Christian Scott aTunde Adjuah

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“All forms of expression in sound are valid, as all people are… this is the mantra of Ancestral Recall.”

Christian Scott aTunde Adjuah sets the tone for his new project - Ancestral Recall - with this powerful statement. In his mission to unify cultural voices and tear down the sonic and social constructs that separate based on race, class, and culture, Adjuah asserts music has historically been disseminated to people with harmony and melody prioritized over rhythm. The value distinction leads to harmful hierarchal sentiments and perpetuates the view that cultures who prioritize harmony and melody are more nuanced and sophisticated than those who prioritize rhythm. It is an inaccurate portrayal. 

Ancestral Recall looks to excavate and update hidden histories in sound by displaying a sonic tapestry that illuminates the har-melodic movements found within rhythm, rendering previous contexts baseless, Adjuah explains: "In its inception, Ancestral Recall was built as a map to de-colonialize sound; to challenge previously held misconceptions about some cultures of music; to codify a new folkloric tradition and begin the work of creating a national set of rhythms; rhythms rooted in the synergy between West African, First Nation, African Diaspora/Caribbean rhythms and their marriage to rhythmic templates found in trap music, alt-rock, and other modern forms. It is time we created a sound that dispels singular narratives of entire peoples and looks to finally represent the wealth of narratives found throughout the American experience. One that shows that all forms of expression in sound are valid, as all people are." The goal is to connect people in one understanding rather than dividing them by definition.

The music of Ancestral Recall focuses the mind. As the ear adjusts to the shifting tapestries of rhythm, Adjuah stands firm in the mix, heralding the histories of rhythm and song. Walking hand-in-hand with listeners through his and their musical histories, clearing the way for a new reading of what all musical futures can become. Ancestral Recall is an album that might easily be misunderstood in its own time, but will certainly be seen as a moment in history that marked a momentous shift in musical and perhaps social understanding.  


Bio En Francais

Toutes les formes d’expression sonores sont pertinentes, tout comme les êtres humains, tel est le mantra de nos ancêtres.

Avec son nouveau projet - Ancestral Recall - le ton est donné : Christian Scott aTunde Adjuah se donne pour mission d’unifier, d’abolir toute forme de discrimination, raciale, culturelle sociale et de classe et ainsi de déconstruire l’ « a priori » selon lequel la mélodie et l’harmonie prévaudraient sur le rythme.

Ancestral Recall cherche et révèle les histoires cachées dans le son, brosse un tableau sonore éclairant les mouvements mélodiques du rythme. Christian Scott explique: "À ses débuts, Ancestral Recall a été construit comme une carte de décolonisation du son, une manière de défier les préjugés et les idées fausses sur les différentes cultures de la musique, de codifier une nouvelle tradition folklorique et de commencer à créer un ensemble national de rythmes résultant de l’agrégation des rythmes autochtones, ouest-africains, caribéens, et leur mariage à des modèles rythmiques trouvés dans la trap music, le rock alternatif et les autres formes musicales modernes. Il est temps que nous créions un son qui dissipe les frontières et qui représente la richesse des récits trouvés dans l'expérience métissée américaine. Un exemple qui montre que toutes les formes d’expression du son sont valables, au même titre que tous les êtres humains. « L’objectif est de connecter les personnes dans une compréhension commune plutôt que de les diviser par définition ». 

Dans Ancestral Recall, Christian Scott dessine une histoire du rythme et du chant amenant l’oreille de l’auditeur à s’adapter aux changements et aux évolutions rythmiques et sonores et la guidant ainsi vers une nouvelle lecture de l’Histoire de la musique. Cet album qui pourrait être mal compris par et à son époque sera certainement considéré comme un tournant décisif dans l’Histoire musicale comme l’Histoire sociale de la musique.

La carrière florissante de Christian Scott au cours des dernières années révèle une approche raisonnée en faveur d’une réelle vision artistique.

Né à la Nouvelle-Orléans, Christian Scott apprend la trompette auprès de son oncle Donald Harrison Jr, légende du saxophone.

Diplômé de Berklee College of Music, il enregistre et collabore avec de nombreux artistes, dont Prince, Thom Yorke. Most Def et McCoy Tyner.

