Mixed by Chad Kouri
Tracklist
| 1. | How Who Hum Chant | |
| 2. | KHFHH | |
| 3. | Torus | |
| 4. | Drift | 6:06 |
| 5. | Chad Kouri & Vincent Davis - Little Instruments | |
| 6. | Sound Sketch | 6:52 |
| 7. | A Dance For Grounding | |
| 8. | Rhythm Meditation | |
| 9. | Detroit | |
Credits
releases June 20, 2025
While the previous fifteen years saw many accolades for Chicago artist Chad Kouri’s visual art and community work –– including commissions from The Museum of Contemporary Art Chicago, Museum of Art and Design New York, and Adidas, as well as solo exhibitions and performances in Los Angeles, New York and Italy –– the past 5 years have seen a return and an all-consuming devotion to his music practice. Inspired by discussions with polymath composer, improviser, instrument maker and collage artist Douglas R. Ewart (of AACM fame), Kouri began to integrate improvisations on the instrument of his upbringing, the saxophone, with his visual art practice –– which focuses on the healing powers of color and abstraction. The result of this devotion is Mixed, Kouri’s debut full-length.
On Mixed, Kouri –– whose name means “priest” in Arabic –– explores his mixed-race ancestral ties to spirit work. Utilizing sharply honed improvisational skills and intuition he conjures melodies and rhythms imbued with healing energy, like a prayer or meditation, that often feel familiar and brand new, all at once. Mixed is populated by a spectrum of sounds — simple shakers and bells and wood blocks, the chime of a credit card machine, ring tones, room noise, field recordings, and of course melodies on the tenor saxophone as well as a Korg Monologue.
Some may relate this music to Jon Hassell’s definition of Fourth World Music, or Chicago’s Association for the Advancement of Creative Musicians (AACM) tagline “ancient to the future.” Kouri’s work on Mixed was spurred by mentorship and deep contemplation of concept and intention with elder, and virtuoso drummer Vincent Davis (Roscoe Mitchell, AACM), alongside study of technique and performance approach with young sonic scientist and Grammy-nominated saxophonist Isaiah Collier. The mixed-generational approach has been vital to his growth, pairing time-tested boundary-pushing approaches with new, innovative and thought provoking systems and concepts. Clearly, the rich history and presence of Chicago’s jazz and creative music scenes have helped to shape this music, from the Art Ensemble of Chicago to jaimie branch to Ben Lamar Gay (who has penned the record’s liner notes). And Kouri’s work fits, both aesthetically and emotionally, alongside Shabaka Hutchings, Andre 3000’s New Blue Sun, and Surya Botofasina as well as predecessors like Laraaji and Pauline Oliveros. But Mixed cannot be anything but his own, for it is an ode to Kouri’s own mixed-ness –– not only in ancestry, but also his identity, his art and music practice and his globally-conscious approach to life and living. His unwavering focus on abundance reminds us of one thing: We all contain multitudes and there is no better time to celebrate them than NOW.
For nearly 20 years, Kouri studied music and improvisational approaches by participating in non-performing ensembles and open jam sessions, mostly on guitar, bass and various homemade instruments and hand percussion, alongside attending performances nearly every other day of the week in Chicago, sometimes visiting as many as six or eight shows between a Friday morning and a Sunday night. In the later part of his non-performing journey, the discussions with Baba Ewart—along with an overwhelming need to center joy and pleasure at the onset of the Covid 19 pandemic —inspired Kouri to pick up his cold, moderately-functioning tenor saxophone with intentionality and purpose. “Releasing my debut LP on my 40th birthday in the same year that 100-year-old Marshall Allen releases his debut record as a band leader makes this release feel anything but ‘late,’” Kouri says.
-_-_-_-_-
1. How Who Hum Chant
Instrumentation: Chad Kouri on Korg Monologue, voice and FX.
Recorded in 2021 on a Zoom H6 on the dining room table of an above-garage apartment in Lakeside, Michigan. Space generously provided by Andy Hall. The trip to Lakeside and full setup was a dry run test in preparation for my first month-long winter residency on the Brazos Cliffs in New Mexico which I’ve now attended annually for four consecutive years.
•
2. KHFHH
Instrumentation: Chad Kouri on tenor saxophone and five-gallon water bottle, Andy Hall on drum set, Alex Fuller on guitar, Rod Hunting on bass guitar, John Hall on hand made chimes.
Recorded in 2021 on an iPhone SE at the art and music making studio of Chad Kouri and Andy Hall (Post Studio) in West Town Chicago.
