WCSU

Nate Chinen

Thelonious Monk, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.

Jazz singing has always been a tree with firm roots, but a wild entanglement of branches. Its sound and shape are mutable, prone to outside influence and local inflection. Take the two artists featured in this week's episode of Jazz Night in America, recorded at the 2017 San Jose Jazz Summer Fest — each a cultural ambassador as well as a cosmopolitan, with the elusive ability to bring any audience along for the ride.

Esperanza Spalding — the multiple Grammy-winning bassist, singer-songwriter, bandleader and composer — maintains a fierce commitment to the unfolding moment. Spontaneity is her watchword and her discipline, the condition to which she aspires.

Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled "Home." It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. "I'm just going to send this out as a meditation for everybody in Houston, Texas right now," said Scott, a drummer, as he introduced the tune.

There's an emblematic photograph of Herbie Hancock on the back cover of his album Sunlight, which he began recording 40 years ago this month. He's depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.

Almost exactly 30 years ago, guitarist John Scofield recorded an album he evocatively titled Loud Jazz. Not quite a decade later, he made one called Quiet. Both albums were statements of intent, widely embraced and justly acclaimed. And despite the obvious differences between the two, both were genuine expressions of Scofield's musical personality, which has always been more flexible than those extreme dynamic markings would seem to suggest.

"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.

The National Endowment for the Arts (NEA) Jazz Masters award, which comes with a $25,000 prize, is widely described as United States' highest honor for jazz. Today, the NEA announced its four newest recipients of the prize: pianist Joanne Brackeen, guitarist Pat Metheny, singer Dianne Reeves and producer Todd Barkan.

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 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.

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