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Jonathan Batiste: Staying Human

Jonathan Batiste: Staying Human
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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 City—in addition to touring to more than 40 countries—including 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
Ellis Marsalis
Ellis Marsalis
b.1934
piano
and Henry Butler
Henry Butler
Henry Butler
b.1949
piano
, and he'll be the featured guest artist with the Jazz at Lincoln Center Orchestra for a series of three shows on January 18 and 19, 2013 focusing on the music of Saxophonist Gerry Mulligan
Gerry Mulligan
Gerry Mulligan
1927 - 1996
sax, baritone
and pianist John Lewis
John Lewis
John Lewis
b.1920
piano
. The series is part of a month- long Birth of the Cool Festival at the Center and will explore the compositions and arrangements of Mulligan and Lewis, who collaborated with trumpeter Miles Davis
Miles Davis
Miles Davis
1926 - 1991
trumpet
in his legendary Birth of the Cool nonet.

"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
Modern Jazz Quartet
Modern Jazz Quartet

band/orchestra
. "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
Wynton Marsalis
Wynton Marsalis
b.1961
trumpet
, 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
Jelly Roll Morton
Jelly Roll Morton
1890 - 1941
piano
, Duke Ellington
Duke Ellington
Duke Ellington
1899 - 1974
piano
, Thelonious Monk
Thelonious Monk
Thelonious Monk
1917 - 1982
piano
, and Marcus Roberts
Marcus Roberts
Marcus Roberts
b.1963
piano
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.

"There are also people like Bud Powell
Bud Powell
Bud Powell
1924 - 1966
piano
, Sonny Clark
Sonny Clark
Sonny Clark
1931 - 1963
piano
, and Bobby Timmons
Bobby Timmons
Bobby Timmons
1935 - 1974
piano
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
Tommy Flanagan
Tommy Flanagan
1930 - 2001
piano
or Hank Jones
Hank Jones
Hank Jones
1918 - 2010
piano
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."

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