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        Elliott Forrest, Adam Abeshouse and Joshua Bell

        Elliott Forrest, Adam Abeshouse and Joshua Bell

        Photo: Cindy Ord/WireImage.com

        News
        Joshua Bell: Up Close & Personal In New York joshua-bell-gets-close-personal-new-york-city

        Joshua Bell Gets Up Close & Personal In New York City

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        The GRAMMY-winning concert violinist opened up his heart and home for an exclusive performance and conversation about his latest album, 'Scottish Fantasy'
        Nate Hertweck
        GRAMMYs
        Jun 28, 2018 - 4:54 pm

        Guests of the Recording Academy New York Chapter's Up Close & Personal event with Joshua Bell experienced a rare musical and cultural moment. Not only did Bell treat the audience to a special performance and candid conversation about his latest album, Scottish Fantasy, he offered up own his home, a gorgeous penthouse in Manhattan's Flatiron District, as the intimate location for the exclusive event.

        During his 30-year career as a soloist, chamber musician, recording artist, and conductor, Bell has become one of the most successful and recognizable musicians in the classical world. The GRAMMY winner has recorded more than 40 albums, been honored with countless awards and accolades, and collaborated with many musical giants, including Chick Corea, Gloria Estefan, Renée Fleming, Plácido Domingo, Alison Krauss, and more. In 2011 Bell was named Music Director of the Academy of St. Martin in the Fields, the orchestra he conducts and performs with on Scottish Fantasy.

        In addition to his accomplishments as a performer, Bell has also been instrumental in the classical community for proliferating musical discovery and education. His zeal for his craft and joyful willingness to share his knowledge make it no surprise to see him right at home, literally and figuratively, during Up Close & Personal.

        To kick things off, Bell brought out four talented Young Arts alumni  for a performance of Leonard Bernstein's 1956 classic "Candide Overture" and "Make Our Garden Grow," which featured a new custom arrangement by none other than composer/arranger Steve Hackman. Bell introduced the piece by recalling how a dear friend of his, actress Glenn Close, had asked him to perform something from Candide at her daughter's wedding. Hackman's unusual yet entrancing arrangement sang beautifully, perfect for a walk down the aisle.

        Next up on the menu, Bell called upon pianist Alessio Bax to join him for what he called "a little violin ditty," a captivating version of Pablo de Sarasate's "Zigeunerweisen." Bell admitted he played the piece not only during his first ever violin recital at age 12, but again on his first appearance on "The Johnny Carson Show" in 1989.

        With the piece's rich history to draw from, Bell built upon the iconic melody to create something glorious by pulling, sliding and stretching across the neck of his instrument with one hand and sweeping, plucking and stabbing with the other. The piece climaxed with a series of vigorous strumming, impossible pull-offs and slapping of the bow that left some of its rosined strands dangling upon the final hit of the piece. Jaw-dropped and head-spun, the crowd cheered at Bell's ability, musicality and showmanship.

        Joshua Bell

        Photo: Cindy Ord/WireImage.com

        But Bell had even more magic in store for the audience. Producer/director and KQXR host Elliott Forrest came to the stage to discuss Scottish Fantasy with Bell and the album's prolific GRAMMY-winning producer, Adam Abeshouse. It turns out the process of recording the album was as refreshing and innovative for Bell and as it was redemptive.

        "The Bruch G-Minor Violin Concerto is probably one of the most popular pieces for the violin," said Bell. "Broch himself may not be as popular as Brahms or Beethoven today, but his violin concerto is played as much as any of the others. He was a wonderful composer, and a few gems that he did, like the concerto, is as good as anything written. And it's also the piece that most violinists record on their debut albums when they're little, and I did that as well."

        https://twitter.com/JoshuaBellMusic/status/1011322721907724288

        I loved recording this album with @asmforchestra – both Bruch's Violin Concerto and Scottish Fantasy are favorites of mine and have such rich spirit and energy. Available now on @AppleMusic. https://t.co/giCCYJH0BS

        — Joshua Bell (@JoshuaBellMusic) June 25, 2018

        Bell followed with the story of taping the piece on his 19th birthday during his first recording sessions. It turns out he initially tackled the concerto three days after making Presenting Joshua Bell, an album Bell is proud of all these years later. Exhausted from the sessions, his first attempt at "Violin Concerto No. 1 In G Minor" suffered from a lack of rehearsal and a less than ideal setup for recording his first concerto album. This time around, Bell and Abeshouse vowed to get it right, bringing the Academy of St. Martin in the Fields back after all these years to take "a mulligan," as Bell put it, on the piece.

