adam ahuja

These are times of Ubiquity. Ideas are shared in an instant. Communication is mass-scale, for better or for worse. We can really only be in one place in one moment, but some are daring to jump the walls of space and time. Our digital reflections are exponentially approaching a plateau of reality. They might never get there. And while it may or may not get us any closer together, everyone is, almost, everywhere.

Adam Ahuja looks down at his keyboard. It contains all of the sounds that he needs. Mini drum-pads with velcro are attached to the right face of the board. A microphone is set straight in front of the rig. Above the keyboard sits a multi-track loop recorder, waiting to capture and replay anything that’s performed live. There isn’t a need for pre-recorded samples. Years of innovation have planted the seeds, the table is set. All of the music can be created from scratch, right here, right now, for the audience.

Drawing influence from the spheres of jazz, rock, funk, soul, hip-hop, electronic, world, and some Vanilla Ice dance partying at age six, Adam Ahuja uses his musical toolset to meld a love for groove with an obsession with harmony, while flavoring compositions with metaphysically-bent singing and rhymes. Ahuja’s career path has careened; from pre-med and strategic policy consulting, to keyboard-freelancing the streets of New York City, to upstarting NYC-band ‘The Flowdown,’ to in-studio guitar work with Meatloaf, playing organ for Robert Randolph and the Family Band nationally, and recently beginning a music organization Infinity Gritty in partnership with Ropeadope Records. Along the journey, Ahuja has honed in the focus on his solo craftwork, heeding the inspiration of late mentor and former Blue Note Records CEO Bruce Lundvall: “never stop listening.”

Ahuja’s new record, ‘Ubiquity’ interlaces two solo styles: ‘live-looping,’ featuring a compact multi-instrumental setup used for single take performances, identical to his on-stage performance, and ‘band-style,’ where Ahuja jumps between keys, drum kit, bass, guitar, percussion, and vocals to gradually layer takes one instrument at a time into full tracks. In addition to the audio, the whole album recording was captured on film and produced as performance videos for each track.

‘Ubiquity' is released on Ahuja’s Infinity Gritty label via Ropeadope. Ropeadope has been home-base for Ahuja via his work with The Flowdown, Escaper, Kuf Knotz and E Scott Lindner, and is also the home to jazz creatives such as Terrace Martin, Christian Scott, Nate Smith, Lex Sadler, and many others.


Release Date: November 17, 2017


All music & lyrics written, produced and performed by Adam Ahuja

All instruments on 'Ubiquity' were played by Adam Ahuja via two styles: live-looping and multi-track recording (band-style).

Instruments used for the Band-Style Tracks: Keyboards (Nord Stage 2, Prophet 6,  Fender Rhodes, D6 Clavinet, Grand Piano, B3 Organ), Vocals, Electric Guitar, Electric Bass, Acoustic Drum Kit, Various Percussion.

Instruments used for the Live-Looping Tracks: Live-Looping Device, Nord Stage 2 Keyboard, Drum Pads, Vocal Microphones.

Band-Style tracks recorded & mixed by: E. Scott Lindner at Pinch Recording and Studio Radio 45 (Queens, NYC)

Live-Looping tracks recorded & mixed by: Alex Britten at Analogue Muse (Manhattan NYC)

Piano & Organ parts recorded at: Samurai Hotel (Queens, NYC) by E Scott Lindner; additional engineering by David Stoller

Mastered by: Kevin Blackler (Blackler Mastering, NYC)

Cover & Album Photography by: Bryan Edward (Sobokeh Exports)
Cover Art / Design by: Adam Ahuja