La presse musicale américaine ne tarit pas d’éloges à son égard. Couronné par la chaîne radiophonique NPR comme inaugurant une " nouvelle ère du jazz ", Christian Scott continue d’aller plus loin dans sa pratique. JazzTimes le désigne comme "l'architecte d'une nouvelle fusion commercialement viable" et de "Dieu du style jazz nouveau”.

 En 2015, Christian Scott sort son album Stretch Music. Cet album avant-gardiste est centré sur l'intégration d’autant de formes musicales, de langues vernaculaires et de cultures que possible, dans un concept improvisé, créatif et frais. L’enregistrement a permis à Adjuah de remporter les prix «Rising Star Composer» et «Rising Star Trumpet»  du sondage «Downbeat Critics Poll» réalisé par le magazine éponyme. 

L’album Stretch Music est accompagné d’une application révolutionnaire du même nom, pour laquelle Adjuah remporte le prix de l’innovation de l’année 2015 de JAZZFM. « Stretch Music App » est un lecteur de musique interactif permettant aux auditeurs et aux musiciens de contrôler complètement leur écoute, leur pratique et leur apprentissage en personnalisant le lecteur en fonction de leurs besoins et objectifs musicaux spécifiques.

En 2017, Christian publie un triple album intitulé « The Centennial Trilogy », commémorant le 100e anniversaire des premiers enregistrements de jazz de 1917. Cette série est une réévaluation qui donne à réfléchir aux réalités sociales et politiques du monde. Cette trilogie évoque une foultitude de problèmes qui persistent : l'esclavage en Amérique via le complexe industriel pénitentiaire, l'insécurité alimentaire, la xénophobie, l'immigration, le changement climatique, l'orientation sexuelle et l'inégalité des sexes, le fascisme et le retour d’une société démagogue. Le concept et la vision vont au-delà des frontières musicales. Ils reflètent la pensée de Christian Scott selon laquelle il est possible d’atténuer les divisions et conflits entre les peuples grâce à la construction de ponts musicaux. Son désir est d'unir plutôt que de diviser.

La troisième parution de la trilogie, The Emancipation Procrastination, a par la suite été nominée aux 61èmes Grammy Awards dans la catégorie « Meilleur album instrumental contemporain », marquant ainsi sa deuxième nomination aux Grammy Awards.

"Sa musique a atteint un point de raffinement éblouissant - un mélange dense et richement texturé d'éléments acoustiques et électroniques dans lequel l'avant-plan et l'arrière-plan changent de focus. Son jeu de trompette, qui sonne souvent majestueux, ne vole jamais la lumière. Il commande au plus profond de soi. " (Larry Blumenfeld, WSJ)


Recent Press

“Mr. Scott is not a collegiate-sounding trumpet player, and he plays with as much deference to New Orleanian and continental African traditions as to bebop. As a result, he plays fewer notes than most jazz trumpeters today, and his projection is more immediately majestic. He is following a path of his own, and so far, it’s still breaking new ground.” - Giovanni Russonello / New York Times

“There’s a heraldic trumpet on the piece too, of course: Adjuah, making his presence known and his purpose clear.” - Nate Chinen / WBGO

“It's ambitious, to be sure, but given that this is the trumpeter who gave us Stretch Music, it's no surprise that Adjuah pulls it off. Far more textured, and with a deeper rhythmic foundation than Adjuah's previous offerings, Ancestral Recall is a syncopated and immersive delight.”   - Matt Bauer / Exclaim


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All songs written by Christian Scott aTunde Adjuah
Christian Scott (Stretch Music Publishing - SESAC)

Additional composers include
I Own The Night
- written by Christian Scott (Stretch Music Publishing - SESAC), Saul Williams (Martyr Loser King Music -ASCAP)
The Shared Stories of Rivals [KEITA] - written by Christian Scott (Stretch Music Publishing - SESAC), Saul Williams (Martyr Loser King Music -ASCAP)
Forevergirl - written by Christian Scott (Stretch Music Publishing - SESAC), Sarah Elizabeth Charles (Sarah Elizabeth Charles Music - ASCAP), Chris Turner (Chris Turner Music - ASCAP), Mike Ward Jr (Dotbox - ASCAP)
Prophesy - written by Christian Scott (Stretch Music Publishing - SESAC), Saul Williams (Martyr Loser King Music -ASCAP)
Ancestral Recall - written by Christian Scott (Stretch Music Publishing - SESAC), Saul Williams (Martyr Loser King Music -ASCAP)