•
3. Torus
Instrumentation: Chad Kouri on tenor saxophone and brass Torus Rings designed and fabricated by Doug Fogelson.
Recorded in 2022 at Experimental Sound Studio by Alex Inglizian as part of the Torus EP, commissioned by Doug Fogelson.
•
4. Drift
Instrumentation: Chad Kouri on Korg Minilogue, tenor saxophone, hand carved bone rattle necklace, and FX. Tom Melk on Korg Modwave.
Recorded in 2024 on a Zoom H6 by Chad Kouri at a Lodge on the Brazos Cliffs in New Mexico.
•
5. Little Instruments (featuring Vincent Davis)
Instrumentation: Chad Kouri on hand chimes, bell cords and little instruments. Vincent Davis on little instruments, vinnyophone and drum set.
Recorded in 2023 by Experimental Sound Studio live at Roots and Culture during a performance as part of “Temple Of,” an art exhibition and community offering by Julia Arredondo and Chad Kouri. The performance was included as part of the free community programming throughout the run of the exhibition.
•
6. Sound Sketch
Instrumentation: Chad Kouri on little instruments, tenor saxophone and FX.
Recorded in 2022 by Griffin Rodriguez live at Shape Shoppe Paradiso during a performance and open jam with Siena Jazz University students and faculty.
•
7. A Dance for Grounding
Instrumentation: Chad Kouri on tenor saxophone, bell cords, hand chimes and FX.
Recorded in 2023 by Chad Kouri on a Zoom H6 at Good Weather (Chicago) during a public performance as part of an exhibition including works by Ei Arakawa-Nash, Mike Cloud, and Ron Ewert.
•
8. Rhythm Meditation
Instrumentation: Chad Kouri on little instruments, bell cords, hand chimes and FX.
Recorded in 2023 by Chad Kouri on a Zoom H6 during a public performance at Living Water Tea House in the Pilsen Neighborhood of Chicago.
•
9. Detroit
Instrumentation: Chad Kouri on Korg Monologue, tenor saxophone and FX. Matthew Daher on drum set.
Recorded in 2022 by Chad Kouri on a Zoom H6 at Spread Art in the Virginia Park neighborhood of Detroit during an impromptu meet up with Daher.
Album cover portrait by Marisa Klug-Morataya with makeup by Nico.
While the previous fifteen years saw many accolades for Chicago artist Chad Kouri’s visual art and community work –– including commissions from The Museum of Contemporary Art Chicago, Museum of Art and Design New York, and Adidas, as well as solo exhibitions and performances in Los Angeles, New York and Italy –– the past 5 years have seen a return and an all-consuming devotion to his music practice. Inspired by discussions with polymath composer, improviser, instrument maker and collage artist Douglas R. Ewart (of AACM fame), Kouri began to integrate improvisations on the instrument of his upbringing, the saxophone, with his visual art practice –– which focuses on the healing powers of color and abstraction. The result of this devotion is Mixed, Kouri’s debut full-length.
On Mixed, Kouri –– whose name means “priest” in Arabic –– explores his mixed-race ancestral ties to spirit work. Utilizing sharply honed improvisational skills and intuition he conjures melodies and rhythms imbued with healing energy, like a prayer or meditation, that often feel familiar and brand new, all at once. Mixed is populated by a spectrum of sounds — simple shakers and bells and wood blocks, the chime of a credit card machine, ring tones, room noise, field recordings, and of course melodies on the tenor saxophone as well as a Korg Monologue.
Some may relate this music to Jon Hassell’s definition of Fourth World Music, or Chicago’s Association for the Advancement of Creative Musicians (AACM) tagline “ancient to the future.” Kouri’s work on Mixed was spurred by mentorship and deep contemplation of concept and intention with elder, and virtuoso drummer Vincent Davis (Roscoe Mitchell, AACM), alongside study of technique and performance approach with young sonic scientist and Grammy-nominated saxophonist Isaiah Collier. The mixed-generational approach has been vital to his growth, pairing time-tested boundary-pushing approaches with new, innovative and thought provoking systems and concepts. Clearly, the rich history and presence of Chicago’s jazz and creative music scenes have helped to shape this music, from the Art Ensemble of Chicago to jaimie branch to Ben Lamar Gay (who has penned the record’s liner notes). And Kouri’s work fits, both aesthetically and emotionally, alongside Shabaka Hutchings, Andre 3000’s New Blue Sun, and Surya Botofasina as well as predecessors like Laraaji and Pauline Oliveros. But Mixed cannot be anything but his own, for it is an ode to Kouri’s own mixed-ness –– not only in ancestry, but also his identity, his art and music practice and his globally-conscious approach to life and living. His unwavering focus on abundance reminds us of one thing: We all contain multitudes and there is no better time to celebrate them than NOW.