        It worked, and Ablehouse's excitement about the final product was palpable and contagious.

        "Scottish Fantasy starts off, and it's funereal and it's dark," said Abeshouse. "In the span of basically three minutes, it goes from this incredibly dark place to the sun [coming] out. You hear the whole orchestra breathe. … You can feel the inhalation and exhalation, and then the sun comes out. It is four of the most amazing minutes. … When Joshua first comes in, there's this single note, and he makes it sound like he's over the hills. It's really like this piece of cinema. Auditory cinema. To have that captured and now preserved is one of the great highlights for me, and why I love this record so much. And that's just the first four minutes!"

        Joshua Bell Up Close & Personal

        Photo: Cindy Ord/WireImage.com

        Bell and Abeshouse shed light on how they created, captured and constructed the album, focusing on the benefits of the recording in a studio as opposed to a live performance. Although he prefers the immediacy and definitiveness of a concert setting, Bell talked with great reverence at how Abeshouse used certain recording techniques, not to fabricate a moment in time, but rather to accomplish the best listening experience possible.

        "I don't think that we should judge recordings as the same artform as a live performance," said Abeshouse. "The studio gives you these tools that give you the time to analyze and reflect and then redo, and then alter what you've done and keep growing with it. Those opportunities are immensely rewarding."

        While Abeshouse said he'd never let an audible edit out of his studio, he articulated how editing can be a valuable tool in the studio. Bell talked about how Abeshouse's close-micing techniques opened his mind to the possibility that the studio can yield a listening experience beyond what a concert hall can offer. He was especially invigorated by the way he and Ableshouse worked together during the album's post-production process, which is not a topic often addressed in the world of classical recording.

        "Getting in the studio is still not something I look forward to. I love performing where you've just got one shot at it," said Bell. "But what I've learned after making 40 or 50 recordings is that you can actually use [the studio] to your advantage. … I've learned how to use the recording process to make it hopefully an even better product."

        The evening concluded with a lively reception, giving guests a chance to speak personally with Bell, Abeshouse and Elliott. Speaking with Bell afterwards, he was grateful to see many new and familiar faces, including some of the students and teachers he's inspired through his continued work with music education organizations such as Education Through Music.

        Ablehouse made mention of his own charitable initiative, the Classical Recording Foundation. He founded the organization in 2002 to support artists and record labels of merit in their classical recording projects in the wake of diminishing funding from major labels, a worthy cause indeed.

        Throwing gatherings like this seemed to come quite naturally to the Bell, who named watching sports — especially the World Cup and NFL Football — and experiencing different foods as two of his main passions outside of music.

        "I enjoy food a lot," Bell told me after the action. "I've done several events [here] with amazing chefs. I've had David Bouley and Thomas Keller and others come into the house, usually in the name of a charity, and we do music and food. I love eating out, going restaurants in New York and on the road."

        Bell also teased that he dreams of opening his own restaurant someday, not a bad backup plan in case this whole violinist thing doesn't work out.

        Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

        Katrina Lenk and Tony Shalhoub of "The Band's Visit"

        Katrina Lenk and Tony Shalhoub of "The Band's Visit"

        Photo: Kevin Mazur/Getty Images

        News
        Highlights From the 72nd Tony Awards tony-awards-2018-bands-visit-wins-big-springsteen-brings-it-home

        Tony Awards 2018: "The Band's Visit" Wins Big, Springsteen Brings It Home

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        From hilarious hosts Sara Bareilles and Josh Groban to the performances and awards everyone is talking about, go inside the 72nd Tony Awards
        Nate Hertweck
        GRAMMYs
        Jun 11, 2018 - 7:27 am

        New York's Radio City Music Hall came alive Sunday night for the 72nd Tony Awards. Hosted by GRAMMY nominees Sara Bareilles and Josh Groban, the star-studded evening celebrated a landmark theater season that was the best-attended in Broadway history, according to the Broadway League, with more than 31 million people enjoying the fetivities in New York and across the country.

