a poignant reflection on loss, resilience, and the strange solace of anonymity amid urban mayhem.
Zennez Records
Nick Adema – Trombone, Pedal Board, Compositions; Joy Shechter – Piano; Azubike Onwuka – Electric Bass; Chen Har-Even – Drums; Noah Preminger – Tenor Saxophone; Ante Medic – Guitar; Liva Dumpe – Vocals (track 7); Michael Murray – Alto Saxophone (track 11); STRINGS: Valentin Blangé – Violin; Alkistis Misouli – Viola; Joshua Herwig – Cello
Nick Adema’s URBAN CHAOS is the sound of a grieving heart finding its way through the bustle of an unfamiliar city, a poignant reflection on loss, resilience, and the strange solace of anonymity amid urban mayhem.
Adema faced profound loss in late 2022 with the passing of his mother, shortly after moving from Ottawa to Amsterdam. He describes URBAN CHAOS as capturing “the feeling of moving back to the city after going through all of this mayhem.” The album follows his 2021 release, DEMILAN, a deeply personal project named after his mother, Demetria Langis, and composed during her illness.
The album’s foundation rests on the cohesive interplay of its core quartet, Adema on trombone, pianist Joy Shechter, bassist Azubike Onwuka, and drummer Chen Har-Even. Tenor saxophonist Noah Preminger features prominently as a special guest throughout most of the album. Other highlights include a string quartet, vocalist Liva Dumpe, guitarist Ante Medic, alto saxophonist Micheal Murray, and Adema’s inventive use of his pedal board for electronic effects.
‘Beginnings’ is a short intro, but it still takes its time, unfolding slowly with a sense of anticipation, driven by descending and ascending piano lines, like trying to ride an up-and-down escalator at the same time, and energetic yet scripted drumming, as if it’s setting the stage for what’s about to happen. The track builds, paving the way for the string quartet’s debut in ‘The Fool.’
‘The Fool’ opens with the strings, setting an understated yet ominous tone before drummer Even and bassist Onwuka lock into a lurching groove. Adema and Preminger trade solos, sparring over the increasingly turbulent rhythm, while Shechter’s piano, high in the mix, weaves beneath the horns, matching their intensity. The strings don’t just hover in the background, they add depth and drama.
Much like Dorothy being swept away by a whirlwind in The Wizard of Oz, ‘111’ and ‘222’ instantly transport listeners into a world where Adema and Preminger go toe-to-toe in concise, atmospheric improvisations. Adema bends his trombone through a pedal board, twisting it into something nearly unrecognizable, creating a whirlwind of sound that disappears almost as quickly as it arrives.
‘Y-Axis,’ with its skittering rhythms, has the saxophone and trombone in a tight call-and-response. Adema fires off rapid bursts of clean, crisp notes, then smears a couple like a sprinter gliding across a slick patch of ice.
‘Oak ’is the only vocal track on URBAN CHAOS, featuring Liva Dumpe’s pure, childlike voice. The song, a love letter to innocence, was written by Adema, and its lyrics resonate deeply, especially given the album’s dedication to his late mother.
‘Doglio ’opens with an impressive bass solo from Onwuka, before the tempo shifts in unexpected ways. Adema’s trombone takes flight, joined by the sax for some beautiful unison playing, leading into a stunning tenor sax solo, with the piano comping gracefully behind. Bone and sax sync up again, then Adema dazzles with a captivating solo of his own.
After his mother’s passing, Nick Adema thought about walking away from music. But remembering how much she had supported his career, he chose to keep going. We’re fortunate he did.
