Nearly everything about Jonathan Batiste is steeped in New Orleans from the way he talks, walks, and claps his hands to the way he plays the piano, composes, and leads his Stay Human Band. So, it's surprising to consider he's actually spent most of his adult life in New York City, having arrived in 2004 when he was a teenager to study at Juilliard. Since then, he's been making a firm connection with the City, including a close association with National Jazz Museum in Harlem.
He's also been featured at many other venues in the Cityin addition to touring to more than 40 countriesincluding a number of appearances at Jazz at Lincoln Center. For example, he's led his own band for a week-long engagement at the Center's Dizzy's Club Coca, appeared at a concert with fellow New Orleans pianists Ellis Marsalis
"It's very interesting to think about the history of how the Birth of the Cool was the beginning of what developed into a career for Gerry Mulligan and John Lewis," says Batiste, pointing to Mulligan's work with his Concert Jazz Band and Lewis's musical directorship of the Modern Jazz Quartet
. "Miles moved on, but those very cool and orchestral ideas resonated with them, and they kept them going for the rest of their careers."
Batiste's work at Jazz at Lincoln Center ties in with another New Orleans connection of his and here we have to make clear that in saying "New Orleans," we're using a bit of shorthand. Batiste actually hails from Kenner, Louisiana, a suburb of the New Orleans metro area, which also happens to be the hometown of trumpeter Wynton Marsalis
, the Managing and Artistic Director of Jazz at Lincoln Center.
"I don't know another person in New York who's from Kenner," says Batiste. "We have that mutual connection. The Batistes and the Marsalises are very big musical families in the New Orleans area. We went to the same schools and had a lot of the same instructors. I met him in New Orleans as a kid, and then when I came to Juilliard, I started to play with him, and over time I started to do concerts with Jazz at Lincoln Center."
The pianist counts John Lewis as among his major influences as an instrumentalist. "John Lewis, Jelly Roll Morton
are five pianists who I'd say are cut from the same cloth who've influenced me. They all have a very conceptualist and composer's approach to playing the piano. And that's a very distinct characteristic of playing that I really want to develop and project in my style.
who have a style of playing that is very pianistic and amazing that I love. With their playing, you have the classic elements of the bebop style where your right hand imitates the line that a horn would play in a solo and the left hand is accompanying that. But with someone like Duke or John Lewis or these other guys, they'll be playing a solo, and they may not play a single line the entire time. It's more of an orchestral approach, playing and developing themes, or maybe playing block chords that feel like a trumpet section. It might be easier to appreciate listening to someone like Tommy Flanagan
because you understand immediately why their music is beautiful and why they're experts at what they do. It can be difficult for people to appreciate the kind of eccentric musical personality that Thelonious Monk has, but there's something about that kind of character and charisma that I really like to strive for. It's quirky."
Bob Kenselaar is former Assistant Curator of the Institute of Jazz Studies, Rutgers University, and has published articles on music in The New Grove Dictionary of Jazz, the Annual Review of Jazz Studies, and The Aquarian Weekly.