Nate Chinen

Director of Editorial Content

Nate Chinen joined WBGO as the Director of Editorial Content at the start of 2017. In addition to overseeing a range of coverage at WBGO.org, he works closely with programs including Jazz Night in America and The Checkout, and contributes to a range of jazz programming on NPR.

Before joining the WBGO team. Chinen spent nearly a dozen years as a jazz and pop critic for the New York Times. He also wrote a long-running monthly column and assorted features for JazzTimes. He is a ten-time winner of the Helen Dance-Robert Palmer Award for Excellence in Writing, presented by the Jazz Journalists Association. The same organization presented him with its award for Best Book About Jazz, for his work on Myself Among Others, the autobiography of impresario George Wein.

Chinen was born in Honolulu, to a musical family: his parents were popular nightclub entertainers, and he grew up around the local Musicians Union. He went to college on the east coast and began writing about jazz in 1996, at the Philadelphia City Paper. His byline has also appeared in a range of national music publications, including DownBeat, Blender and Vibe. For several years he was the jazz critic for Weekend America, a radio program syndicated by American Public Media. And from 2003 to 2005 he covered jazz for the Village Voice.

Ways to Connect

Jimmy Katz / The Kurland Agency

Gary Burton opened his first set at Birdland on Tuesday night with “Bud Powell” — a tune by his longtime collaborator Chick Corea, set at a boppish saunter. Standing behind his vibraphone, four mallets ablur, Burton seemed in his element, perfectly at ease. There was no indication that this was a historic engagement: he was kicking off his final week-long run in a New York club, as part of a Farewell Tour.

Dave Valentin, a jazz flutist of virtuoso control, brisk rhythmic flair and a sprawling expressive language, died on March 8 in the Bronx. He was 64.

His manager, Richie Bonilla, confirmed his death. Valentin suffered multiple strokes over the last five years.

Bob Gore

Today, March 8, is International Women’s Day. In the spirit of the occasion, it’s worth spotlighting the Women's Jazz Festival at the Schomburg Center for Research in Black Culture in Harlem, which runs through the end of the month.

The kickoff event in the series, which took place on Monday night, was organized and anchored by harpist Brandee Younger, a leading voice on her instrument.

Jay Gilbert

There are many paths to a killer groove, and few fixed parameters. The most important criterion is an intangible: just how good, how essentially right, does it feel? Every new track featured in this installment of Take Five is a winner in that respect, whether we’re talking about a hard-swinging churn or a minimalist swirl. As a bonus, you’ll see a first-rate drummer do a goofy dance.

Misha Mengelberg
Peter Gannushkin / DOWNTOWNMUSIC.NET

Misha Mengelberg, a Dutch pianist and composer who embodied an irreverent yet fully fluent relationship to the jazz tradition, both in his influential solo career and as a founder of the Instant Composers Pool (ICP), died on Friday in Amsterdam. He was 81.

His death was confirmed by Susanna Von Canon, the manager of the ICP Orchestra.

Trombone Shorty has never made a secret of his affinity with New Orleans: the man and the milieu are inextricable, in musical as well as attitudinal terms. So it’s no surprise that the first single from his forthcoming Blue Note Records debut is a revamped classic from his hometown, “Here Come the Girls.”

Richard Kessler and John Zorn
Ang Santos / WBGO

The Stone, an internationally prominent performance space for avant-garde and experimental music in New York City, has secured a new home. John Zorn, its founder and artistic director, announced on Wednesday that after a scheduled farewell to its original location in the East Village, it will be revived in March 2018 as The Stone at the New School, inhabiting the Glass Box Theater at 55 West 13th Street in Manhattan.

Jordan Kleinman

John Patitucci is a bassist of lightning reflex and strong footing, equally comfortable laying down firm bedrock or dancing around a melodic idea. That flexibility extends to his career: he’s the longtime anchor of the Wayne Shorter Quartet; a linchpin in its spinoff trio, Children of the Light; and a former wing man to keyboardist Chick Corea and drummer Roy Haynes, among others.

Craig Taborn Quartet
Bart Babinski / for ECM Records

Sometimes a theme emerges by chance, revealing itself in the moment. That’s true of this week’s installment of Take Five, featuring new music by a range of smart and searching pianists. A couple of these tracks are from brand-new albums, and a couple are from albums due later in the year. Each is an illustration of deep focus and alert chemistry, along with first-rate pianism.

Zoran Jelenic

George Burton has been a pianist to watch in Philadelphia, his hometown, for almost 20 years now — since the late 1990s, when I was a close observer of the scene, and he was a jazz performance major at Temple University. Burton has since put in countless sideman hours with artists both local (saxophonists Odean Pope and Bootsie Barnes) and international (singer-songwriter Meshell Ndegeocello), not to mention intergalactic (the Sun Ra Arkestra). But he hadn’t released his own album as a leader until last year. 

Horace Parlan, an astute and soulful pianist whose unique style was informed by the partial impairment of his right hand, died on Feb. 23 in Næstved, Denmark.

 

He was 86. His death was confirmed by the jazz historian Frank Büchmann-Møller. 

 

Preservation Hall Jazz Band
Danny Clinch

Buried somewhere in the fathoms of YouTube is a recent clip of the Preservation Hall Jazz Band, apparently filmed with a smartphone in Santiago de Cuba. The band, synonymous with the ebullient spirit of New Orleans, is playing a staple of its book, Professor Longhair's "Go to the Mardi Gras." What's notable about this version of the song, from December of 2015, is the punchy assist provided by some Cuban percussionists, who fall right into step with its second-line groove. 

