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2015 Lifetime Achievement Award: Wayne Shorter

Esperanza Spalding pays tribute to the mind and art of one of jazz's all-time greats, and reveals why he is a constant source of inspiration

GRAMMYs/Jan 21, 2015 - 04:45 am

(In addition to the GRAMMY Awards, The Recording Academy presents Special Merit Awards recognizing contributions of significance to the recording field, including the Lifetime Achievement Award, Trustees Award and Technical GRAMMY Award.)

Wayne Shorter is widely considered to be the greatest living jazz composer, and one of the greatest jazz saxophonists of all time. But the mind and art of Wayne Shorter orbit far and wide beyond the gravitational center of any one category or title. From painting, to composition, to philosophy, to writing and storytelling, to the singular approach of improvisation developed within his current quartet, Wayne is always reaching beyond the known parameters of expression.

Throughout the course of nearly six decades in music, Wayne has masterfully realized his philosophy of taking the best of the past, and using it as a "flashlight into the unknown." From collaborations with Horace Silver, Art Blakey and Miles Davis, to co-founding Weather Report, he has provided infectious originality to some of the most loved jazz institutions of the 20th century. Wayne has been featured on more than 130 albums, received the honor of NEA Jazz Master, won 10 GRAMMYs, and released more than 25 albums as a leader. From JuJu, The All Seeing Eye, Atlantis, Phantom Navigator, 1+1 in duo with the great Herbie Hancock, and most recently, Without A Net, each Wayne Shorter album is a marvel. They are milestones on his journey through the unchartered territories of sound expression. His operatic work has been performed by the likes of the great Renée Fleming. The greatest orchestras in the world commission and perform his symphonic compositions. With these recent orchestral works, Wayne continues to break new ground into a realm where improvisation and orchestral writing meld.

In everything Wayne does, his voice rings out with boundless creative fervor. When you listen to one of Wayne's compositions, hear him speak or play, or simply read one of his song titles, you get a distinct sense of seeing the ideas in your mind's eye. The poet Paul Éluard called this donner à voir: the capacity to not just offer insight, but provoke it.

Wayne has the unique and rare ability to invoke in his listeners a fresh engagement with their own creative genius. This joyous shockwave first reached me through the title track of Miles Davis' Nefertiti. Jazz was a relatively new presence in my life, and I couldn't yet appreciate the mastery of Wayne's playing, but the total effect of the song moved me deeply. A few years later, and with a somewhat expanded ear, I heard Wayne's playing and compositions on his album called Native Dancer. This time, Wayne's playing jumped out at me like a character in a play: recapitulating the story and characters, emphasizing and interacting with the dramatic arcs within each song. I would rewind each phrase and "Mmm!" and "Yeah!" out loud in wholehearted agreement with whatever he was saying on that saxophone. It's as if there is a consciousness in Wayne's music that looks into you as you listen.

In addition to all of his musical accomplishments, anyone who has worked with Wayne or knows him personally will tell you they revere him not only as a great musician, but as a profoundly wise and caring man. Over the years Wayne's music and character have become a centerpiece in my life. He remains a constant source of inspiration and guidance — a glowing reminder that to be an artist, and more importantly to be fully human, means being limitless.

As future generations develop and clarify their own fresh vision of the arts, Wayne's vast body of work will serve as a brilliant signal flare. Shining, you might say, like a flashlight into the next unknown.

Wayne once posed this question to an audience: "How do you give a gift to life, which is the greatest gift of all?" Through his life, he's shown us at least one version of the answer.

(A three-time GRAMMY winner, Esperanza Spalding won Best New Artist for 2010. Her most recent studio album is 2012's Best Jazz Vocal Album-winning Radio Music Society, which includes a cover of Wayne Shorter's "Endangered Species.")

The Recording Academy Announces 2024 Special Merit Award & Lifetime Achievement Award Honorees: N.W.A, Gladys Knight, Donna Summer, DJ Kool Herc & Many More
(Top Row, L-R): Gladys Knight, the Clark Sisters, Tammy Wynette, Laurie Anderson, Gerald Eaton; (Middle Row, L-R): N.W.A, Tom Scott, Donna Summer, Joel Katz, Steve McEwan; (Bottom Row, L-R): Peter Asher, Tom Kobayashi, DJ Kool Herc, K'naan

Photo Credits: Derek Blanks; Mel Elder, Jr.; Michael Ochs Archives; Stephanie Diani; Kim Virdi; TiVo; photo courtesy of SMPTE; Copyright Brian Leatart; Gittings; Steve McEwan; Henry Diltz; Kobayashi Family; Johnny Nunez/WireImage; Nabil Elderkin

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The Recording Academy Announces 2024 Special Merit Award & Lifetime Achievement Award Honorees: N.W.A, Gladys Knight, Donna Summer, DJ Kool Herc & Many More

The 2024 Special Merit Awards honorees include Lifetime Achievement Award recipients Tammy Wynette, the Clark Sisters, and many others. The Special Merit Awards will return to the Wilshire Ebell Theater on Saturday, Feb.3, during GRAMMY Week 2024.