MUSICIANS
Christian Scott aTunde Adjuah - Trumpet, Adjuah Trumpet, Siren, Sirenette, Reverse Flugelhorn, Percussion*, Synth Percussion, SPDSX, Malletkat, MPC, Keyboards, Synth Bass, Pan African Kit, Drums, Vocals, Sonic Arictexture (All Tracks)
Saul Williams - Vocals (Tracks 2, 3, 12)
Elena Pinderhughes - Flute (Tracks 1, 5, 10)
Logan Richardson - Alto (Track 7 )
Weedie Braimah - Percussion*, Vocals (Tracks 1, 2, 3, 8, 10, 11, 12)
Corey Fonville - Drums, SPDSX, Pan African Kit (Tracks 2, 3, 4, 7, 12)
Lawrence Fields - Piano (Tracks 7, 12)
Kris Funn - Bass (Tracks 4, 7)
Devan Mayfield - Vocals (Track 1)
Chris Turner - Vocals (Track 4)
Mike Larry Draw - Vocals (Track 4)
Themba Mkhatshwa - Percussion (Track 1, 2)
Amadou Kouyate - Percussion (Track 1, 2)
Munir Zakee Richard - Percussion (Track 1, 2)

* [Djembe, Mande Drums, Dundunba, Sangban, Kenkeni, Ewe Drums,  Sogo, Atsimevu, Agboba, Kidi, Kaganu,Tambourine, Kalimba, Bata, Congas]

PRODUCTION
Produced by
Christian Scott aTunde Adjuah  
Executive Producers - Christian Scott aTunde Adjuah and Louis H. Marks                  
Recorded April 10, 15 - September 6, 20 - December 1, 2 of 2018 by Dave Weingarten at The Champagne Room West
Recorded April 29 and 30 of 2018 by Nick Guttmann at The Parlor, New Orleans, LA
Mixed by Qmillion at Flyin' Dread Studios, Los Angeles, CA
Mastered by Paul Blakemore, Cleveland, OH 

ART DESIGN
Creative Direction - 
Christian Scott aTunde Adjuah
Creative Direction & Photography - Eric Ryan Anderson
Concept Ideation - Kiel Scott, Christian Scott aTunde Adjuah, Devan Mayfield
Design - Eric Hurtgen
Videography - Steven Stauffer
Art Production - Matt Campbell

ANCESTRAL RECALL

Release Date: March 22, 2019


More About Christian Scott aTunde Adjuah

Tracking the arc of Christian Scott aTunde Adjuah’s flourishing career over the last few years reveals careful and deliberate steps towards a grand vision. Born in New Orleans, Adjauh’s early years were spent in the tutelage of his uncle, saxophone legend Donald Harrison Jr. A graduate of Berklee College of Music, Adjuah released several recordings and collaborated by sharing his gifts with many artists, including Prince, Thom Yorke, Most Def and McCoy Tyner. 

Heralded by NPR as ushering in “a new era in jazz,” Adjuah continues to forge new ground. JazzTimes cites him as "The architect of a new commercially viable fusion" and "Jazz's young style God.” In 2015, Adjuah released Stretch Music - the inaugural recording of Adjuah’s vision of genre blindness in sound. The trailblazing document centered around acculturating as many musical forms, vernaculars and cultures as possible into one fresh and resonate creative improvised concept. The recording garnered Adjuah a Downbeat Critics Poll “Rising Star Composer” win in addition to many “Rising Star Trumpet” wins from the publication.

Stretch Music was accompanied by a groundbreaking app by the same name, for which Adjuah won JAZZFM’s 2015 Innovation of the Year honor. The Stretch Music App is an interactive music player that allows listeners and musicians the ability to completely control their listening, practicing, and learning experience by customizing the player to fit their specific musical needs and goals.