Whatever else you might say about the themes of La La Land — that it's a film about the ins and outs of young romance, or the pros and cons of creative ambition, or the movie musical as a renewable art form, or the culture of Hollywood, or the state of jazz (more on that in a sec) — you'd have to acknowledge the line it draws between illusion and disillusion.

Buried somewhere in the fathoms of YouTube is a recent clip of the Preservation Hall Jazz Band, apparently filmed with a smartphone in Santiago de Cuba. The band, synonymous with the ebullient spirit of New Orleans, is playing a staple of its book, Professor Longhair's "Go to the Mardi Gras." What's notable about this version of the song, from December of 2015, is the punchy assist provided by some Cuban percussionists, who fall right into step with its second-line groove.

 

Tigran Hamasyan knows his way around a dreamscape. As a pianist and composer, he draws inspiration from jazz, folkloric and classical sources, in ways that feel both hypermodern and practically ageless. This synthesis is well captured in the video for his composition “The Cave of Rebirth,” which has its premiere here. 

 

Old and new, invention and reinvention: this week, Take Five is a study in contrast and dualities. It's also a heads-up for several albums we're looking forward to this spring, and some gigs that you should have on your calendar. Listen up and dive in.

Or would the better title be “FACEMELT”? In any case, the tune is an original from  saxophonist Donny McCaslin's recent album Beyond Now. Take a look at this galvanizing, live-wire video, which has its full premiere here, and you be the judge.

Solitude can be a complicated proposition for Keith Jarrett. He’s the most celebrated improvising solo pianist in the world, and has held that distinction for the last 40 years. But he will be the first to inform you that his concert performances are a social interaction — an experiment in which he responds to the mood and psychic energy of a room, like a sensitive instrument.

Jazz Night in America / WBGO and NPR

 

"It can be maddening to deal with a political environment where it seems like the truth has no purchase anymore," says Darcy James Argue, the hyper-literate composer who leads the Secret Society, a postmodern big band. Argue has spent a lot of time recently thinking about that maddening environment — not just as a matter of civic engagement during a chaotic election season, but also because it forms the crux of Real Enemies, his most recent work.

 

Al Jarreau, a nimble, charismatic singer who bridged contemporary jazz and smooth soul in a career that yielded both popular success and critical regard, died on Sunday at Los Angeles. He was 76.

 

His death was confirmed by his manager, Joe Gordon. Jarreau had announced his retirement from touring just last week, after being hospitalized in Los Angeles for exhaustion.

 

"It can be maddening to deal with a political environment where it seems like the truth has no purchase anymore," says Darcy James Argue, the hyper-literate composer who leads the Secret Society, a postmodern big band. Argue has spent a lot of time recently thinking about that maddening environment — not just as a matter of civic engagement during a chaotic election season, but also because it forms the crux of Real Enemies, his most recent work.

The Fred Hersch Trio brings a seductive and crafty intelligence to its version of "We See," the Thelonious Monk tune. Articulating its melody at the piano, Hersch slips in a few leisurely pauses, which slow down and stretch out the form. Then, in the bridge, he ratchets up to twice the speed, evoking the frenetic whir of the factory machinery in Charlie Chaplin's Modern Times.

Miguel Zenón
Jimmy Katz / Courtesy of the Artist

 

Miguel Zenón, the ever-insightful Puerto Rican alto saxophonist and composer, has garnered enviable credentials over the last 15 years, since first stepping out as a leader: a MacArthur “genius grant,” a Guggenheim, a handful of Grammy nominations, widespread critical acclaim. But the achievement that’s most meaningful to him, and ultimately the most consequential, is his longtime stewardship of a working band. 

Lee Konitz with Kenny Barron
John Abbott

“The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” Marcel Proust couldn’t have been thinking about the chord changes to “Cherokee” when he first articulated this idea, writing in France a century ago. But his point feels perfectly suited to the example of alto saxophonist Lee Konitz, who at 89 is still extracting fresh insight from familiar places, as he proves on an effervescent new album, Frescalalto.

Diana Krall has announced a new studio album and world tour, with  dates beginning in June. The album — Turn Up the Quiet, due out on May 5 — will reunite her with Tommy LiPuma, who has had a hand in producing most of her previous releases, going back to 1995. Turn Up the Quiet also signals Krall’s return to the Great American Songbook in a jazz context, after a few seasons of branching out.

Jeremy Pelt
Sally Pritchard

One track in this week’s Take Five column is a call to make some noise; another is a contemplative ode to silence. There’s also an early Valentine, a long-lost face-off, and a freeform depth charge. We’re going to cover some serious ground here, so let’s dive in.

Ambrose Akinmusire
Autumn de Wilde / Courtesy of the artist

Ambrose Akinmusire has accrued many achievements in the last decade, since his first-place finish at the Thelonious Monk International Jazz Trumpet Competition. But he hasn’t yet made a live album at the Village Vanguard, a rite of passage for so many of his precursors. That all changes this week — and judging by his quartet’s superb hourlong set on Sunday night, the results will be worth pursuing.

Matthew Stevens
Matthew Perrin / matthewperrin.photos

Over the last decade, few musicians have made the term “utility player” feel more like a compliment than guitarist Matthew Stevens. A trusted sideman to some of the leading lights of his generation, notably Esperanza Spalding and Christian Scott, he has been judicious about the pace and positioning of his solo career. 

In this installment of Take Five, our weekly playlist, you'll find fathers and sons, a couple of farewells, and more than one refurbished jazz standard. We'll start with one of those, featuring a singer you may know, giving a performance you'll want to see.

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