Chicago-based composer and clarinetist Angel Bat Dawid is seeing a resurgence of interest in her 2019 debut album, The Oracle, following the announcement of a new IA11 Edition vinyl release from International Anthem. The album, which Dawid recorded and mixed using only a cell phone during her travels, served as the catalyst for a prolific period of creative output that continues through 2026.
A Turning Point in Career
The release of The Oracle in January 2019 marked a significant turning point for Dawid. According to International Anthem, the initial modest release via cassette and digital formats received immediate and immense responses. Within a single month of the announcement, Dawid began appearing on magazine covers and receiving invitations to perform at international festivals.
The album's unique production style was a direct result of Dawid's personal circumstances. Following a brain tumor diagnosis that forced her to halt her music studies at Roosevelt University, Dawid had been working full-time to manage medical bills. This period included a stint as a hip-hop producer, where she collaborated with fellow Chicagoan DeLundon to form the group Angel/DeLundon.
In 2014, Dawid made the decision to quit her job and cash out her 401K to live off those funds for one year. This period of financial risk allowed her to rediscover her connection to free and spiritual jazz, ultimately leading to the creation of her debut.
DIY Production and Musical Style
The Oracle is characterized by a blend of powerful, emotive songs and heavy, free improvisation. Dawid utilized a DIY approach, recording and mixing the tracks entirely on her cell phone while traveling across the globe. This method was highlighted by collaborator and percussionist Asher Gamedze, who noted in liner notes that Dawid's fieldnote approach proves the everyday can be a legitimate site for creative production.
Collaborative Spirit
Gamedze, the only other musician to appear on the original recording, provided drums for the track "Capetown." He described Dawid as a "living exemplar and extension of the spacious sonic horizons opened by the likes of the AACM," noting her refusal to accept limitations on her creative vision. Gamedze's commentary emphasizes the album's ability to blur the lines between composition and improvisation, creating a multi-layered collage of history, struggle, and travel.
The musical journey documented in The Oracle spans various influences and locations. The track "Capetown" features an exchange between Dawid on clarinet and South African drummer Asher Gamedze, documenting their first meeting at his home in South Africa. Other tracks, such as "What Shall I Tell My Children Who Are Black," utilize layered vocals with elements of traditional gospel and operatic contralto to address themes of racism in America.
Themes of Identity and Future
The album's themes also touch upon Afrofuturism, particularly in the song "We Are Starzz." Originally written for her live set at NYC’s Winter Jazzfest, the track blends digital and acoustic sounds to represent a glimmer of hope for the future. This thematic exploration of identity and history is a hallmark of Dawid's work, which she has continued through several subsequent releases.
A Prolific Discography After The Oracle
Since the success of The Oracle, Dawid has maintained a consistent and high-volume creative output. Her discography includes the 2020 LIVE album with Tha Brothahood, the 2020 EP Transition East, 2021's Hush Harbor Mixtape Vol. 1 Doxology, and the 2023 opus Requiem for Jazz. Her most recent collaborative work includes Journey to Nabta Playa, a collaboration with Naima Nefertari.