GRAMMYs/Jan 5, 2024 - 01:55 pm

Ahead of the 2024 GRAMMYs, the Recording Academy has announced the 2024 Special Merit Awards honorees.

Laurie Anderson, the Clark Sisters, Gladys Knight, N.W.A, Donna Summer, and Tammy Wynette are the 2024 Recording Academy Lifetime Achievement Award honorees; Peter Asher, DJ Kool Herc and Joel Katz are the Trustees Award recipients; Tom Kobayashi and Tom Scott are the Technical GRAMMY Award honorees; and “Refugee,” written by K’naan, Steve McEwan, and Gerald Eaton (a.k.a. Jarvis Church), is being honored with the Best Song For Social Change Award

The Recording Academy’s Special Merit Awards Ceremony celebrating the 2023 Special Merit Award recipients will return to the Wilshire Ebell Theatre in Los Angeles on Saturday, Feb. 3. 

“The Academy is honored to pay tribute to this year’s Special Merit Award recipients — a remarkable group of creators and industry professionals whose impact resonates with generations worldwide,” said Harvey Mason jr., CEO of the Recording Academy. “Their contributions to music span genres, backgrounds and crafts, reflecting the rich diversity that fuels our creative community. We look forward to honoring these music industry trailblazers next month as part of our week-long celebration leading up to Music’s Biggest Night.”

Lifetime Achievement Award Honorees

This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording (through 1972, recipients included non-performers).

Laurie Anderson is a writer, director, composer, visual artist, musician, and vocalist who has created groundbreaking works that span the worlds of art, theater, experimental music, and technology. As a performer and musician, she has collaborated with many people including Brian Eno, Jean-Michel Jarre, William S. Burroughs, Peter Gabriel, Robert Wilson, Christian McBride, and Philip Glass. In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her 2004 touring solo performance, The End of the Moon. She has been nominated for six GRAMMY Awards throughout her recording career and received a GRAMMY for the release Landfall in collaboration with the Kronos Quartet at the 61st GRAMMYs. 

The Clark Sisters, an American gospel vocal group initially consisting of five sisters: Jacky, Denise, Elbernita, Dorinda, and Karen – have been taking the world by storm since the early 1980s. Credited for helping to bring gospel music to the mainstream, the Clark Sisters are considered pioneers of contemporary gospel. Their biggest crossover hits include: “Is My Living in Vain?,” “Hallelujah,” “He Gave Me Nothing to Lose,” “Endow Me,” their hit song “Jesus Is A Love Song,” “Pure Gold,” “Miracle,” and their largest, mainstream crossover gold-certified, “You Brought The Sunshine.” The Clark Sisters (Jacky, Elbernita, Dorinda, and Karen) have won three GRAMMYs (two awarded to the group, and one to Karen as a songwriter for “Blessed and Highly Favored”), and with 16 albums to their credit and millions in sales, they are the highest-selling female gospel group in history.

Gladys Knight is a seven-time GRAMMY Award winner who has enjoyed No. 1 hits in pop, gospel, R&B, and adult contemporary, and has triumphed in film, television and live performance. Knight has recorded more than 38 albums over the years including four solo albums. She appeared on ABC’s 14th season of “Dancing With The Stars” in 2012, and in 2019, she competed on the inaugural season of “The Masked Singer.” Knight has sung the National Anthem at several major sporting events, including at Super Bowl LIII in Atlanta in 2019, and at the 2021 NBA All-Star Game. She was a National Endowment for the Arts 2021 National Medal of Arts Recipient and received a Kennedy Center Honor for Lifetime Artistic Achievements in 2022.

