Jazz Night in America

Friday 11pm, Saturday 6pm
  • Hosted by Christian McBride

Go to the Jazz Night in America full program page.

Jazz Night in America presents content from across the nation on multiple platforms. JNIA presents both video featuring concert performances as well as storytelling around amazing concert performances including the artists, the venues, the fans, and the larger dynamics at play. Jazz Night in America is a rich presentation of the uniquely American art form that strives to reinvigorate public media jazz programming for audiences today.

What would you say if I told you that drums can sing? The best jazz drummers have always understood this as fact. Allison Miller has even made it a core part of her artistic mission — as drummer, a composer and a bandleader, notably with her ensemble Boom Tic Boom.

Frank Stewart / Jazz at Lincoln Center

Jazz has always been a music of continuum, its secrets passed down across generations. Benny Green is a shining embodiment of this process: A pianist originally inspired (and eventually endorsed) by mid-century modernists like Oscar Peterson; An apprentice to two of the music's greatest mentors, Betty Carterand Art Blakey; A conservationist of the bebop idiom, and a joyful guardian of its lexicon.

 

Jazz has always been a music of continuum, its secrets passed down across generations. Benny Green is a shining embodiment of this process: A pianist originally inspired (and eventually endorsed) by mid-century modernists like Oscar Peterson; An apprentice to two of the music's greatest mentors, Betty Carter and Art Blakey; A conservationist of the bebop idiom, and a joyful guardian of its lexicon.

Stella K. / WBGO

 

The first "destination" jazz festival took place in Newport, R.I., in 1954 — multiple days, one stage and gorgeous scenery. These days, Newport is going strong, as is Monterey in California, and the festival model has expanded to multiple stages and far beyond big-brimmed hats and lawn chairs.

Still, Snarky Puppy leader Michael League saw a void and an opportunity. After years of performing at festivals around the world, the 34-year-old bassist founded the GroundUP Music Festival in order to bring musicians and fans together in an intimate setting: the beach. Miami Beach, to be exact.

Virtuosity — of a dazzling, ebullient, yet altogether generous sort — might be the most obvious bridge between David Holland and Zakir Hussain. But there's also a deep cultural foundation behind their musical dialogue, which forms the beating heart of a project called Crosscurrents.

Alan Nahigian / Courtesy of the artist

Harold Mabern has never had any hang-ups about not being the center of attention. "I get joy out of being an accompanist," the pianist affirms, likening himself to an offensive lineman on a football team. "When you can do something to make the soloist happy and proud," he says plainly, "you've done your job."

Harold Mabern has never had any hang-ups about not being the center of attention. "I get joy out of being an accompanist," the pianist affirms, likening himself to an offensive lineman on a football team. "When you can do something to make the soloist happy and proud," he says plainly, "you've done your job."

Colin Marshall / NPR

It isn't typically news when a jazz group makes a change in personnel. But The Bad Plus isn't a typical jazz group, and its announcement, this time last year, landed like a bombshell. In short: Ethan Iverson, the band's pianist, would be leaving to pursue his own projects. Orrin Evans, an esteemed peer, would be stepping in. For a group that has always stood for musical collectivism — and never accepted any substitutions — this was a shakeup of existential proportions.

It isn't typically news when a jazz group makes a change in personnel. But The Bad Plus isn't a typical jazz group, and its announcement, this time last year, landed like a bombshell. In short: Ethan Iverson, the band's pianist, would be leaving to pursue his own projects. Orrin Evans, an esteemed peer, would be stepping in. For a group that has always stood for musical collectivism — and never accepted any substitutions — this was a shakeup of existential proportions.

Last month, the National Endowment for the Arts crowned four new NEA Jazz Masters, including Todd Barkan, a jazz advocate whose early interest in Latin jazz piano turned into a successful five-decade career as a prominent impresario, club owner and record producer. Guitarist Pat Metheny continues to redefine the parameters of his instrument through innovative technique and signature sound. Pianist Joanne Brackeen's unique style commands attention, and Dianne Reeves has become one of the world's preeminent jazz vocalists, whose genius in retrospect seems ceaseless.

Maybe you became aware of Jazzmeia Horn five years ago, when she took first prize at the Sarah Vaughan International Jazz Vocal Competition. Maybe you got hip when her debut album, A Social Call, was released last year. Maybe you caught her turn on the most recent Grammy Premiere Ceremony, when she knocked a scat chorus into the stratosphere.

Since Dizzy Gillespie and Chano Pozo birthed "Manteca" in the '40s just as Cuban musicians like Machito were shaking up New York's jazz scene, Afro-Cuban jazz has continued to entice and fascinate North American musicians into new collaborations and explorations.