        https://twitter.com/TheTonyAwards/status/1005163771587907589

        One day a year, the theatre community gathers to share their talent and their truth. Don’t miss the 72nd Annual #TonyAwards, live from @RadioCity Music Hall. Tune in Sunday, June 10 at 8/7c only on @CBS. #ThisIsBroadway pic.twitter.com/jUgKAlNqm9

        — The Tony Awards (@TheTonyAwards) June 8, 2018

        Bareilles and Groban kicked off the show with a comical dueling piano tribute to the 90 percent of nominees who will leave the awards show empty handed, bringing out ensemble members from every Tony-nominated show for the sing-along lyric, "This is for the people who lose." Later on in the evening, the duo delivered another laugh-worthy lament, focusing on Broadway's breakneck schedule performing the song "eight times a week."

        By far the biggest winner of the night was "The Band's Visit," taking home the prize in 10 of the 11 categories it was nominated in. An inspired new musical about a band of musicians from Egypt who take the wrong bus and end up in a quiet town in Israel for the night, "The Band's Visit" is a story of hope, love and faith. The show won the coveted Best Musical award.

        Several individuals from "The Band's Visit" also scored wins in key categories, including Itamar Moses for Best Book Of A Musical, David Cromer for Best Direction Of A Musical, Tony Shalhoub for Best Leading Actor In A Musical, and Katrina Lenk for Best Leading Actress In A Musical. Lenk and Shalhoub performed "Omar Sharif," giving the Tony's audience a small taste of why their show is so compelling and impactful.

        Billy Joel presented a special Tony Award to the great Bruce Springsteen for his work on the show "Springsteen On Broadway." What started as a limited eight-week run will have included 236 performances by the time it wraps in December. Springsteen expressed gratitude for the honor and for being accepted by the Broadway community, saying in his speech, "Thanks for making me feel so welcome on your block." Later in the show, Springsteen delivered a performance of "My Hometown."

        GRAMMY nominee Tina Fey introduced the company of "Mean Girls" for a rousing performance of "Where Do You Belong?" The play matched "SpongeBob SquarePants: The Broadway Musical" for the most nominations going into the evening with 12.

        Spongebob Squarepants himself surprised the host at center stage to deliver a psychedelic rebuttal to the show's opening number before kicking it over to the four-legged Squidward for a tap-happy performance of "I’m Not A Loser." Additional performances from the casts of "Carousel," "My Fair Lady," "Dear Evan Hanson," "Summer: The Donna Summer Musical," and "Once On This Island," which won the award for Best Revival Of A Musical.

        The most touching moment of the 72nd Tony Awards came when Marjory Stoneman Douglas drama students made a surprise appearance onstage to perform "Seasons Of Love" from the musical "Rent" only moments after their teacher, Melody Herzfeld, was recognized with a special Tony Award for her inspiring efforts not only to protect her students during the tragic shooting in February, but also for encouraging them to use theater as a way to channel their hurt and sorrow into art.

        Apropos of June's celebration of Pride Month, perhaps the true biggest winner of the night was the show's strong, unified message of equality. Andrew Garfield of "Angels In America" shouted out the LGBTQ community in his acceptance speech, dedicating his Best Performance By An Actor In A Leading Role award to those who have fought and died to protect the right to live and love. And in her acceptance speech for Best Featured Actress In A Musical for her role in "Carousel," Lindsay Mendez said, after revealing she was asked to change her last name early in her career, "Be your true self and the world will take note."

        On this magical night, the theater community united and recognized its most talented individuals, most innovative productions and most lasting contributors — and as anyone who watched knows, they had a lot of fun doing it.

        Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

        Just Blaze

        Just Blaze

        Photo: Johnny Nunez/Getty Images

        News
        New York Music Month: Get In The Mix new-york-music-month-celebrates-citys-rich-diverse-music-community

        New York Music Month Celebrates The City's Rich, Diverse Music Community

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        From interviews with Just Blaze to panels, conferences, and music-friendly promotions, peek inside the calendar of June events that will enrich New York's dynamic music scene
        Nate Hertweck
        GRAMMYs
        Jun 5, 2018 - 1:33 pm

        For a city as massive and diverse as New York, bringing the music community together may seem a daunting task. But with music playing such a central role in the city's culture and economy, for the second year running the Mayor's Office of Media and Entertainment have joined forces with NY Is Music with the goal of uniting the music community by offering free programming and resources for musicians, industry professionals, students, and fans as part of New York Music Month this June.