N.W.A was a rap group from the Compton district in Los Angeles who are credited by many with inventing gangsta rap. The group, consisting of Eazy-E^, Dr. Dre, Ice Cube, DJ Yella, and MC-Ren, developed a new sound, which brought in many of the loud, extreme sonic innovations of Public Enemy while adopting a self-consciously violent and dangerous lyrical stance. In 1988, N.W.A released their album, Straight Outta Compton, a brutally intense record that became an underground hit without any support from radio or MTV. This negative attention worked in their favor as it brought the album to multiplatinum status. Although the group was short-lived, gangsta rap established itself as the most popular form of hip-hop during the mid-1990s.

Donna Summer^ rocketed to international superstardom with her groundbreaking merger of R&B, soul, pop, funk, rock, disco, and avant-garde electronica, catapulting underground dance music out of the clubs of Europe and bringing it to the world. Summer holds the record with three consecutive double albums to hit No. 1 on the Billboard charts (the only solo artist to ever accomplish this), and first female artist to have four No. 1 singles in a 12-month period on Billboard’s Hot 100 chart. A five-time GRAMMY winner and 18-time GRAMMY nominee, Summer was the first artist to win the GRAMMY for Best Rock Vocal Performance, Female (1979, “Hot Stuff”) as well as the first-ever recipient of the new GRAMMY Category for Best Dance Recording (1997, “Carry On”). Summer was the first female artist to win GRAMMY Awards in four different genres: dance, gospel, rock, and R&B.

Tammy Wynette^ first hit the musical scene in 1966 with “Apartment #9” after moving to Nashville and teaming up with record producer Billy Sherrill. Together, the duo wrote songs that reflected the yearnings and the things Wynette felt were important in her life. In 1968, Wynette released “Stand By Your Man,” which sold more than five million singles and became the largest-selling single ever recorded by a female artist. By 1970, she racked up five No. 1 country hits, was named the Country Music Association’s Female Vocalist of the Year three times, and won two GRAMMYs. Wynette was the first female country music singer to sell over one million albums and has sold more than 30 million records grossing more than $100 million, earning her the title “The First Lady of Country Music.”

Read More: GRAMMY Lifetime Achievement Awards | The Complete List

Trustees Award Honorees

This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to individuals who, during their careers in music, have made significant contributions, other than performance, to the field of recording (through 1983, recipients included performers).

Peter Asher’s career began in 1964 as one-half of Peter & Gordon, whose “A World Without Love” topped the charts worldwide. Nine more Top 20 hits followed before Asher became head of A&R for the Beatles’ Apple Records in 1968, and discovered, produced and managed James Taylor; later adding Linda Ronstadt, Neil Diamond, 10,000 Maniacs, Cher, Diana Ross, Kenny Loggins, Bonnie Raitt, Robin Williams, Stevie Nicks, Lyle Lovett, Morrissey, Steve Martin & Edie Brickell, Ed Sheeran, and more to his roster. Asher won the GRAMMY for Producer Of The Year in both 1977 and 1989. He hosts a hit radio show “From Me To You” on Sirius XM and is much in demand not only in the studio but as a performer, speaker and author.

The legendary Rock & Roll Hall of Fame inductee DJ Kool Herc is consistently credited as the founder of hip-hop. His mastery at the turntables is known worldwide, as are his positive contributions to the evolution of hip-hop culture. Herc’s popularity rose by playing long sets of assorted rhythm breaks strung together. Unlike any of his DJ counterparts, Herc is not a rapid rapper who keeps your head spinning with a patter, but he is a musical innovator to the turntables. He first introduced using two turntables to make the beats last longer, creating the illusion of one long break for the B-Boys to show off their skills. Herc has received a great deal of recognition during his lifetime, including his induction into the 2023 Rock & Roll Hall of Fame, and recognition from the New York Landmarks Conservancy as a 2023 Living Landmark. 

Joel Katz has played a profound role in shaping the entertainment industry through his work in facilitating entertainment-related corporate acquisitions and mergers and consulting multi-national and multi-media entertainment companies. Katz was ranked Billboard magazine’s No. 1 entertainment attorney in its “Power 100” list of most powerful executives in the music business and has been called “the dealmaker who thinks outside the box.” At Kennesaw State University, Katz endowed and began a commercial music program – one of the largest music education programs in America with over 500 students. He has authored and co-authored many articles and commentary on topics concerning entertainment law. In honor of his work, the University of Tennessee College of Law dedicated its library in his name, the Joel A. Katz Law Library.

