Emily's D+Evolution

The album was co-produced by Spalding and longtime David Bowie collaborator Tony Visconti.[1][2] On the album, Spalding sings through the alter ego of Emily, which is her middle name.[3][4] In an interview, Spalding stated that Emily "is a spirit, or a being, or an aspect who I met, or became aware of. I recognize that my job...is to be her arms and ears and voice and body".[5]

Professional ratings

Aggregate scores
Source	Rating
AnyDecentMusic?	7.9/10[6]
Metacritic	84/100[7]
Review scores
Source	Rating
All About Jazz	[8]
AllMusic	[1]
Exclaim!	7/10[9]
The Guardian	[10]
Now	[11]
Pitchfork	8.6/10[5]
PopMatters	9/10[2]
Rolling Stone	[12]
Stereophile	[13]
Tom Hull	B[14]

Emily's D+Evolution received widespread critical acclaim from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 84, based on 14 reviews, which indicates "universal acclaim".[7]

Marcus J. Moore of Pitchfork Media praised the album, stating, "The lyrics are elusive at first, darting behind fast-moving songs and delivered in impressionistic, conversational bursts that recall the delivery of Joni Mitchell. But the fearless generosity behind them communicates itself loud and clear, and it's a spirit that animates the entire album. With it, Spalding has once again redefined an already singular career, dictating a vision entirely on her own terms".[5] Michael J. Warren of Exclaim! commented, "Emily's D+Evolution is a tough album to get a full grasp on. It's not a neat alter ego side project; rather than going the Chris Gaines route, Esperanza Spalding is again flexing her range, showing that her playing style and voice can find a home in any genre. There are moments here where she falls into a nice pocket that the listener might wish she'd remain in for a little while longer."[9] Christopher R. Weingarten of Rolling Stone added, "...Emily’s D+Evolution is a far more ambitious and thornier affair. The lyrics, flowing in disjunctive clusters, are about deleted narratives, glass ceilings and dreams deferred – ultimately a complex, funky prog-rock concept opera about love and identity.[12]

Credits adapted from the liner notes of Emily's D+Evolution.[15]

Main personnel

• Esperanza Spalding – vocals, bass (tracks 1-11, 13, 14), piano (10, 12), bass synthesizer (12)
• Matthew Stevens – guitar
• Karriem Riggins – drums (2-5, 7, 8, 10, 13), percussion (9)
• Justin Tyson – drums (1, 6, 11, 12, 14)
• Corey King – backing vocals (1, 2, 5-7, 12-14), synthesizer (6), trombone (8), keyboards (12)
• Emily Elbert – backing vocals (1, 6, 11, 12, 14)
• Nadia Washington – backing vocals (2, 5, 7, 13)
• Celeste Butler, Fred Martin, Katriz Trinidad, Kimberly L. Cook-Ratliff – backing vocals (11)

Additional personnel

• Esperanza Spalding – production
• Tony Visconti – production (2-5, 7-10, 13), mixing (2-5, 7, 9, 10)
• Kyle Hoffman – engineering
• Tim Price – engineering
• Erin Tonkon, Kyle McAulay, Martin Cooke, Nicolas Fournier – assistant engineering
• Rich Costey – mixing (1, 6, 8, 11, 12, 13)
• Mario Borgatta – assistant mixing
• Paul Blakemore – mastering
• Lawrence Azerrad – graphics, design
• Holly Andres – photography