        New York Music Month aligns with several other marquee music industry events throughout June, including Governors Ball, the Songwriters Hall of Fame induction ceremony, the National Music Publishers Association's annual meeting, A2IM Indie Week, and SummerStage opening weekend. Together, these events and more reflect the true breadth and reach of the city's music scene while offering a little something for everyone.

        "This initiative is a celebration of all that our city's music industry has to offer, whether you're an artist trying to make your mark, a sound engineer interested in honing your craft, or simply a music fan looking for free concerts this summer," says Julie Menin, commissioner, Mayor's Office of Media and Entertainment. "New York is home to the largest and most diverse music business ecosystem on the planet."

        Indeed, the city that played a crucial role in developing such genres popular and varied genres as hip-hop, punk, folk, electronic, jazz, and more comprises a wide range of music enthusiasts. Menin and the MOME are up to the task, however, committing for the second year in a row to enriching and celebrating the people who make and support New York music.

        The cornerstone of programming for New York Music Month is its one-day conference on June 8 at NYU's Kimmel Center. Based on the theme Innovation at the Intersection of Music + Nightlife, this year's lineup of speakers includes GRAMMY-nominated producer Just Blaze in conversation with Bandcamp Senior Editor Marcus J. Moore, as well as rapper and Chairman of Universal Hip-Hop Museum Kurtis Blow, co-Founder of NY Is Music and CEO of Downtown Music Publishing Justin Kalifowitz, and Menin, to name just a few.

        https://twitter.com/MarcusJMoore/status/1004060349665042432

        NYC: This Friday, I'll be talking music with the great @JustBlaze as part of New York Music Month (@nymusicmonth). 3:10 p.m. at the Kimmel Center. Pull up. https://t.co/sZH1lJVcYd #nymm2018 pic.twitter.com/fOlDLurloY

        — Marcus J. Moore (@MarcusJMoore) June 5, 2018

        The all-day event will feature a program of speed talks, interviews and panels all aimed at raising awareness and promoting a dialogue about New York's thriving music scene across the five boroughs. Guest professionals from the worlds of event production, booking, venue management, education, politics, and public service will all be on hand to throw their perspectives into the conversation. Best of all, the conference is totally free and culminates with a networking reception.

        In addition to its main conference, New York Music Month will offer programs throughout the month, including the Interlude+ series, which will coincide with Pride Month to engage LGBTQ+ musicians and artists in a variety of events and workshops from BBQ cookouts to recording studio workshops, all with insights from music industry professionals. Free for all ages, Interlude + events will take place each Saturday starting June 9.

        The principals behind New York Music Month are also empowering the music community this month by providing more than 2,000 hours of free rehearsal space access. Local music makers are eligible to receive up to 10 hours each at one of the 20 Spaceworks rehearsal studios across the city.

        https://twitter.com/nymusicmonth/status/1003737750858817539

        For #NYMM2018, we've partnered with @SpaceworksNYC to bring musicians over 2000 hours of free rehearsal space. All NY-based musicians eligible! Sign up here: https://t.co/1tzGREoNEt pic.twitter.com/AabLnVc1VF

        — NY Music Month (@nymusicmonth) June 4, 2018

        Additional workshops for musicians include the Musicians Union Local 802's "Make It Live: A Practical Approach To Getting Gigs In NYC And Touring The United States," the How To Make Money With Music series presented at Carnegie Hall in both traditional and digital editions, and a pair of events at Power Station at Berklee NYC, a historic recording studio that was taken over last year by the Boston-based music conservatory. The first of the two free and practical workshops, "Intro To Sync And Music Licensing" takes place June 16 to cover film, TV and advertising income opportunities, while "Creating A Band Agreement" on June 26 will arm attendees with best practices in navigating the legal side of the industry from the jump.

        Berklee NYC is also sweetening the deal by offering discounts for New York Music Month of up to 50 percent off workshops and programs during June. Additionally, for those looking for a totally free and immersive educational experience, the organizers of New York Music Month have a lineup of free walking tours of iconic music sites including Morrisania, the South Bronx, Lincoln Center, and Greenwich Village. The initiative's Get In The Mix series also features the World Refugee Day concert on June 26 at the Brooklyn Conservatory of Music and Guitar Mash's #MyNYCSong Teen Songwriting Contest.