In 2017, Christian released three albums collectively titled The Centennial Trilogy, commemorating the 100th anniversary of the first Jazz recordings of 1917. The series is a sobering re-evaluation of the social-political realities of the world through sound. It speaks to a litany of issues that continue to plague the collective human experience, such as slavery in America via the Prison Industrial Complex, food insecurity, xenophobia, immigration, climate change, sexual orientation, and gender inequality, fascism and the return of the demagogue. The concept and vision go beyond musical boundaries. They reflect Adjuah’s understanding that divisions between people can be ameliorated and building musical bridges are central to healing pre-existing tensions. His desire is to unite rather than divide.

The trilogy’s third release, The Emancipation Procrastination, was subsequently nominated for Best Contemporary Instrumental Album in the 61st Grammy Awards, marking Adjuah's second nomination. 

"His music has reached a point of dazzling refinement—a dense, richly textured blend of acoustic and electronic elements in which foreground and background subtly shift focus. His trumpet playing, which often sounds majestic, never steals the spotlight. It commands from deep within." (Larry Blumenfeld, WSJ)



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Beginning 100 years after the first jazz recording, Christian Scott aTunde Adjuah announced The Centennial Trilogy : three full length albums that reflect deeply on the history of Jazz. In his words, Christian was ‘trying to create a document that fully acculturated all of the things that grew from the first century of jazz…. To force all of those things into one context as a means of creating a newer, larger context for artists to be able to grow from’

The scope of the trilogy is not limited to the music; Christian is using broad strokes to present his vision of the world. Growing up in the upper ninth ward he witnessed people enduring the same challenges regardless of their race or ethic background. Undereducated to serve the tourist culture, facing food insecurity and viewing each other as different because of the lens of race. He understood that race was and is a social construct, and saw that people could be working together to build and move forward.

Christian’s use of the term Stretch Music, which is an album title as well as the name of his newly formed record label, goes well beyond the music. It springs from his childhood realization that music can be a tool to obliterate this notion – that by creating music that blends genres he can inspire people to blend in every way. If one visualizes musicians of different genres, it is easy to see how music has been disseminated to us as hyper racialized, a by product of cultural expression. The goal of the artist is, in every way and every calculated move, driven by this understanding and a desire to create a space that advances the notion that we all belong together. It is never I, it is always WE

Ruler Rebel presented to us the artist – WHO we are listening to. 

Diaspora identified the listener – ALL the people of the world. 

The Emancipation Procrastination, the third and final chapter in the trilogy, deals directly with the social and political issues of the day. Rather than descend into identity politics, Adjuah sees in New Orleans many disparate cultures in one space being underserved and exploited. His worldview is not just New Orleans, as he has traveled and toured the world for almost 20 years, starting as a child in some of the most revered jazz groups of the day (McCoy Tyner, Donald Harrison, Eddie Palmieri..).

‘I’m not interested in harming anyone. I have a responsibility as an artist to create a space where people feel welcome. When I walk outside this hotel room, that is not the reality. There is a difference when music is made with love. When people come into my space they are going to feel that. We are trying to figure out a way to treat each other better. We are all responsible for healing each other.‘

The vision of Christian Scott aTunde Adjuah is clear – that this is an opportunity for all of US to come together and address issues that affect ALL of us. Emancipation Procrastination means that we all have an opportunity to liberate ourselves from old world ideas. Let the healing begin.

us: Missing Piece | Brett Loeb | brett@missingpiecegroup.com

uk: baxter pr | joe baxter | joe@baxterpr.com

world: ropeadope | fabian brown | fabian@ropeadope.com


III : The emancipation procrastination | october 20, 2017

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credits

  • Christian Scott aTunde Adjuah - Trumpet, Siren, Sirenette, Reverse Flugelhorn, SPD-SX, Sonic Architecture (tracks 1, 2, 3, 4, 6, 7, 8, 9, 10, 12)

  • Elena Pinderhughes - Flute (tracks 1, 3, 4, 7, 8, 12)

  • Braxton Cook - Alto Saxophone (tracks 1, 3, 4, 7, 8, 11, 12)

  • Stephen J. Gladney - Tenor Saxophone (track 11)

  • Lawrence Fields - Piano, Fender Rhodes (tracks 1, 3, 4, 6, 7, 8, 9, 10, 11, 12)

  • Kris Funn - Bass (tracks 1, 3, 7, 8, 11, 12)

  • Luques Curtis - Bass (tracks 4, 6, 10)

  • Matt Stevens - Guitar (tracks 1, 12)