Read More: GRAMMY Trustees Awards | The Complete List

Technical GRAMMY Award Honorees

This Special Merit Award is presented by vote of the Producers & Engineers Wing Advisory Council and Chapter Committees and ratification by the Recording Academy's National Trustees to individuals and/or companies/organizations/institutions who have made contributions of outstanding technical significance to the recording field. 

Tom Kobayashi^ and Tom Scott met at Lucasfilm’s Skywalker Sound in 1985, when the duo joined the company and completed the building of the Skywalker post-production facilities in both Northern and Southern California. Together, Kobayashi and Scott launched the Entertainment Digital Network, also known as “EDnet,” which employed fiber-optic networks to send high-quality video and audio great distances. Its then-revolutionary technology enabled the industry to link together talent, executives and production facilities at great cost savings. For 25 years, that company connected hundreds of recording studios worldwide in the days before the Internet could handle high-quality audio. EDnet became a part of Onstream Media, and over the decades, tens of thousands of long-distance collaboration sessions were facilitated for the music, advertising, TV, and cinema businesses. 

Best Song For Social Change Award Honorees

This Special Merit Award honors songwriter(s) of message-driven music that speaks to the social issues of our time and has demonstrated and inspired positive global impact. The finalists and recipient(s) are selected annually by a Blue-Ribbon Committee composed of a community of peers dedicated to artistic expression, the craft of songwriting and the power of songs to effect social change. See past recipients here.

In June 2023, singer-songwriter K’naan released the inspiring single and accompanying video “Refugee,” co-written by GRAMMY Award-winning songwriter Steve McEwan and GRAMMY-nominated producer Gerald Eaton (also known by his stage name, Jarvis Church). “Refugee” stands out as a distinctive musical endeavor, skillfully interweaving personal and political narratives, and serving as a tribute to refugees around the world. With the single, K’naan drew inspiration from his personal experiences, aiming to redefine the traditional perception of the term “refugee” into a symbol of resilience and strength. The song was written with the hopes of encouraging individuals to embrace the word “refugee” proudly and to give those made homeless by conflict a song that felt like home.

Read More: GRAMMY Technical Awards | The Complete List

^Denotes posthumous honoree.

2024 GRAMMY Nominations: See The Full Nominees List

10 Lesser-Known Joni Mitchell Songs You Need To Hear
Joni Mitchell performs in 1995

Photo: David Redfern/Redferns

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10 Lesser-Known Joni Mitchell Songs You Need To Hear

In celebration of Joni Mitchell's 80th birthday, here are 10 essential deep cuts from the nine-time GRAMMY winner and MusiCares Person Of The Year.

GRAMMYs/Nov 7, 2023 - 03:03 pm

Having rebounded from a 2015 aneurysm, the nine-time GRAMMY winner and 17-time nominee has made a thrilling and inspiring return to the stage. Many of us have seen the images of Mitchell, enthroned in a mockup of her living room, exuding a regal air, clutching a wolf’s-head cane.

Again, this adulation is apt. But adulation can have a flattening effect, especially for those new to this colossal artist. At the MusiCares Person Of The Year event honoring Mitchell ahead of the 2022 GRAMMYs, concert curators Jon Batiste — and Mitchell ambassador Brandi Carlile — illustrated the breadth of her Miles Davis-esque trajectory, of innovation after innovation.

At the three-hour, star-studded bash, the audience got "The Circle Game" and "Big Yellow Taxi" and the other crowd pleasers. But there were also cuts from Hejira and Don Juan’s Reckless Daughter and Night Ride Home, and other dark horses. There were selections that even eluded this Mitchell fan’s knowledge, like "Urge for Going." Batiste and Carlile did their homework.

But what of the general listening public — do they grasp Mitchell’s multitudes like they might her male peers, like Bob Dylan? Is her album-by-album evolution to be poured over with care and nuance, or is she Blue to you?

Of course, everyone’s entitled to commune with the greats at their own pace. However, if you’re out to plumb Mitchell’s depths beyond a superficial level, her 80th birthday — which falls on Nov. 8 — is the perfect time to get to know this still-underrated singer/songwriter legend better. Here are 10 deeper Mitchell cuts to start that journey, into this woman of heart and mind

Mitchell blew everyone’s minds when David Crosby discovered her in a small club in South Florida. Her 1968 debut, Song to a Seagull, contains key songs from that initial flashpoint, like "Michael from Mountains" and "The Dawntreader."

Mitchell’s artistic vision truly coalesced on her second album,
Clouds. Although the production is a little wan and bare-boned, Clouds contains a handful of all-time classics, including "Chelsea Morning," "The Fiddle and the Drum" and the epochal "Both Sides, Now."

