JazzTimes (11/03, p.97) - "IN WHAT LANGUAGE? Signals a culmination of Iyer's vision. The music he presents here - groovy and shape-shifting, slippery yet concrete - amounts to a tour de force..."
Personnel includes: Vijay Eyer (piano, keyboards, programming); Mike Ladd, Latasha Diggs (vocals, programming); Alison Easter, Ajay Naidu (vocals); Dana Leong (cello, trombone); Ambrose Akinmusire (trumpet); Rudesh Mahanthappa (alto saxophone); Liberty Ellman (guitar); Stephan Crump (bass); Trevor Holder (drums).
Personnel: Vijay Iyer (piano, keyboards, electronics); Vijay Iyer; Latasha Natasha Diggs (vocals, electronics); Dana Leong (cello, flugelhorn, trombone); Trevor Holder (drums); Mike Ladd (vocals, electronics); Liberty Ellman (guitar); Allison Easter, Rudresh Mahanthappa, Stephan Crump.
Audio Mixers: Scotty Hard; Vijay Iyer; Mike Ladd.
Liner Note Authors: Vijay Iyer; Mike Ladd.
Recording information: New York, NY (05/02/2003-06/??/2003); Sorcerer SOund, New York, NY (05/02/2003-06/??/2003); TME Studios, The Bronx, New York, NY (05/02/2003-06/??/2003).
Photographers: Mike Ladd; Pooja Bakri; Rachel Cooper.
Inspired by the experience of an Iranian filmmaker wrongly detained by INS officials at JFK airport in New York, this epic work explores life through the microcosm of the airport -- a place of arrival and departure, of being an alien or leaving one's citizenship behind. Poet/hip-hop man Mike Ladd has done a superb job with the lyrics, polished by real little monologues that examine all aspects of the problem -- and it's a problem that often leaves travelers dehumanized. Keyboard player Vijay Iyer gives tone and color to all this in his compositions, and the two together become more than a sum of their parts. It's not an easy album to listen to -- often harrowing, as in "Innana After Baghdad" or "Terminal City" -- but more than repays the investment of ears and time. Is it jazz? Not really. It falls outside category -- as it should, given the subject matter involved. At first it can sound simplistic, but it soon becomes apparent that the textures and depths of the music only reveal themselves gradually, such as with "Asylum." Written originally to be performed on-stage in a theatrical setting, it transfers well to a purely recorded medium, dense and demanding, but ultimately satisfying, inasmuch as it leaves the listener full of questions and less certain about the world. ~ Chris Nickson
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