In for a Penny, In for a Pound
| In for a Penny, In for a Pound | ||||
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| Studio album by Henry Threadgill | ||||
| Released | 2015 | |||
| Recorded | December 8-9, 2014 | |||
| Studio | Systems Two, Brooklyn | |||
| Genre | Jazz | |||
| Length | 79:13 | |||
| Label | Pi | |||
| Producer | Liberty Ellman | |||
| Henry Threadgill chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Down Beat |   |
In for a Penny, In for a Pound is a 2016 Pulitzer Prize for Music-winning album composed by Henry Threadgill for his jazz quintet Zooid, featuring Jose Davila, Liberty Ellman, Christopher Hoffman, and Elliot Humberto Kavee. The album was published by Pi Recordings.
The album was composed by Henry Threadgill, recorded by his band, Zooid, and released by Pi Recordings on May 26, 2015. The album, which is a two-disc suite, is composed of six tracks. Threadgill composed a concerto-like piece for each of his band members. However, the album includes improvisation. Patrick Jarenwattananon of National Public Radio describes the style of performance as "contrapuntal improvisation within a specific intervallic framework".
Davila performs trombone and tuba and is joined on the album by guitarist Ellman, cellist Hoffman and drummer Kavee. Davila is featured on "Tresepic", Kavee is featured on "Ceroepic", Hoffman is featured on "Dosepic", and Ellman is featured on "Unoepic". Threadgill performs alto saxophone, flute and bass flute within each piece.
The album is regarded as the third by a jazz composer to win the Pulitzer Prize for Music (following Wynton Marsalis' Blood on the Fields, 1997 and Ornette Coleman Sound Grammar, 2007). Threadgill describes the album using the term epic.
The Wall Street Journal critic Larry Blumenfeld describes the opening piece as "an old song joined in progress". Nate Chinen of The New York Times described the album as brilliant.John Fordham of The Guardian described the work as "welcomingly warm and melodious" despite the "sinewy slipperiness" of the rhythms and tunes. In his review for Down Beat Peter Margasak states "there are so many fast-moving details and epiphanies at work here that it takes some rigor to hear how it all fits together, even if isolated phrases and sallies are rich in delight."
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