Christian aTunde Adjuah

Scott's 2010 album Yesterday You Said Tomorrow was a successful manifestation of the music concept that he calls "stretch music". The concept understands and respects the jazz traditions that came before and doesn't attempt to replace them, instead trying to embrace within its rhythmic and harmonic frameworks as many musical forms and cultural languages as possible. Christian aTunde Adjuah and later Stretch Music are thoughtful extensions of that trend.[3]

At Metacritic, that assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 75, based on six reviews, which indicates "generally favorable reviews".

John Fordham of The Guardian wrote, "The double album Christian aTunde Adjuah broadens the themes further: to his family's African ancestry, contemporary inequality and racism, globalisation and war. It isn't a lecture, but a courageous and ambitious experiment. The proclamatory purity of Scott's trumpet sound could carry much of the set's message on its own, but guitarist Matthew Stevens' raw chords and churning vamps make effective contrasts with the leader's silvery double-time passages."[4] Chris Ray of All About Jazz noted, "Extra-musically, too, aTunde Adjuah is a manifesto for change. Scroll down the track listing: the titles reference issues such as the rape of 400 African women in the Sudanese town of Rokero by Janjaweed militiamen ("Fatima Aisha Rokero 400"), the killing of an innocent black teenager in Florida earlier this year ("Trayvon"), the demonization of the homeless in the US ("Vs. The Kleptocratic Union: Mrs McDowell's Crime"), the trafficking of women for the sex trade ("Away: Anuradha And The Maiti Nepal"), conflict in the Middle East ("Jihad Joe"), the legacy of slavery in the US ("Dred Scott"), police killings of innocent people in New Orleans in the wake of hurricane Katrina ("Danziger"), and HIV/AIDS ("The Berlin Patient: CCR5")... Scott's music is instrumental rather than vocal, so he addresses these issues not with words, but with attitude and vibe; track titles and liner notes are the only words you get. His message is no less coherent for that, and, while it may not have the narrative literalism of "conscious" rap music, it has the same relevance, accessibility and immediacy."[2]

David Amidon of PopMatters noted, "Mostly, Christian aTunde Adjuah continues to emphasize Scott's apparent interest in the qualities of post-rock performers like Mogwai and Do Make Say Think. While his trumpet no doubt plays lead throughout the album, it's often hard to avoid getting the impression this time around that Matthew Stevens has earned equal sway within the band. Many of the tracks' most dominant melodies are his, with Scott's trumpet taking control by sheer volume as much as tonal impact. He is still by the far the most agreeable thing about this record, the reason you'd want to keep coming back for more, but this two disc set does feature plenty of songs that feel like a rock band playing host to a trumpet soloist rather than the other way around. This is where Scott's description of his compositional style - termed "stretch" or "forecasting cell" in his liners - comes into play. "Stretch jazz" essentially feels like an easy way to avoid saying "post rock + math rock + jazz", but his explanation for "forecasting cells" has more science to it."[10]

All tracks are written by Christian Scott unless otherwise indicated.

• Christian Scott – trumpet, siren, sirenette, reverse flugel
• Matthew Stevens – guitars
• Lawrence Fields – piano, Fender Rhodes, harpsichord
• Kristopher Keith Funn – bass
• Jamire Williams – drums
• Kenneth Whalum III – tenor saxophone on "I Do"
• Corey King – trombone on "Of Fire (Les Filles de la Nouvelle Orleans", "Liar Liar", "When Marissa Stands Her Ground", and "Away"
• Louis Fouche – alto saxophone on "Of Fire (Les Filles de la Nouvelle Orleans" and "When Marissa Stands Her Ground"