For nearly 20 years, Kouri studied music and improvisational approaches by participating in non-performing ensembles and open jam sessions, mostly on guitar, bass and various homemade instruments and hand percussion, alongside attending performances nearly every other day of the week in Chicago, sometimes visiting as many as six or eight shows between a Friday morning and a Sunday night. In the later part of his non-performing journey, the discussions with Baba Ewart—along with an overwhelming need to center joy and pleasure at the onset of the Covid 19 pandemic —inspired Kouri to pick up his cold, moderately-functioning tenor saxophone with intentionality and purpose. “Releasing my debut LP on my 40th birthday in the same year that 100-year-old Marshall Allen releases his debut record as a band leader makes this release feel anything but ‘late,’” Kouri says.
-_-_-_-_-
1. How Who Hum Chant
Instrumentation: Chad Kouri on Korg Monologue, voice and FX.
Recorded in 2021 on a Zoom H6 on the dining room table of an above-garage apartment in Lakeside, Michigan. Space generously provided by Andy Hall. The trip to Lakeside and full setup was a dry run test in preparation for my first month-long winter residency on the Brazos Cliffs in New Mexico which I’ve now attended annually for four consecutive years.
•
2. KHFHH
Instrumentation: Chad Kouri on tenor saxophone and five-gallon water bottle, Andy Hall on drum set, Alex Fuller on guitar, Rod Hunting on bass guitar, John Hall on hand made chimes.
Recorded in 2021 on an iPhone SE at the art and music making studio of Chad Kouri and Andy Hall (Post Studio) in West Town Chicago.
•
3. Torus
Instrumentation: Chad Kouri on tenor saxophone and brass Torus Rings designed and fabricated by Doug Fogelson.
Recorded in 2022 at Experimental Sound Studio by Alex Inglizian as part of the Torus EP, commissioned by Doug Fogelson.
•
4. Drift
Instrumentation: Chad Kouri on Korg Minilogue, tenor saxophone, hand carved bone rattle necklace, and FX. Tom Melk on Korg Modwave.
Recorded in 2024 on a Zoom H6 by Chad Kouri at a Lodge on the Brazos Cliffs in New Mexico.
•
5. Little Instruments (featuring Vincent Davis)
Instrumentation: Chad Kouri on hand chimes, bell cords and little instruments. Vincent Davis on little instruments, vinnyophone and drum set.
Recorded in 2023 by Experimental Sound Studio live at Roots and Culture during a performance as part of “Temple Of,” an art exhibition and community offering by Julia Arredondo and Chad Kouri. The performance was included as part of the free community programming throughout the run of the exhibition.
•
6. Sound Sketch
Instrumentation: Chad Kouri on little instruments, tenor saxophone and FX.
Recorded in 2022 by Griffin Rodriguez live at Shape Shoppe Paradiso during a performance and open jam with Siena Jazz University students and faculty.
•
7. A Dance for Grounding
Instrumentation: Chad Kouri on tenor saxophone, bell cords, hand chimes and FX.
Recorded in 2023 by Chad Kouri on a Zoom H6 at Good Weather (Chicago) during a public performance as part of an exhibition including works by Ei Arakawa-Nash, Mike Cloud, and Ron Ewert.
•
8. Rhythm Meditation
Instrumentation: Chad Kouri on little instruments, bell cords, hand chimes and FX.
Recorded in 2023 by Chad Kouri on a Zoom H6 during a public performance at Living Water Tea House in the Pilsen Neighborhood of Chicago.
•
9. Detroit
Instrumentation: Chad Kouri on Korg Monologue, tenor saxophone and FX. Matthew Daher on drum set.
Recorded in 2022 by Chad Kouri on a Zoom H6 at Spread Art in the Virginia Park neighborhood of Detroit during an impromptu meet up with Daher.
Album cover portrait by Marisa Klug-Morataya with makeup by Nico.
License
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Chad Kouri is an American sound and vision artist based in Chicago, IL. His music is inspired by Chicago's rich history of improvisation and resistance/protest. His mixed-race identity is mirrored by his multidisciplinary studio practice, focusing broadly on visual art, music, design, and mutual aid.