WBGO Blog
  • Watch Sarathy Korwar Play A Nighttime Meditation On Tablas And Computer

    May 12, 2017

    image
    Sarathy Korwar performs for NPR's "Night Owl" series. (Image Credit: NPR)

    Editor's note: You can hear Sarathy Korwar and other leading players in London's jazz scene in this week's Jazz Night In America radio episode.

    Sarathy Korwar, a percussionist and electronic producer born in the United States but raised in India and now working in London, released a knockout album last year, Day To Day. Working with his own field recordings of the Sidi Troupe of Ratanpur, which consists of five drummers who also vocalize, Korwar sought to illuminate patterns of human migration and drift, and the small-scale but profound ways in which cultures can meld.

    During the 2017 South by Southwest music festival in Austin, Texas, Jazz Night In America asked Korwar to perform a track from Day To Day for NPR's "Night Owl" series. He played "Indefinite Leave To Remain," a song whose themes bear direct relevance to the issue of cultural exchange in an era of high geopolitical tension. On the street below, revelers and traffic made a distant racket — but Korwar, sitting on an open-air hotel balcony, created a zone of quiet focus and meditative intent.

    CREDITS:

    Director: Nickolai Hammar; Producer: Josie Holtzman; Animation: CJ Riculan; Video: Nickolai Hammar; Audio Engineer: Josh Rogosin; Series Producer: Benjamin Naddaff-Hafrey; Series Creator/Supervising Producer: Mito Habe-Evans; Executive Producer: Anya Grundmann

    Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit WBGO and Jazz At Lincoln Center.

  • Get To Know London's Thriving Jazz Scene (By Way Of Austin, Texas)

    May 12, 2017

    image
    Nathaniel Cross on trombone, Binker Golding on tenor saxophone, Moses Boyd on drums and Theon Cross on tuba perform at SXSW in March 2017. (Image Credit: Nicole Fara Silver/Courtesy of Jazz Standard)

    Moses Boyd Exodus ended its performance at the 2017 South by Southwest music festival with a rampaging take on its trademark tune, "Rye Lane Shuffle." Drummer Moses Boyd, the band's young founder and namesake, rumbled freely on his toms, joined by a fervent-sounding Binker Golding on tenor saxophone. The groove that emerged was Nigerian Afrobeat by way of a modern jazz metropolis — one with every resource at hand.

    This all went down in mid-March, at a club just off bustling East Sixth Street in Austin, Texas. Jazz Night In America was there — because for that evening, strange as it sounds, there were no better coordinates in the world for an up-to-the-minute dispatch from the vibrant new jazz scene of London.

    Boyd is an anchor of that scene, and in some ways a shining embodiment of it: Born and raised in Southeast London, to parents of Jamaican and Dominican stock, he grew up around a cacophony of West Indian and African music, as well as jazz, garage, dubstep and grime. He brings those elements together in his music, with the no-nonsense flair of someone accustomed to a high standard for cosmopolitan exchange.

    Shabaka Hutchings, the lanky, soft-spoken tenor saxophonist and clarinetist who leads Shabaka and the Ancestors, subscribes to a similar ideal. Born in London, he moved to Barbados at age 6 and stayed there for the next decade. As a returning Londoner, he gigged with a wide range of groups, forming one of them — Sons of Kemet, inspired by folkloric African and Caribbean sources — with colleagues including tuba player Theon Cross. Hutchings received global acclaim for his most recent album, Wisdom Of Elders, featuring musicians from South Africa.

    Sarathy Korwar, a percussionist and electronic producer born in the United States but raised in India and now working in London, also released a knockout album last year, Day To Day. Working with his own field recordings of the Sidi Troupe of Ratanpur, which consists of five drummers who also vocalize, Korwar sought to illuminate patterns of human migration and drift, and the small-scale but profound ways in which cultures can meld.

    This year, SXSW faced criticism for a series of missteps related to immigration policies under a new presidential administration. This had an impact on the London jazz contingent, which was originally due to feature the bands United Vibrations and Yussef Kamaal. When drummer Yussef Dayes, who plays in both groups, had his visa denied at the last minute, the story became part of an international outcry. (Dayes' two brothers, Ahmed and Kareem, core members of United Vibrations, were also denied.)

    The injustice of the exclusion became a subtext in the British jazz showcase at SXSW, which was presented by the London curation engine and record label Jazz Re:freshed. The show ended with a solidarity jam, featuring Boyd, Hutchings and Korwar, along with their bandmates.

    Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit WBGO and Jazz At Lincoln Center.

  • Dee Dee Bridgewater: Fearless And Free

    April 27, 2017

    image
    Dee Dee Bridgewater performs at Jazz At Lincoln Center. (Image Credit: Frank Stewart/Jazz At Lincoln Center)

    When Dee Dee Bridgewater learned that she would become a 2017 NEA Jazz Master, a succession of thoughts and feelings flooded her mind. The news came as a total shock, as she tells it: "It was so far out of my orbit and just my whole sphere of thinking," she said in a conversation at NPR this spring, hours before she formally received her award.

