Despite the tremendous losses suffered during those terrifying days and nights in August ten years ago, we pause to remember those who were lost... celebrate those who survived... and praise those who call New Orleans home.
Though jazz was never dead, it has definitely been seeing a resurgence within the past few years. Not only has it been regaining popularity, but it has also evolved, keeping its same technical sensibilities but adding new elements that are keeping the genre fresh and very much alive.
Reuben, you've built part of your story by engineering for acts like Basement Jaxx, Courtney Barnett and even The London Symphony Orchestra. Where does performing and recording as an artist yourself fit into your bigger creative picture?
At the glamorous waterside student union on the campus of the University of Wisconsin, 50 feet from where he first played with Steve Miller and Boz Scaggs back in the '60s, Madison-based jazz artist Ben Sidran gazed out at the summer crowds exuding satisfaction and serenity. No regrets.
At 6:43 in Snarky Puppy's video for "Lingus," the closer on 2014's We Like It Here, Shaun Martin puts his head in hands. As Cory Henry climbs closer to the finale of a stratospheric keyboard solo, Martin's mock disgust -that "this dude" gesture- embodies what we're all feeling.
Tonight I'm joined by two-time Grammy-winner Robert Glasper. The talented and innovative pianist has reunited with his jazz trio on the hit new album, Covered, which was recorded in front of a live audience at Capitol Studios.
The Late Show with Stephen Colbert recently named charismatic New Orleans jazz musician Jon Batiste as bandleader. At the 2014 Aspen Ideas Festival, Batiste sat down with Aspen Institute President Walter Isaacson for a lively conversation that was part performance and part discussion.
American guitarist Les Paul would have turned 100 years old this week. Born in Waukesha, Wisconsin on June 9, 1915, Paul became one of the most important figures in popular music during the middle decades of the twentieth century.
In '93, The Blue Note in New York City advertised "A Rare Club Date With B.B. King." I bought tickets, and some friends showed up early for the first come, first served general admission. We ended up front-row center, directly in front of his eminence.
Almost all of the audience stood and sang and cheered the entire time as if at a rock concert. And after, the musicians would retreat to eat and jam at villas into the early hours, hosted by Italians who opened their hearts as well as their homes.
How many club owners would ask Lady Gaga or Keith Jarrett to play for free? None. Why? Because both artists can generate ticket sales and bar receipts that exceed their fees -- a mutually beneficial arrangement for both the club owner and the artist, which is how it must be.
The problem with reviewing a set of songs recorded by an unknown vocalist, especially when the majority of songs were made popular by one of the greatest jazz singers of all time, is it's simply too easy to pick the songs apart and find fault in the smallest details.