April 11, 2015
Since she was a teenager, saxophonist Hailey Niswanger has been drawing attention in the jazz world, and not just because she's a woman in bands most often populated by men. Niswanger's alto- and soprano-sax mastery is captivating. Now 25, she's just released her third album as a bandleader, PDX Soul, and is preparing to go on tour with fellow Portland, Ore., native Esperanza Spalding.
The funk-influenced PDX Soul, which finds Niswanger embracing heavy production and certain elements of smooth jazz, represents a departure from her straight-ahead jazz albums.
"I wanted to show another side of my passion," says Niswanger, who points to Cannonball Adderley, Herbie Hancock and Miles Davis as models of artists who have moved easily among musical styles. "Maybe it's more prone for festival-type vibes and outdoor, standing venues — dance, get up and move."
Niswanger says she sees an opening among her generation for jazz in the way it crosses genre boundaries.
"I think jazz is starting to break into other areas," she says. "I know that this big hip-hop album that just came out, Kendrick Lamar's To Pimp A Butterfly, there's jazz all over the album. There's improvisation; there's jazz saxophone playing all up in there. It's definitely starting to cross over, and I think there might be a new wave of interest, especially for the younger crowd."
NPR's Tamara Keith spoke with Niswanger about PDX Soul, the story of how the saxophone first called to her, and the unique challenges of playing the soprano sax. Hear their conversation at the audio link.Copyright 2015 NPR. To see more, visit http://www.npr.org/.
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April 9, 2015
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.
Jazz Night In America visits Philadelphia for a history lesson and dance party: a tribute to organ masters Smith, Shirley Scott and Charles Earland with six local organists, multiple bands and three guest vocalists. With WXPN, WRTI and the Philadelphia Jazz Project, Jazz Night visits World Cafe Live for a B-3 jam featuring many of the city's finest musicians.
© 2015 WBGO
April 7, 2015Billie Holiday has become a mythic presence in absentia. (Image Credit: William Gottlieb/Getty Images)
Most artists belong to their times, but Billie Holiday, born 100 years ago Tuesday, fits in the present. In a way, she died before her time, just as the country was beginning to talk about race, drugs, feminism and misogyny — all of which converged in her life.
Her death in July 1959 was only briefly noticed in the media. Few would have imagined then that the centennial of her birth would be an occasion for remembrance. But legends are about a state of mind, not a state of being, and some thrive best when they're not in competition with a living person. This is especially true of Holiday.
There was something special about her. Jazz musicians and some fans heard it, and so did a young record producer named John Hammond. He heard an 18-year-old Holiday sing in a small club in April 1933.
"I listened to this girl, and I just couldn't believe my ears that here was a singer who sounded like an instrumentalist, like one of the most advanced instrumentalists there had ever been," Hammond once said. "So I started talking to Billie, and Billie had had a fairly checkered career by then. She'd been in jail and everything. And Billie had already been arrested for prostitution at 14."
They sold well enough. And by the late 1930s, she had made more than 100 records. But in 1938, in the prime of her career, she ranked only 14th in the annual Down Beat reader poll. Many didn't know her name, even at Harlem's Savoy Ballroom.
In 1939, Holiday heard a song called "Strange Fruit." But the recording label Columbia refused to record it, so she made it for a tiny jazz label. It was a slow, somber, frightening dirge about an unspeakable topic — lynching.
"Strange Fruit" changed Holiday from a jazz singer to an actress. Her performances became small, intimately structured theater. She played herself, sitting on a stool in a pin spotlight with a gardenia in her hair.
The rest of her life became a theater of self-destruction. Her albums became increasingly difficult to listen to as her voice hardened into a gnarled cackle. She forgot lyrics. She lost her confidence.
In July 1959, she died in a New York hospital, under arrest on drug charges and cuffed to her hospital bed. The New York Times ran a short, un-bylined obituary on page 15. She was 44 and left an estate of $1,000. Her greatest work of the '30s was mostly out of print. Soon, all that was about to change.
Holiday's renaissance began quietly. In 1961, she was voted to the Down Beat Hall Of Fame. Soon after, Columbia restored nearly 100 of her greatest early records. In the '70s, Diana Ross won a Golden Globe and received an Oscar nomination for her portrayal of Billie Holiday in Lady Sings The Blues.
Holiday's 1941 recording of "God Bless The Child" entered the Grammy Hall of Fame in 1976. There would be another 22 posthumous Grammy wins or nominations associated with her work. In 2000, she was inducted into the Rock And Roll Hall Of Fame. Now, more than half a century after her death, every record she ever made is in print.
Great talents who court their own doom are forever fascinating to us, because they seem beyond our understanding. Maybe that's why Holiday became the mythic presence she is in absentia. That presence loomed larger than ever last year, when Audra McDonald brought it to Broadway in Lady Day At Emerson's Bar & Grill. McDonald accepted her sixth Tony Award on Holiday's behalf.
"I want to thank all the shoulders of the strong and brave and courageous women that I am standing on ... and most of all, Billie Holiday," McDonald said in her acceptance speech. "You deserve so much more than you were given when you were on this planet. This is for you."Copyright 2015 NPR. To see more, visit http://www.npr.org/.
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March 31, 2015
One hundred years after she was born, Billie Holiday remains iconic in American music, not to mention jazz singing. Cassandra Wilson has made her career in jazz singing by embracing a wide range of American music, and it holds true on her latest project: a new album rearranging the Billie Holiday songbook. The new Coming Forth By Day, created with rocker Nick Cave's producer and rhythm section, reshapes songs like "Good Morning Heartache" and "Strange Fruit" with fresh textures and resonances.
For Billie Holiday's centennial, Jazz Night In America presents Cassandra Wilson in concert at the Kennedy Center in Washington, D.C., performing her take on the classic tunes.
© 2015 WBGO
March 26, 2015
The genre choro — a word which means "cry" in Portuguese — is often described as "the New Orleans jazz of Brazil." Like its U.S. counterpart, both are Afro-Western hybrids which emerged in the early 20th century; both call for jam sessions showcasing improvisation and virtuosity. Both jazz and choro are also the domains of clarinetist and saxophonist Anat Cohen. Her newest band, the quartet Choro Aventuroso, culminates an affinity and intense study of Brazilian music — one which began as part of an international community of jazz students at Berklee College of Music in Boston.
Jazz Night In America visits Jazz at Lincoln Center to catch Cohen's group play its modernized take on waltzes, mazurkas and African-Brazilian rhythms such as the lundu — all of which help characterize the essence of choro.
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