No jazz musician has ever been heard more on public radio than the late Marian McPartland, the host of NPR's Piano Jazz for more than 40 years. But for all her ubiquity, how well did we really know her?

Lizz Wright is well acquainted with the storytelling power of a journey. Her music, rooted in the gospel truths and rustic byways of this country, could be seen as a sustained meditation on movement: not just the flow of bodies in rapturous rhythm, but also the trajectories that mark a life story.

Some experiences stick with you. They cry out for reflection, for the transfigurative potential of an artistic response. That was the case for Mike Reed, the intrepid Chicago drummer and bandleader, after his harrowing encounter with white supremacists in 2009.

Fred Hersch is no stranger to the art of introspection. As a pianist, a composer, a bandleader and a sideman, he has always combined clarity of projection with a willingness to go deep. His latest expression of interiority is a graceful and revealing memoir, Good Things Happen Slowly, which takes shape as a gradual declaration of selfhood, in personal as well as artistic terms.

Every year, each of the eight members of the SFJAZZ Collective is tasked with two writing assignments. The first: Compose a new piece specifically for the band, which gathers some of the most outstanding performers on the modern jazz scene. The second: Rearrange a composition by the elder artist that the Collective has chosen to feature that year. For the 2014-15 season, SFJAZZ is paying tribute to a tenor saxophone titan, a composer of classic tunes and a long-time San Francisco resident: the late Joe Henderson.

The Hammond electronic organ was developed with churches in mind, as a lower-cost alternative to pipe organs. But in Philadelphia, a keyboard player named Jimmy Smith was inspired by early jazz experiments on the instrument, and found a devastating way to adapt the new bebop style to the Hammond B-3. It seeded a new tradition of organ players in Philadelphia — major figures like "Groove" Holmes, Jimmy McGriff, Papa John and Joey DeFrancesco, and Trudy Pitts — and kickstarted a new sound in jazz at large.

It's not as if there were ever clear paths for cello players beyond the European classical tradition, but Akua Dixon made one for herself. The New York City native found work in the pit band of the Apollo Theater, the multi-racial Symphony of the New World, and the bands of many jazz musicians — including drummer Max Roach's Double Quartet. As she developed her jazz chops, she also started her own string quartet, featured prominently on her new self-titled album. Akua Dixon also features her crafty arranging for strings over jazz standards and Afro-Latin grooves.

For decades, David Murray was known as one of New York's most monstrously talented and astoundingly prolific artists — a tenor saxophonist who played and wrote for just about every imaginable context. He's still these things, but he lives in Europe now. So this year's Winter Jazzfest — already jam-packed with over 100 acts in two nights — saw fit to give New York audiences a proper saturation of what they'd been missing, presenting David Murray in three completely different sets.

Courtesty Jazz.org

Our partners at Jazz at Lincoln Center continue a beloved New York tradition with soulful renditions of holiday classics by the Jazz at Lincoln Center Orchestra with Wynton Marsalis. 

One way or another, you've heard Grover Washington Jr.'s saxophone. Perhaps on "Mister Magic" or another of his instrumental hits, like "Winelight." Or on "Just the Two of Us," the smash hit featuring Bill Withers.

Unfathomable. Unimaginable. These are among the words used to describe the recent mass shooting in a rural Texas church, which left more than two dozen parishioners dead, eight of them children. For many of us, the inhuman horror of this act literally defies comprehension. The dimensions of the tragedy are all too familiar for Jimmy Greene.

The music of pianist and composer Abdullah Ibrahim conveys an extraordinary depth in stillness. More than perhaps any other improvising artist, he knows how to turn the solitary act of introspection into a communal experience that's both transporting and immersive.

Jazz singing has always been a tree with firm roots, but a wild entanglement of branches. Its sound and shape are mutable, prone to outside influence and local inflection. Take the two artists featured in this week's episode of Jazz Night in America, recorded at the 2017 San Jose Jazz Summer Fest — each a cultural ambassador as well as a cosmopolitan, with the elusive ability to bring any audience along for the ride.

"Never forget" became a national rallying cry after the attacks of Sept. 11, 2001.

Yet America's schools — where collective memory is shaped — are now full of students who never knew because they weren't alive then. Many teachers now struggle with whether and how to teach the attacks and their aftermath.

According to one survey, only about 20 states include anything in depth about the events of that fateful day in their high school social studies curriculum.

And when they are taught, critics say, it's often through a narrow lens.

Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled "Home." It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. "I'm just going to send this out as a meditation for everybody in Houston, Texas right now," said Scott, a drummer, as he introduced the tune.

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