        And speaking of youth, New York Music Month is also focused on fostering the future generation of music makers and industry movers and shakers.

        Divas Behind The Music will place women leaders in the music, tech and education industries in front of 150 exceptional high school students from underserved communities to engage, inspire and encourage young women to pursue technical careers and management careers in music. The invite-only initiative will be produced in partnership with VH1 Save The Music Foundation. The Mayor's Office also partnered with Kidz Bop to promote the initiative and send a reminder that the benefits of music education and appreciation are ripe for starting early.

        "I invite all New Yorkers to 'get in the mix' with us this summer!" — Julie Menin 

        In total, New York Music Month represents a collective effort to celebrate and empower the city's diverse music community by bringing together so many of its major players to ensure it continues to thrive.

        "We are excited to extend our partnership with Commissioner Julie Menin and her extraordinary team at the Mayor's Office of Media and Entertainment in once again producing New York Music Month," says Kalifowitz. "We thank the commissioner for her unwavering support of the City's music community and her work to ensure that we continue to be the music capital of the world."

        Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

        Terri Lyne Carrington

        Terri Lyne Carrington

        Photo: Tracy Love

        News
        Inside New York City's Jazz Scene state-jazz-nyc-terri-lyne-carrington-ben-allison-more

        The State Of Jazz In NYC With Terri Lyne Carrington, Ben Allison & More

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        Go beyond the household names and iconic venues to discover today's thriving New York City jazz scene through the eyes and ears of the community's most passionate musicians
        Nate Hertweck
        GRAMMYs
        May 31, 2018 - 3:58 pm

        Tucked down a squeaky staircase on a side street in the heart of New York City's Greenwich Village, Mezzrow Jazz Club is shaped like a subway car, long and narrow with some of the finest jazz musicians in town playing nightly at the far end of the room. You can feel the passing subway rumble beneath your feet as you file into the listening room for the late set. Sure, you might be knee to knee with the occasional table of tourists, but the band is having a musical conversation up there — laughing, arguing, confessing, and gossiping — all without using words.

        For anyone who has experienced this rush in person, there's little question whether jazz is alive or not in New York City. But for those who have not had the opportunity, the scene might appear a bit more mysterious.

        "Some people think of jazz as a musical style of a bygone era. It's so much more than that," says bassist Ben Allison. "The hundreds of jazz musicians who live and create in NYC are part of a continuum — an intense and beautiful musical conversation that has been happening for decades and continues to this day. It's a very vibrant art form, and it's easy to find in NYC if you know where to look."

        "We adhere to our mission of supporting this music, and also supporting the late-night culture of New York City, Greenwich Village and jazz itself," says Spike Wilner, a professional pianist since age 19 and co-owner of Mezzrow and its sister club, Smalls. "Never to make a lot of money. We never really think about it. As long as our bills get paid."

        New York has been operating as a fertile ground for cultivating jazz and the culture around it for longer than most music fans realize — since about 1900, according to Wilner, who names the likes of pianists Art Tatum and Bud Powell and saxophonist Charlie Parker as the genre's key innovators.

        "New York was always the mecca of jazz, with 52nd Street from the '30s to the '50s … and before that, in Harlem," says GRAMMY-winning drummer Terri Lyne Carrington. "New York still has a vibrancy that to me has a special kind of residue from that time period. And if you're serious about playing, you have to put yourself in the environment where the competition is the greatest, and that's when you see if you will sink or swim."

        In fact, several generations have pilgrimaged to New York not to gawk at jazz history, but to use it as a springboard. Vocalist Stephanie Layton of the traditional jazz group Eden Lane describes the extra pressure and inspiration she feels from the city.

        "My infatuation with the Great American Songbook makes New York City the most inspiring place I could be," says Layton, who cites Tin Pan Alley and early musicals as her core repertoire. "With the type of material I do, lyrics are of equal importance when it comes to song interpretation, and knowing that a Gershwin or Hart colloquialism or witticism was written from a distinctly New York perspective makes me feel just the tiniest bit closer to it."

        Through this type of connective spirit, New York truly has become hallowed ground. Within the city are several venues so iconic they've become synonymous with the genre. Blue Note, Birdland, Village Vanguard — locales where actual jazz history has been made. Today, they remain relevant, must-visit venues for the jazz connoisseur.

