Jazz Night in America

Thursday 7-8pm, Saturday 11pm - 12am
  • Hosted by Christian McBride

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.

"I've got a pocketful of blues here still, you know?" says Charles Lloyd, the saxophonist-flutist-composer-bandleader who, at 79, has become one of jazz's enlightened elders.

Denise Eileen Garrett was only 3 years old when her family moved to Flint, Mich., from Memphis, Tenn. This was long before she became Dee Dee Bridgewater, jazz-vocal superhero — to say nothing of a mother, a Tony- and Grammy-winner or an NEA Jazz Master. But Memphis left an impression on the little girl, subtle but persistent, somewhere in her psyche.

For a long stretch of his early performing career, vibraphonist Gary Burton was always the youngest man on the bandstand. A child prodigy from Indiana, and then an onrushing force on the scene, he apprenticed with the great Nashville guitarist Hank Garland before going on tour with pianist George Shearing, followed by tenor saxophonist Stan Getz.

Sonny Rollins
Chuck Stewart/Courtesy of the artist

Sonny Rollins wasn't really thinking about the formation of an archive as he went about his life and career over the last 60 years — as a tenor saxophonist of unsurpassed stature, an artist of active spiritual and social engagement, and an embodiment of jazz's improvisational ideal.

The low end has always been terra firma for Buster Williams, one of the all-time great bassists in modern jazz.

Moses Boyd Exodus ended its performance at the 2017 South by Southwest music festival with a rampaging take on its trademark tune, "Rye Lane Shuffle." Drummer Moses Boyd, the band's young founder and namesake, rumbled freely on his toms, joined by a fervent-sounding Binker Golding on tenor saxophone. The groove that emerged was Nigerian Afrobeat by way of a modern jazz metropolis — one with every resource at hand.

This year's class of NEA Jazz Masters is as accomplished as they come, with Dee Dee Bridgewater on vocals, Dr.

Why do hip-hop producers gravitate toward jazz samples? For a mood, for sonic timbre, for a unique rhythmic component. Swing is a precursor to the boom-bap. "If you're a hip-hop producer that wants a lot of melodic stuff happening," pianist Robert Glasper says, "you're probably going to go to jazz first."

Why do hip-hop producers gravitate toward jazz samples? For a mood, for sonic timbre, for a unique rhythmic component. Swing is a precursor to the boom-bap. "If you're a hip-hop producer that wants a lot of melodic stuff happening," pianist Robert Glasper says, "you're probably going to go to jazz first."

Jazz Night in America: Muldrow Meets Mingus

Mar 23, 2017
Jason Moran (left) and Georgia Anne Muldrow celebrate Charles Mingus during a program at the Kennedy Center.
Jati Lindsay/Courtesy of the Kennedy Center

At a glance, Georgia Anne Muldrow isn't the obvious pick to create an interpretive tribute to the bassist and composer Charles Mingus. She was born in 1983, four years after Mingus died at 56. Her music stands well outside the jazz perimeter, aligning more with the Afrocentric current that flows through underground hip-hop, avant-R&B and psychedelic soul. She isn't a bassist like Mingus, but rather a singer, rapper and beat-making producer. Her village elders include the rapper Mos Def, the producer Madlib and the vocalist Erykah Badu.

Muldrow Meets Mingus

Mar 23, 2017

At a glance, Georgia Anne Muldrow isn't the obvious pick to create an interpretive tribute to the bassist and composer Charles Mingus. She was born in 1983, four years after Mingus died at 56. Her music stands well outside the jazz perimeter, aligning more with the Afrocentric current that flows through underground hip-hop, avant-R&B and psychedelic soul.

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.

"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.

Jazz vocalist John Boutté feels he can no longer afford to live in his hometown of New Orleans. He's not alone. Rising housing costs are pushing many musicians and service workers — the backbone of New Orleans' tourism economy — further and further outside the city limits.

Marilyn Maye could easily be nominated as the voice of experience: At 88, she's one of our greatest living songbook singers, as well as a jazz-cabaret star of singular achievement. A vocal stylist both sensitive and swinging, with a deep understanding of her chosen tradition, she's had a storied career, and doesn't seem the slightest bit inclined to slow it down.

"Our best musicians in the jazz tradition were radical imaginers," Samora Pinderhughes says. A pianist and composer in his mid-20s, he has asserted his connection to that lineage with The Transformations Suite, an earnest and ambitious new work combining music, words and visuals. The piece, which took five years to chisel into shape, was inspired by African-American resistance and protest movements, as well as the oppression that many still endure.

This year's Winter Jazzfest, which took place last week in New York City, presented an explicit theme of "Celebrating Social Justice." Conceptually and musically, Winter Jazzfest pushes the genre forward; after taking in as many of the 130-plus acts across many stages in Manhattan and Brooklyn as they could, our team reported back with some of the festival's highlights.


"Stories like forests are subject to seasons."

The large instrumental band Snarky Puppy, which just won its second Grammy Award, is hard to pin down to one place. Its core is now in New York, but its members have toured and recorded all over the world, and their spiritual home is still Dallas, Texas. It's where they'd take in gospel performances in area churches; it's near where they initially met at music school at the University of North Texas in Denton. As bassist and bandleader Michael League explains, you can hear all those collisions in the pocket of their complex and beyond-category grooves.

Jazz Night in America: Three Miles Ahead

Aug 26, 2016
Don Cheadle stars as Miles Davis in the film Miles Ahead.
Sony Pictures Classics

It's been said that Miles Davis is to jazz is like Hemingway is to the American novel, like Picasso is to art. He was more than just a trumpet player — he was an icon of style and artistry.