WCSU

Nate Chinen

The following text was originally published alongside the live web stream of the 2018 NEA Jazz Masters, which took place on April 16. A recording of the event can now be viewed by clicking on the video above.

Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran's deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.

Terence Blanchard has always been drawn to a form of lyricism that runs burnished and bittersweet. You can track this mood throughout his career as a post-bop trumpeter, and no less in his dozens of film scores, in and beyond a long affiliation with Spike Lee.

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?

Wayne Shorter didn't release any new music in 2017. But that's not to say the eminent saxophonist, composer and NEA Jazz Master had anything less than a banner year. In the spring he returned to Newark, for the first time in ages, as the honored guest of a festival at the New Jersey Performing Arts Center.

Every year around this time, the jazz community takes the measure of its highlights and bright moments — along with a tally of its losses. And while it's true that important jazz artists leave us every year, 2017 was tougher than most.

This was an excellent year for jazz on record, across every possible iteration of style. (If you're seeking evidence for the claim, consult the 2017 NPR Music Jazz Critics Poll.) But it's always worth pointing out that albums only tell part of the story, which often assumes different dimensions at street level, where the music pulses in real time.

Robert Glasper's music is a study in convergences. A pianist, bandleader and composer with a strong foothold in modern jazz, he belongs no less to the terrain of contemporary gospel, alternative hip-hop — and R&B, the category under which he won his first two Grammy awards (of three). Glasper has carved a signature out of this cross-genre dialogue; consult his recent explainer for Jazz Night in America, about the jazz roots of some famous hip-hop samples.

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.

José James, the eclectic, groove-minded jazz singer, has made no secret of his fondness for Bill Withers. There's a medley that James has been singing in concert for years, linking Withers' despondent anthem "Ain't No Sunshine" with an upturning grace note, "Grandma's Hands."

Louis Hayes spent his youth creating the pulse of hard-bop, as a top-shelf drummer with artists like Cannonball Adderley and Horace Silver. He turned 80 this year, marking the occasion with his own Blue Note Records debut as a leader, Serenade for Horace.

Miguel Zenón was 12 when he first experienced the devastation of a major hurricane in his homeland, Puerto Rico. That was Hugo, which hit as a Category 3 in 1989, and drove nearly 30,000 residents from their homes.

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