The Color of Angels (Digital Album)
The Color of Angels (2022) evokes the mystery and wonder of the supernatural. This collection of nine pieces shines with life and vibrancy, taking listeners on an exhilarating journey. Doug Scarborough indisputably advances the trombone as an instrument capable of playing traditional Middle Eastern maqamat (scales with quarter-tones). This CD acts as a follow-up to Bridges (2015), the world’s first full-length recording by a trombonist as bandleader playing Middle Eastern style music.
Though it fits under the “world jazz” category broadly speaking, listeners will catch glimpses of many other styles. Scarborough is fortunate enough to be at a stage in his life where he doesn’t have to try to sound a certain way, it just comes out naturally. His Mississippi Delta roots can be heard, as well as all the other styles of music he’s played over the years: jazz, fusion, R&B, classic rock, classical, and Middle Eastern. The pieces are brought to life by an all-star band, bringing back two essential musicians from the Bridges session—Jeremy Siskind on piano and Damian Erskine on bass—and welcoming Akram Abdulfattah on violin, Reinhardt Melz on drums, and Mustafa Boztüy on darbuka.
Scarborough views his music as part of an on-going conversation between musicians all over the planet. The major influences of this record were both old and new, such as Chicago, Pat Metheny, Ibrahim Maalouf, and Avishai Cohen (bassist). He takes these influences, churns them together his unique way, and creates something new that pushes the conversation along.
The Color of Angels (2022) evokes the mystery and wonder of the supernatural. This collection of nine pieces shines with life and vibrancy, taking listeners on an exhilarating journey. Doug Scarborough indisputably advances the trombone as an instrument capable of playing traditional Middle Eastern maqamat (scales with quarter-tones). This CD acts as a follow-up to Bridges (2015), the world’s first full-length recording by a trombonist as bandleader playing Middle Eastern style music.
Though it fits under the “world jazz” category broadly speaking, listeners will catch glimpses of many other styles. Scarborough is fortunate enough to be at a stage in his life where he doesn’t have to try to sound a certain way, it just comes out naturally. His Mississippi Delta roots can be heard, as well as all the other styles of music he’s played over the years: jazz, fusion, R&B, classic rock, classical, and Middle Eastern. The pieces are brought to life by an all-star band, bringing back two essential musicians from the Bridges session—Jeremy Siskind on piano and Damian Erskine on bass—and welcoming Akram Abdulfattah on violin, Reinhardt Melz on drums, and Mustafa Boztüy on darbuka.
Scarborough views his music as part of an on-going conversation between musicians all over the planet. The major influences of this record were both old and new, such as Chicago, Pat Metheny, Ibrahim Maalouf, and Avishai Cohen (bassist). He takes these influences, churns them together his unique way, and creates something new that pushes the conversation along.
The Color of Angels (2022) evokes the mystery and wonder of the supernatural. This collection of nine pieces shines with life and vibrancy, taking listeners on an exhilarating journey. Doug Scarborough indisputably advances the trombone as an instrument capable of playing traditional Middle Eastern maqamat (scales with quarter-tones). This CD acts as a follow-up to Bridges (2015), the world’s first full-length recording by a trombonist as bandleader playing Middle Eastern style music.
Though it fits under the “world jazz” category broadly speaking, listeners will catch glimpses of many other styles. Scarborough is fortunate enough to be at a stage in his life where he doesn’t have to try to sound a certain way, it just comes out naturally. His Mississippi Delta roots can be heard, as well as all the other styles of music he’s played over the years: jazz, fusion, R&B, classic rock, classical, and Middle Eastern. The pieces are brought to life by an all-star band, bringing back two essential musicians from the Bridges session—Jeremy Siskind on piano and Damian Erskine on bass—and welcoming Akram Abdulfattah on violin, Reinhardt Melz on drums, and Mustafa Boztüy on darbuka.
Scarborough views his music as part of an on-going conversation between musicians all over the planet. The major influences of this record were both old and new, such as Chicago, Pat Metheny, Ibrahim Maalouf, and Avishai Cohen (bassist). He takes these influences, churns them together his unique way, and creates something new that pushes the conversation along.