  • Cliff Hines - Guitar (tracks 3, 4, 9, 10)

  • Dominic Minix - Guitar (track 8)

  • Corey Fonville - Drums, SPD-SX (tracks 1, 3, 6, 7, 8, 9, 10, 11, 12)

  • Joe Dyson, Jr. - Pan African Drums, SPD-SX (tracks 1, 3, 4, 7, 10)

  • Marcus Gillmore - Drums, SPD-SX (track 2)

  • Weedie Braimah - Djembe, Bata, Congas (tracks 2, 5, 10)

Produced by Christian Scott aTunde Adjuah and Chris Dunn

Executive Producers: Christian Scott aTunde Adjuah and Louis Marks
Recorded April 16-21, 2016 by Matt Grondin and Nick Guttmann at The Parlor, New Orleans, LA
Mixed by Nick Guttmann at The Parlor, New Orleans, LA
Mastered by Paul Blakemore, Cleveland, OH


All songs written by Christian Scott (Stretch Music Publishing - SESAC)

Except:

  • In The Beginning written by Weedie Braimah

  • Videotape written by Philip James Selway, Edward John O’Brien, Colin Charles Greenwood, Jonathan Richard Guy Greenwood, Thomas Edward Yorke

  • Gerrymandering Game written by Christian Scott (Stretch Music Publishing - SESAC), Lawrence Fields (Khameleon Music - BMI), Cliff Hynes (Klyph Publishing - BMI)

  • Cages written by Christian Scott (Stretch Music Publishing - SESAC), Lawrence Fields (Khameleon Music - BMI)

  • New Heroes written by Christian Scott (Stretch Music Publishing - SESAC), Lawrence Fields (Khameleon Music - BMI)


"His music has reached a point of dazzling refinement—a dense, richly textured blend of acoustic and electronic elements in which foreground and background subtly shift focus. His trumpet playing, which often sounds majestic, never steals the spotlight. It commands from deep within." (Larry Blumenfeld, WSJ)

"It is music that sounds completely contemporary, yet fully integrated into a century of great black American music, from James Reese Europe to Miles Davis to Kendrick Lamar.” - WNYC


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II : Diaspora | June 23, 2017

The second release in The Centennial Trilogy, Diaspora, is set for release on June 23, 2017. Christian uses the term Diaspora in broadest sense possible. He is referring to the WORLD Diaspora – All peoples, oneness & love. While Ruler Rebel identifies who is speaking, Diaspora identifies the listener – WHO is being spoken to. Growing up in the Upper Ninth Ward of New Orleans, Christian Scott aTunde Adjuah was keenly aware that people of different histories and cultures were enduring the same experiences and challenges. Despite this commonality, they accepted the notion that they we’re not kin and therefore nemesis. Topical ideas like race, religious purview, sexual preference & perceived economic standing ultimately stunt the growth of community, which in turn stunts the growth of Cities and Municipalities, States and Provinces, Nations, and finally our world. A deliberate stretching of styles and genres speak to this fundamental issue and offers a path forward. A path to break down perceived barriers and work together to build a lasting future.

credits

  • Christian Scott aTunde Adjuah - Trumpet, Siren, Sirenette, Reverse Flugelhorn, SPD-SX, Sampling & Sonic Architecture

  • Lawrence Fields - Piano, Fender Rhodes (tracks 1, 2, 3, 4, 6, 7, 8, 10, 11)

  • Corey Fonville - Drums, SPD-SX (tracks 1, 2, 3, 46, 7, 10, 11)

  • Special Guest: Sarah Elizabeth Charles - Vocals (track 11)

  • Chief Shaka Shaka - Dununba, Sangban, Kenikeni (tracks 1 & 9)

  • Elena Pinderhughes - Flute (tracks 1, 3, 6, 7, 8, 11)

  • Kris Funn - Bass (tracks 1, 2, 6, 7, 8, 10, 11)

  • Cliff Hines - Guitar (tracks 1, 2, 3, 6, 8, 10)

  • Joe Dyson Jr. - Pan African Drums, SPD-SX (tracks 1, 2, 3, 4, 5, 7, 8, 9, 11)

  • Weedie Braimah - Djembe, Bata, Congas (tracks 1 & 9)

Produced by Christian Scott aTunde Adjuah & Chris Dunn

Executive Producers: Christian Scott aTunde Adjuah & Louis Marks

Recorded April 16-21, 2016 by Matt Grondin and Nick Guttmann at The Parlor, New Orleans, LA

Vocals and additional trumpet on “The Walk” recorded by Jesse Fischer at Electrik Indigo Sound, Brooklyn, NY.