        "I like the traditional venue like the Village Vanguard, owned by a woman, Lorraine Gordon," says Carrington. "In the trio that I played with Geri Allen and Esperanza Spalding called ACS, we tried to play the Vanguard in New York to support this woman-owned business, and because the Vanguard has so much history. So many great records were made live at the Vanguard with John Coltrane, Sonny Rollins and so many other people."

        But beyond the well-known historical hot spots, knowing where to look in New York for today's hottest jazz can uncover the scene's real gems. Allison name-drops Jazz Standard as a favorite while heralding the aforementioned Smalls for the atmosphere.

        "Smalls is where people actually hang out. It's kind of a basement, really casual, old school and a little funky," says Allison, who is President of the Recording Academy New York Chapter Board. "When I play there, I tend to get a much younger crowd just because of the vibe there and the [low] cover. When you play at Dizzy's, it pays 10 times as much [laughs], but none of the younger cats I know can afford to go there."

        Spike Wilner
        Jazz In New York City

        As a testament to that range of live jazz options in New York City, you can catch sets outside of the main stable of clubs, a phenomenon that is bringing the music to an even wider audience. 

        "Places like Rockwood Music Hall and Pete's Candy Store do a great job integrating jazz into their programing," says Eden Lane guitarist Dylan Charles. "They are saying to their audiences, 'Hey, jazz is worth your time and people are doing new and interesting things within the art form that you should check out.'"

        "I feel like people are trying to be more sophisticated with their listening," adds Carrington, also a New York Chapter Board member. "For instance, Kendrick Lamar's [To Pimp A Butterfly] record had a lot of jazz in it, and to some people, it's considered a modern-day jazz record."

        From the standards of the Great American Songbook to modern hip-hop, jazz weaves its way into so many different styles of music, which is fitting for a genre many argue is America's only true art form.

        "The Latin jazz scene is really rich in New York, and you have players that are really influenced by R&B and hip-hop … indie rock, and rock, playing jazz and merging these other genres with jazz," says Carrington. "When I was coming up in the '80s, if people asked me if jazz was alive, I would say, 'Yeah, jazz is alive, but it smells funny.' Now I say, 'It's alive and thriving.'"

        How do today's musicians cut through the thick history and seemingly endless possibilities of influences, styles and directions of jazz it's created? By being themselves.

        "I've always been about New York jazz," says Wilner. "And it doesn't mean you can't be innovative. In fact … it's not about doing something new, it's about doing something you."

        Given New York City's high living costs, making a living can be challenging for even the most talented musicians. Many professionals teach, produce, compose, tour, record, work as an accompanist, and perform in other genres, including as Broadway pit musicians, to piece a living together and continue to push their own musical boundaries.

        Speaking of boundaries, like other genres such as rock and hip-hop, jazz has traditionally been male-dominated. But because jazz truly is about the music, the tides are changing. At the 56th GRAMMY Awards, Carrington became the first woman to win the GRAMMY for Best Instrumental Jazz Album.

        Terri Lyne Carrington Wins Best Jazz Instrumental Album

        "I see this whole male domination in jazz being something that is transitioning," says Carrington, who cites some of her favorite up-and-coming artists as tenor saxophonist Melissa Aldana, flautist Elena Pinderhughes and Kris Davis, whom she calls "one of the most important pianists of her generation."

        In this light, today's New York jazz scene feels quite open and accessible, at least as far as getting a foot in the door. As Wilner explains, however, the key to how long you stay in the room is based on a simple notion.

        "Jazz is the most democratic of all art forms," says Wilner. "It's really about the musicians who are inside voting you in or not based on your ability. The art form is the sound, it has nothing to do with form. It's just [about] what you sound like, and if you can play, you can play."

        Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

        AJR

        AJR

        Photo: Jim Metzger

        News
        Exclusive: AJR On Being The Wes Anderson Of Music exclusive-ajr-busking-sober-rivers-cuomo-more

        Exclusive: AJR On Busking, "Sober Up" With Rivers Cuomo & More

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        The brothers Met discuss developing their unique indie-pop sound, superstar collaborations and ambitions to become the Wes Anderson of music
        Nate Hertweck
        GRAMMYs
        May 29, 2018 - 1:58 pm

        Brothers Adam, Jack and Ryan Met of AJR found their unique sound the hard way, by cutting their teeth busking on the streets of New York City. A decade later, the band has just wrapped a 32-date sold-out North American tour, sharing their special brand of indie-pop infused with radio-hit hooks set against the kind of performance dynamic you can only learn through persistence and experimentation.

