom register. Birckhead demonstrates his prowess as a master orchestrator, allowing the music to speak for itself. The song's title becomes an unforgettable refrain, immortalizing its essence.

“Cold Fried Chicken,” is about letting the sound marinate, however enticing it may be at first listen. In Birckhead’s estimation, certain things taste better the second day once the ingredients have had time to meld. Here, he applies that ethos to a well-seasoned cut that throws back to the iconic sound of Blaxploitation era funk with a lyrical performance. The result is food for the soul.

Birckhead explores his artistic gifts on “Who Is It? (Who It Is).” Christie Dashiell accompanies Birckhead in a melodic interplay that elevates the art of trading. Her performance recalls Flora Purim’s iconic imprint upon the Return to Forever catalog and the melodic weft of voice and guitar that defined the sound of Pat Metheny Group.

Further embracing infectious rhythms, Birckhead pays tribute to 90s R&B giants with "Jodeci." Inspired by the namesake track and Baltimore natives Dru Hill, this composition replicates the distinctive style of quartet singing that defined the era. A textured blend of gospel runs, tight harmonies, and captivating percussion captures the essence of classic "please, baby, please" ballads. The seamless fusion of early influences with bold new statements showcases Birckhead's ability to find his artistic home on CACAO—the first chapter of his artistic renaissance.

Brent Birckhead attributes the recent outgrowth of his sound to a complete acceptance of his gifts and a newfound willingness to speak openly about them Birckhead puts it simply, “When someone asks who you are, you have to tell them without reservation.” Playing multiple flutes, saxophones, bass clarinet, keyboards and programming pads, Brent Birckhead delivers a deeply personal body of work –– one that illuminates the rise of a bonafide leader and clarifies the depth of his talent. When he plays, there’s no mistaking exactly who it is.

"I’ve learned that inspiration doesn't simply come to you; you have to create the right environment and put in the work to be ready when it arrives. This album marked the first time I approached my work in that way. It's been a journey of self-discovery, and I sense a significant change within myself. I feel like a completely new person, with recognizable growth and a newfound energy, partly influenced by the pandemic. No one knew what the future held; it was a time of immense uncertainty. But what I did know is that I wouldn't stop creating. I had to find a way to discover new avenues for creativity and in turn, I found boundless expression. I've improved and evolved. I feel like I'm entering a new season of my life," said Birckhead.

With CACAO, Brent Birckhead invites listeners on a transformative musical journey. It is an album that encapsulates his evolution, passion, and resilience—a testament to his unwavering commitment to his craft and his unyielding spirit in the face of uncertainty.

BIRCKHEAD ||| Linked Here (I have linked the audio tracks because the site wouldn't allow me to upload them)

BIRCKHEAD is the self-titled debut album that takes its name from saxophonist, Downbeat

Award-winner and Lauryn Hill touring band alum, Brent Birckhead . Joined by bassist Romeir Mendez ,

pianist Mark Meadows and drummer Caroll Dashiell III , Birckhead presents his first full-length release

as a leader. The BIRCKHEAD album is driven by the boundless musical aesthetic of the The

BIRCKHEAD Quartet . Rooted in activism, introspection and sonic experimentation, the eleven-track

album provides a schema for unflinching ownership of oneself through singular artistic works. With it,

Birckhead is poised to take his place in a storied lineage of maverick woodwind artists.

An introduction to the man and his music, the eponymous release is named to reflect Birckhead's desire

that his first formal offering serve as a bold statement of purpose punctuated by his preferred mononym

and comprised of deeply personal compositions. With it, he enforces a profound sense of duty to

propagate a rich musical legacy and catalyzes a reclamation of personal identity through calculated

efforts to redefine his given surname. First employed as a mechanism to specify colonial ownership of

his enslaved ancestors, the word Birckhead becomes a benchmark for dynamism that surpasses the

conventions of subjugation and challenges standards of popular music by the advent of the album of the

same name.

