Presenting Samora Pinderhughes, an elusively multi-disciplinary artist with an interesting story and even more compelling music.
The name Pinderhughes might sound familiar, as his sister is jazz vocalist and flutist Elena Pinderhughes, who got introduced to us by trumpet player Chief Xian aTunde Adjuah (formerly Christian Scott aTunde Adjuah) on his groundbreaking “Stretch Music” album. Elena also featured on the debut EP by our vey own SMANDEM., of which we of course are very proud.
Back to Samora, who is no less a name to watch. Through his art, whether it be making film or music and often combining the two, he shares a deliberate, delicate and sometimes even fragile vision on today’s (American) society. In his lyrics and composition, Samora unfolds themes like identity, race, masculinity and injustice. His delicacy and fragility shines through in his voice and compositions, that sound pure and deep. As if weeping is never far away – also for the listener.
His music as a whole, especially his latest LP “Grief”, is hard to funnel into a single genre. It’s jazz, it’s folk, it’s classical and, moreover, it’s beautifully written.
“Grief” is part of an interdisciplinary art project, “The Healing Project”. For this project, Samora explores the consequences and many damages a system of prison, punishment and structural violence does to people. A deep analysis of the American society and its inhabitants. The result is mesmerizing, and more than once feels like a historical journey past old negrospirituals, prison blues, indigenous folk music and the jazz in which these old traditional songs were rehashed.
We urge you to check out Samora Pinderhughes’ “Grief”, featuring the Blue Note saxophone prodigy Immanuel Wilkins and the innovative drummer Marcus Gilmore.