    She's 66 — far from retirement age in jazz, and on the extreme forward edge of the NEA Jazz Masters demographic. So she was aware of her relative youth in the field. She also recognized that there haven't been many women in the ranks of NEA Jazz Masters: fewer than 20, out of 145. That idea led her to reflect on her predecessors: legendary singers like Betty Carter, who was inducted back in 1992, and Abbey Lincoln, who received the nod in 2003.

    Bridgewater sought inspiration and counsel from both Carter and Lincoln, as she recalls in this episode of Jazz Night, which features music recorded during the season opener for Jazz at Lincoln Center. On a program called "Songs of Freedom," organized by drummer Ulysses Owens, Jr., Bridgewater sang material associated with Lincoln as well as Nina Simone: furious anthems of the civil rights movement, like "Driva Man" and "Mississippi Goddam," both potent and relevant today.

    A separate concert, "Songs We Love," found Bridgewater singing less politically charged (but still gripping) fare like "St. James Infirmary," which appears on her most recent album, Dee Dee's Feathers. She worked with a different group of musicians on that evening, but still leaned on younger talent — a reminder of the role that she herself has embraced, as a mentor in the music.

    In words as well as music, this episode reveals how seriously Bridgewater takes that responsibility, seeing as how it connects to her own experience in the jazz lineage. But maybe "seriously" isn't the right word when it comes to Dee Dee, whose effervescence shines through even in a reflective mood. Join her here for a while; she's excellent company, no more or less so now that mastery is officially a part of her résumé.

    Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit WBGO and Jazz At Lincoln Center.

  • The 2017 NEA Jazz Masters, In Their Own Words

    April 20, 2017

    image
    2017 NEA Jazz Masters Dave Holland, Dick Hyman, Dee Dee Bridgewater, and Dr. Lonnie Smith (not pictured: Ira Gitler) at the 2017 NEA Jazz Masters Awards Dinner, sponsored by BMI, on April 2, 2017. (Image Credit: Yassine El Mansouri/Courtesy of the Kennedy Center)

    This year's class of NEA Jazz Masters is as accomplished as they come, with Dee Dee Bridgewater on vocals, Dr. Lonnie Smith on organ, Dave Holland on bass, Dick Hyman on piano and Ira Gitler representing the ranks of jazz journalists. In this episode, Jazz Night in America explores the artists' origin stories: how, why and when they got their starts. Rare, live recordings of Holland and Bridgewater were unearthed from the NPR archive. Hyman joins the program from Jazz at Lincoln Center, and Smith from The Jazz Standard in New York.

    The NEA Jazz Masters Award is often described as the nation's highest honor for a living jazz musician. From the first, its program has celebrated a broad aesthetic range — its inaugural class of honorees, in 1982, consisted of bebop icon Dizzy Gillespie, his trumpet precursor Roy Eldridge and the interstellar visionary Sun Ra. As those initial inductees show, the roll call of NEA Jazz Masters has represented striking diversity within the uppermost echelon of achievement in this music.

    Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit WBGO and Jazz At Lincoln Center.

  • 'Jazz Is The Mother Of Hip-Hop': How Sampling Connects Genres

    April 19, 2017. Posted by Alex Ariff.

    Why do hip-hop producers gravitate toward jazz samples? For a mood, for sonic timbre, for a unique rhythmic component. Swing is a precursor to the boom-bap. "If you're a hip-hop producer that wants a lot of melodic stuff happening," pianist Robert Glasper says, "you're probably going to go to jazz first."

    Glasper has lived in an area of overlap between jazz and hip-hop for more than two decades — and you can hear it in his piano playing, which often drifts into cyclical rhythms akin to a beat-maker's loops. It's all one and the same to Glasper: recasting the music of Miles Davis for an R&B audience or rocking live shows with Q-Tip; playing acoustic jazz with his trio or streamlined soul with his Grammy-winning Robert Glasper Experiment.

    In this short doc, Glasper identifies three jazz samples, from tracks by Ahmad Jamal and Herbie Hancock, that have served as source material for famed hip-hop producers J Dilla and Pete Rock.

    CREDITS:

    Producers: Alex Ariff, Colin Marshall, Nick Michael, Cameron Robert; Editors: Nick Michael, Morgan Noelle Smith; Animator: CJ Riculan; Sound Editor/Audio Engineer: Suraya Mohamed; Videographers: Nick Michael, Cameron Robert; Interviewer: Alex Ariff; Project Manager: Suraya Mohamed; Senior Producer, Radio: Katie Simon; Executive Producers: Gabrielle Armand, Anya Grundmann, Amy Niles; Special Thanks: Robert Glasper, Michael Gonik, Steinway Hall; Funded in part by: The Argus Fund, The Wyncote Foundation, The National Endowment for the Arts, Doris Duke Foundation

    MUSIC:

    • Ahmad Jamal Trio, "I Love Music," The Awakening (1970)
    • Nas, "The World Is Yours," Illmatic (1994)
    • Herbie Hancock, "Come Running To Me," Sunlight (1978)
    • Slum Village, "Get This Money," Fantastic, Vol. 2 (2000)
    • Ahmad Jamal, "Swahililand," Jamal Plays Jamal (1974)
    • De La Soul "Stakes Is High," Stakes Is High (1996)
    Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit WBGO and Jazz At Lincoln Center.