Recorded during one six-hour session and driven by topics as varied as love, familial history and the

fraught nature of the modern black experience, Birckhead is an album that is split down the middle

thematically. The tracklisting is partially inspired by events dominating the news cycle while other pieces

focus on Birckhead’s “ family, growth and perspective. ” Guitarist Samir Moulay and trombonist Corey

Wallace also contribute to the recording, which boasts the Freddie Gray-inspired “Suite 187”; the

mournful trio of songs about the impact of state violence and the subsequent onset of trauma introduces

listeners to the lifespan of a tragedy. The suite opens with a cadence of drum strikes that simulate

gunfire before the melody blooms into riotous pandemonium on “The Witching Hour.” Birckhead closes

with a cover of “Someday We’ll All Be Free,” popularized by Donny Hathaway. The song is a nod to

human rights movements and the inevitability of freedom.

“I think it’s true in all facets, but especially for the black experience. I think we’re always seeking freedom

in every way that we can. We’re always trying to experience things externally and find things externally,

but the real freedom is found internally. In dealing with those things that we don’t want to deal with within

ourselves so that we can live freely without worry about what other people think. Without worry about

being equal. Like why do we have to think about being equal? That’s something that other people never

have to do. We have to think about being equal. Not even better, but just equal. Nobody else has to go

through that. I think we’re going through the same experience globally.”

“4 And 6” is the sonic embodiment of the philosophical and societal shifts that Birckhead envisions. The

futurist tune is buoyed by a conversational melody that suggests differing perspectives and encourages

problem solving in a climate of inaction and resentment as dissonant chords melt into one unified voice

at the theme. “Flux” is a tune that pulls inspiration for its evocative tone from the Ahmad Jamal classic

“Poinciana.” Album opener “3 Uptown” recalls Birckhead’s move from Brownsville, Brooklyn to Harlem,

where he first felt a part of the fabric of New York City. “Song For Nicole” is a tender ode to Birckhead’s

wife, Christian Nicole. It opens with a whisper-soft prelude that descends from honeymoon bliss into an

impassioned flood of emotion that lays bare the depth of their union. “The Alchemist” recalls the Paulo

Coelho book of the same name about the power of manifestation –– a key component of Birckhead’s

success. “Ivory Antidote” references the middle name Birckhead proudly shares with his grandfather,

which inspired the release.

“Ivory Antidote” is one that I wrote for my grandfather. It’s about family legacy. I share the name Ivory

with my grandfather. It’s my middle name. As you know, we don’t carry our family names from

thousands of years ago like others do. Our names in Africa or here don’t necessarily mean where we are

from. Europeans know where they are from and what their ancestors’ trade was from their last name.

That’s something that’s missing for people of African descent, so this tune was about reclamation and

making your name (whatever it is) your own. Starting here. This is our legacy. I was going to call the

album ‘Ivory Antidote’ but ended up wanting to call it BIRCKHEAD because I think that’s a spin. This is

about legacy and this is me.”

Pooling their respective dialects, the quartet plays from the opening note with a fluidity that suggests the

members of the group are used to finishing each other’s statements. The BIRCKHEAD album finds them

uninhibited in their embrace of experimentation, a diversity of musical genres and provocative topics.

From the rage of punk and political activism to the nuanced soul of classic r&b, the murky wobble of

funk and the unbridled freedom of out jazz, BIRCKHEAD captures fearlessness as deftly as it

encapsulates a sustained effort to live a purpose-driven life. Birckhead describes the project as a

culmination of his experiences to date.

It’s a culmination of my musical experiences. It’s a realization of self and coming of age experience that I

hope people are able to receive and listen to without judgment. To be free in their experience with the

music and just listen to it straight through. That’s the way I composed it, so you can listen to it from top

to bottom. And I want people listening to it to be joyful. I want them to be happy and reflective. All of the

emotions that went into the album. Hopefully it will broaden someone’s perspective and make them

listen to something they wouldn’t normally listen to. It’s a jazz album that melds genres to create a

project with something for everyone to listen to and still feel like they’re listening to acoustic music. This

is an acoustic album that contains a number of emotions and perspectives.

The BIRCKHEAD album precedes Birckhead’s upcoming live performances, planned throughout 2019