Last week at Carnegie Hall, Esperanza Spalding became slashing through a tangle of chord modifications on her fretless electric bass. Behind her, changed into a 4-piece band; behind it, a symphony orchestra.
She became gambling “Good Lava,” a crunchy, hurtling tune from final year’s concept album “Emily’s D+Evolution.” On that LP, her fifth, she acted unexpectedly and elusively, constantly converting shape and path.
But currently, Ms. Spalding, 32, has grown a touch cautious of her aims. She is heading immediately to the innovative source for her subsequent album, which she introduced on Wednesday. Starting the morning of Sept. 12, she will spend seventy-seven instant hours in the studio, bringing some musicians but no pre-written songs with her. Over those more or less three days, she will write, set up, and record a complete-duration album, “Exposure,” even streaming the reveal in life to an internet audience. She is aiming to complete ten songs, most of the lyrics.
“I think about it creatively as a context wherein you deliver all that’s been cooking in their permission to come out at will,” she said closing week over Mexican food close to her home in Brooklyn. “I notion: I want a break from framing. I’m uninterested in backing the whole thing up and explaining why this person does this and that.”
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If the three-day stay move appears like a chunk of a gimmick, Ms. Spalding sees it as a way to cancel out the noise of advertising and income-chasing surrounding the recording technique.
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In the past, she stated, she has felt the strain from executives at Concord Music Group, her label, to change the selection of songs on an album or add a featured visitor to assist her in reaching new audiences. (She has frequently resisted the suggestions.)
Ms. Spalding will record “Exposure” in the allocated seventy-seven hours. She will blend and master it in the weeks after the stay circulates the area, and she expects to release the album in mid-fall. Concord agreed to a limited release, and it will pop out simplest on CD and vinyl — now not digitally — which helps her stay away from needs to maximize her target market. (A total of seven 777 physical albums may be bought.)
Suddenly, she beat out Justin Bieber for the fine new artist award because of a jazz instrumentalist’s code while making songs that cut a gently experimental path among numerous styles of the famous tune. She has endeared herself to a vast target audience while keeping an identification as a musician’s musician.
This week, she named a professor at Harvard University, where she can train in composition and performance. An exhibition of visual art she curated is currently on view at the Cooper Hewitt Museum in Manhattan. She is running on an opera with the saxophonist Wayne Shorter, primarily based around the myth of Iphigenia.
