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The process, which he said “took quite a bit of fiddly work over a couple days,” was condensed down to a 17 minute video. He copied a digital version of the file to a cassette tape, then played the tape into his C64. “I thought about those times and decided that rather than try to write a history of the movement, I wanted to evoke its spirit and feeling.In the clip, Harbron is shown having to modify his cheap record player to allow it to play into the dead area of the wax so that he can record a digital version of the file. “At that time, I called it a musical portrait of the Civil Rights Movement,” Christian says. The only stipulation for the commission was that it had to include a choir. In 1998, a musical commission from the Portland (Maine) Arts Society set in motion what would eventually become a major part of his life’s work. “I thought about those times and decided that rather than try to write a history of the movement, I wanted to evoke its spirit and feeling.” His abilities were also coveted by the classical music world, including opera legends Kathleen Battle and Renee Fleming. During the 1990s, he proceeded to work with some of the biggest names in jazz, including Pat Metheny, Wynton Marsalis, Freddie Hubbard and Chick Corea as well as major pop and rock stars like Sting, Paul McCartney, James Brown and Celine Dion. At the tender age of 17, he was recruited by saxophonist Bobby Watson to join his group, Horizon. The work combines elements of jazz, gospel, big band, swing, symphony, theater and dramatic spoken word, in a clear-eyed yet optimistic look at where our society has come from and where it is hopefully headed.īorn in Philadelphia, McBride was a gifted musical prodigy who soaked up influences from every direction. That gift played a major role in the creation of The Movement Revisited: A Musical Portrait of Four Icons, McBride’s stunning masterpiece about “the struggle,” which is now a 20 year-long, continuously evolving project. It was the greatest gift my grandmother could have given to me.” “To read contemporaneous writings by black writers about events and people who were my history – our history – that was absolutely fascinating to me. “When I was a kid, I used to spend hours looking at old copies of Ebony and Jet magazines that my grandmother saved,” he says. As a child in the 1970s, he learned the history of the movement in school, but due to a quirk of fate – his grandmother’s fortunate propensity for saving old things – he found another source of information that spoke to him on a more emotionally accessible level than history books. In the 1960s, when the Civil Rights Movement achieved its greatest moments, gifted bassist and composer Christian McBride was not yet born.

#Christian vinyl records full

In the process, McBride unleashed the full measure of his already legendary skills, crafting as complete a portrait of his diverse interests-different vibrations of the blues and African-American church experience, bebop, the American Songbook, the Latin Tinge, the Freedom Principle, even comedy-as he has ever presented. Billy Taylor and Hank Jones violinist Regina Carter trumpeter Roy Hargrove guitarist Russell Malone tenor saxophonist Ron Blake and actress Gina Gershon. The iconic bassist placed himself in the forefront of the flow on a duet apiece with 13 of his closest musical friends and cohorts-singers Angélique Kidjo, Sting and Dee Dee Bridgewater pianists George Duke, Eddie Palmieri and Chick Corea, as well as Dr. But as time progressed, I got to do other projects-putting together the Christian McBride Big Band and experimenting with a lot of different sounds and layers-and my focus returned to the duets idea.' 'At the time,' he recalls, 'I didn't feel I was ready, or that it was the project I wanted to do. McBride first considered a proposal to do a duet project during the latter '90s. For a man that's known to lead many groups, Conversations with Christian focused on duets for this stunning 2011 release.