TUM Records: TUM CD 037-2 
http://www.tumrecords.com/037-2-occupy-the-world 
http://www.tumrecords.com/index.php?k=20158 
http://www.tumrecords.com/tumfest12

* Wadada Leo Smith: conductor, trumpet
* John Lindberg: double bass
+ TUMO:
  ~~~~
* Verneri Pohjola: trumpet and electronics
* Jari Hongisto: trombone
* Kalle Hassinen: horn
* Kenneth Ojutkangas: tuba
* Juhani Aaltonen: flute, alto flute, bass flute and piccolo
* Fredrik Ljungqvist: tenor and sopranino saxophones, clarinet and bass clarinet
* Mikko Innanen: alto, soprano and baritone saxophones
* Seppo Kantonen: piano
* Iro Haarla: harp
* Mikko Iivanainen: electric guitar
* Kalle Kalima: electric guitar
* Veli Kujala: quarter-tone accordion
* Terhi Pylkkänen: violin
* Niels Thorkild Levinsen: violin
* Barbora Hilpo: viola
* Iida-Vilhelmiina Laine: cello
* Ulf Krokfors: double bass
* Janne Tuomi: drums and marimba
* Mika Kallio: drums
* Stefan Pasborg: drums
 
http://www.wadadaleosmith.com/ 
http://www.johnlindberg.com/

Recorded by Nikopetri Paakkunainen and Esa Santonen at Studio MI,
Finnish Broadcasting Company (YLE), in Helsinki, Finland,
on February 19-21, 2012.


Reviews
~~~~~~~

By Thom Jurek 
http://www.allmusic.com/album/occupy-the-world-mw0002540524

In 2012, composer and trumpeter Wadada Leo Smith delivered his large-scale,
conceptual opus Ten Freedom Summers as well as the bracing duet recording
Ancestors with drummer Louis Moholo-Moholo. At nearly 72, he shows no signs of
slowing down, as evidenced by Occupy the World, a two-disc package recorded
with the 20-piece Nordic ensemble TUMO which features among its ranks trumpeter
Verneri Pohjola, flutist Juhani Aaltone, harpist Iro Haarla, saxophonist
Frederik Ljungqvist, and drummer Stefan Pasborg. There are numerous winds,
strings, electric guitars, vibes, electronics, accordion, brass, piano, and
drums. There are five new compositions on offer here, the shortest of which is
just under 16 minutes. These new pieces extend out from Smith's composing
system that doesn’t use transposition of any instrument's natural key; he uses
the entire C spectrum as his base. What this means is that there are sections
written with carefully designed passages that use an instrument's natural voice
and harmonics. His system is also non-metric; it uses proportional
relationships to guide the music along his envisioned horizontal flow. In
addition to built-in dynamic tensions, widely varying textural elements, and
elaborate harmonic constructions, there is considerable freedom built in for
players to interact with one another all along his tonal range with varying
tempi. While this creates an organic dissonance, it also creates almost
limitless possibilities. "Mount Kilimanjaro (Love and Compassion for John
Lindberg)" is a concerto written for and featuring the double bassist as prime
soloist backed by three drummers. It is a tribute to his instincts as an
improviser, attendant listener, and anchor in many of Smith's ensembles over
the last 35 years, and is one of the three real treasures here. Disc two
contains two truly major new works: "Crossing on a Southern Road (A Memorial
for Marion Brown)," an expansive, colorful, yet brooding work that involves
multiple ensembles covering various tonal ranges and contains one of Smith's
most moving trumpeter solos on record, and "Occupy the World for Life, Liberty,
and Justice," which had its debut performance in 2011 and has been
substantially revised since for performance with this large group. Over
half-an-hour, this ambitious work ranges from detailed notated sections where
various units interact with others, sometimes slowly, spaciously, and
deliberately, creating tensions that result in cacophonous, colorful, and
wildly energetic interplay. It simultaneously celebrates the energy commitment
and diversity of the Occupy movement, as well as depicting its sometimes tense
encounters with police, government, and media. The handsome booklet that
accompanies this package contains detailed notes by Smith, photos, as well as
biographies of all the musicians. Occupy the World is a demanding listening
experience -- we'd expect nothing less from a composer of Smith's mettle -- but
its rewards are abundant for both fans of vanguard jazz and modern
composition.

--

By Stef 
http://www.freejazzblog.org/2013/09/wadada-leo-smith-tumo-occupy-world-tum.html

By Hrayr Attarian 
http://www.allaboutjazz.com/occupy-the-world-wadada-leo-smith-tum-records-review-by-hrayr-attarian.php

By John Sharpe 
http://www.allaboutjazz.com/occupy-the-world-wadada-leo-smith-tum-records-review-by-john-sharpe.php

By Eyal Hareuveni 
http://www.allaboutjazz.com/wadada-leo-smith-occupy-the-world-by-eyal-hareuveni.php

By David Whiteis 
http://jazztimes.com/articles/107938-occupy-the-world-wadada-leo-smith-tumo

By Grego Applegate Edwards