Mixed by Nick Guttmann at The Parlor, New Orleans, LA

Mastered by Paul Blakemore, Cleveland OH


All songs written by Christian Scott (Stretch Music Publishing - SESAC) Except:

  • Diaspora written by Christian Scott (Stretch Music Publishing - SESAC) & Lawrence Fields, (Khameleon Music - BMI)

  • IDK written by Christian Scott (Stretch Music Publishing - SESAC) & Lawrence Fields, (Khameleon Music - BMI)

  • Bae written by Lawrence Fields, (Khameleon Music - BMI)

  • Uncrown Her written by John Key Jr. (One John Key LLC - SESAC)

  • Lawless written by Christian Scott (Stretch Music Publishing - SESAC) & Lawrence Fields (Khameleon Music - BMI)

  • The Walk written by Christian Scott (Stretch Music Publishing - SESAC) & Lawrence Fields (Khameleon Music - BMI)


I : Ruler Rebel | March 31, 2017

The first release in the trilogy, Ruler Rebel, vividly depicts Adjuah's new vision and sound - revealing Adjuah to the listener in a way never heard before via a completely new production methodology that Stretches Trap Music with West African and New Orleanian Afro-Native American styles. Ruler Rebel is set for pre-order on 2/17/17, to coincide with the first annual Stretch Music Festival at Harlem Stage. The Stretch Music Festival, created and curated by Adjuah, explores the boundaries of Stretch, Jazz, Trap, and Alternative Rock with some of music’s most poised and fiery rising stars. The festival consists of five days of events, culminating with concerts on February 17th and 18th at Harlem Stage with performances by Butcher Brown, Braxton Cook, Venus, The Bridge Trio, Sarah Elizabeth Charles, and Matthew Stevens.

RulerRebel

Credits

  • Christian Scott aTunde Adjuah | Trumpet, Siren, Sirenette, Reverse Flugelhorn, SPD-SX, Sampling, Sonic Architecture.

  • Special Guest - Sarah Elizabeth Charles | Vocals

  • Elena Pinderhughes | Flute (tracks 7 & 8)

  • Lawrence Fields | Piano, Fender Rhodes (tracks 1, 2, 3, 5, 6, 7, 8)

  • Luques Curtis | Bass (track 4)

  • Kris Funn | Bass (tracks 7 & 8)

  • Joshua Crumbly | Bass (track 6)

  • Cliff Hines | Guitar (tracks 1, 4, 6, 7, 8)

  • Corey Fonville | Drums, SPD-SX (tracks 1, 2, 3, 6, 7, 8)

  • Joe Dyson Jr. | Pan African Drums, SPD-SX (tracks 1, 2, 3, 4, 6, 8)

  • Weedie Braimah | Djembe, Bata, Congas (tracks 1, 2, 3, 5, 7)

  • Chief Shaka Shaka | Dununba, Sangban, Kenikeni (tracks1, 2, 3, 5, 7)

Produced by Christian Scott aTunde Adjuah and Chris Dunn

Executive Producers: Christian Scott aTunde Adjuah and Louis H. Marks

Recorded April 16-21, 2016 by Matt Grondin and Nick Guttmann at The Parlor, New Orleans, LA

Vocals on “Phases” recorded by Jesse Fischer at Electrik Indigo Sound, Brooklyn, NY.

Mixed by Nick Guttmann at The Parlor, New Orleans, LA


Christian Scott aTunde Adjuah plays Adams Instruments, ACB Mouthpieces and Josh Landress Brass, SD Systems Microphones, Master & Dynamic Headphones

Corey Fonville plays Vic Firth Drumsticks & Yamaha Drums

Joe Dyson plays Vic Firth Drumsticks & Canopus Drums

Art Direction Kevin Kedroe & Allan Cole

Photography Kiel Adrian Scott | Package Design Kevin Kedroe