        AJR have since become pop music juggernauts, flipping the proverbial pop script to explore production and songwriting from a new angle. On their second full-length album, 2017's The Click, the band came clean by tackling topics in an earnest way rarely seen in the genre. This is exemplified, for example, by the fresh approach on the effects of fame — or lack thereof — in "I'm Not Famous."

        "That was probably the first song we wrote and released for The Click," says Jack Met. "With that song, we sat down and said, 'OK, we've done production, now let's see if we can really say something that no one has said before,' and that's where 'I'm Not Famous' came from. It's a song about why it's great to not be famous. We put that out and everyone just started really reacting well to it."

        "We wanted to say something that hasn't really been said before in music. And that was really the main theme of The Click. It was just strange lyrical concepts." — Jack Met

        Despite the benefits of not being famous, AJR still find inspiration — and aspiration — from another member in the entertainment industry who has made a huge name for himself with his innovative and emotional storytelling.

        "We want to be the Wes Anderson of music," adds Ryan Met. "When you watch a Wes Anderson movie and you laugh, not because it's funny — it's not a comedy — but you laugh because it's so blatant, and … so, 'Wow, I've never seen that in a movie before. …' It's so wry and so honest, but it's also emotional. So I think we think about that a lot, and that's really come to be AJR's voice."

        Collectively, AJR's cinematic aesthetic and musical street smarts have yielded some magical moments. "Sober Up," their latest single from The Click, features a guest appearance from Weezer's GRAMMY-winning frontman Rivers Cuomo, the perfect fit for the infectious left-of-center pop tune.

        "I think we wrote the song in probably 30 minutes, just starting with that idea of sober up, and wanting to use it as a metaphor for wanting to be young again," says Jack Met. "Rivers Cuomo is a completely different story."

        He goes on to explain that Cuomo followed the guys on Twitter and sent a DM to the band praising their previous single, "Weak." Understandably excited by the endorsement, AJR went for it and asked if Cuomo would want to collaborate on a future track together. To their surprise, Cuomo said yes and wrote the bridge for "Sober Up."

        Earlier this month, AJR branched out even further, collaborating with GRAMMY-nominated DJ/Producer Steve Aoki and GRAMMY-nominated rapper Lil Yachty on the song "Pretender," which started as a song that just missed the cut for The Click.

        "It didn't fit into the flow of the album, and we ended up sending it to Steve Aoki's manager," says Ryan, who thought it would be the perfect fit for an EDM vibe. "The song is about being insecure and it's about trying to figure out how to fit into a friend group and just emulate other people. … Steve Aoki did a crazy amazing job with it. He literally turned it from a sad song into this really just monstrous banger, and then Lil Yachty came on and his verse is awesome."

        "I think it's a very cool juxtaposition of us from the alternative pop world, Steve Aoki from the EDM world and Lil Yachty from the hip-hop world." — Ryan Met

        With nothing but momentum behind AJR, the group is experiencing a fan response like nothing they've seen in their musical lives. From the Kanye West-inspired production-heavy approach to their 2015 debut album, Living Room, to their quirky pop breakthrough on The Click, their sights are now set on enhancing their live show.

        "For a long time our band was basically only about making records," says Ryan Met. "The last two years or so, our live following has exponentially been increasing. … Our goal was, 'Let's just really surprise people. Let's try and create a spectacle and try and bring the theatrical element of Blue Man Group or a Broadway show to the live concert setting.'"

        The result featured bucket drum breakdowns, remixes and a lot of crazy lights, vaulting AJR from playing to crowds of 300 in clubs to larger venues of 1,500 to 3,000 people. Ryan also reveals the band's plans to play 4,000- to 5,000-person venues, doubling their audience size yet again on tour this fall while also working on new music for their next album. There's no shortage of creative energy buzzing around inside the Met brothers.

        "We are also releasing a deluxe version of The Click at some point this summer, and it'll have some new songs and some re-imagined versions of songs," says Adam Met. "We really just want to keep feeding the frenzy of fans that has kind of grown over the last year. We want to keep sharing new music with them."

        And while the brothers Met still may not be considered by all to be "famous," AJR have come a long way from busking in Washington Square Park.

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