That said, "The Gallery," which kicks off side two, belongs at the top of the heap. There remain rumblings that it’s about Leonard Cohen. But whatever the case, Mitchell’s excoriating burst of a pretentious cad’s bubble ("And now you're flying back this way/ Like some lost homing pigeon/ They've monitored your brain, you say/ And changed you with religion") remains incisive, with a gorgeous melody to boot.

(And, it must be said: "That Song About the Midway," also found on Clouds, is a kiss-off to Croz, whom she enjoyed a fleeting fling with and a must-hear.)

"Cold Blue Steel and Sweet Fire" (For the Roses, 1972)

If you think you’ve got a grasp of Mitchell’s early talents, a new archival release proves they were more prodigious than you could imagine.

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) kicks off with a solo version of "Cold Blue Steel and Sweet Fire." And as great as the studio version is, from 1972’s For the Roses, this version, from a session with Crosby and Graham Nash, arguably eats its lunch.

While Neil Young’s "The Needle and the Damage Done" has proved to be the epochal junkie-warning song of the 1970s, Mitchell’s song about the same subject easily goes toe to toe with it.

Images like "Pawn shops crisscrossed and padlocked/ Corridors spit on prayers and pleas" and "Red water in the bathroom sink/ Fever and the scum brown bowl" are quietly harrowing. Via Mitchell’s acoustic guitar, they’re underpinned by downcast, harmonically teeming blues.

"Sweet Bird" (The Hissing of Summer Lawns, 1975)

The Hissing of Summer Lawns is an unquestionable masterstroke of Mitchell’s fusion era.

Highlights are genuinely everywhere within Lawns — from the swinging and swaying "In France They Kiss on Main Street," to the Dr. Dre-predicting "The Jungle Line," to the title track, a hallucinatory lament for a trophy wife.

But amid these manifold high points, don’t miss "Sweet Bird," the penultimate track on The Hissing of Summer Lawns, tucked between "Harry’s House/Centerpiece" and "Shadows and Light."

"Give me some time/ I feel like I'm losing mine/ Out here on this horizon line," Mitchell sings through her dusky soprano, as the ECM-like atmosphere seems to whirl heavenward. "With the earth spinning/ And the sky forever rushing/ No one knows/ They can never get that close/ Guesses at most."

"A Strange Boy" (Hejira, 1976)

Much like The Hissing of Summer Lawns, Hejira — retroactively, and rightly, canonized as one of Mitchell’s very best albums — is nearly flawless from front to back.

The highs are so high — "Amelia," "Hejira," "Refuge of the Roads" — that almost-as-good tracks might slip through the cracks. "A Strange Boy," about an airline steward with Peter Pan syndrome she briefly linked with.

"He was psychologically astute and severely adolescent at the same time," Mitchell said later. "There was something seductive and charming about his childlike qualities, but I never harbored any illusions about him being my man. He was just a big kid in the end."

As "A Strange Boil" smolders and begins to catch flame, Mitchell delivers the clincher line: "I gave him clothes and jewelry/ I gave him my warm body/ I gave him power over me."

"Otis and Marlena" (Don Juan’s Reckless Daughter, 1977)

One of Mitchell’s most challenging and thorny albums, Don Juan’s Reckless Daughter is one of Mitchell’s least accessible offerings from her most expressionist era. (Mitchell in blackface on the cover, as a character named Art Nouveau, doesn’t exactly grease the wheels — to put it mildly.)

But across the sprawling and head-scratching tracklisting — which includes a seven-minute percussion interlude, in "The Tenth World" — are certain tunes that belong in the Mitchell time capsule.

One is "Otis and Marlena," one of the funniest and most evocative moments on an album full of strange wonders. Mitchell paints a picture of a cheap vacation scene, rife with "rented girls" and "the grand parades of cellulite" against a "neon-mercury vapor-stained Miami sky."

And the kicker of a chorus juxtaposes this dowdy Floridan outing with the realities up north, e.g. the 1977 Hanafi Siege: "They’ve come for fun and sun," MItchell sings, "while Muslims stick up Washington."

"A Chair in the Sky" (Mingus, 1979)

While Don Juan’s Reckless Daughter is rather glowering and unwelcoming, Mingus is a cracked, cubist realm that’s fully inhabitable.

Initially conceived as a collaboration between Mitchell and four-time GRAMMY nominee Charles Mingus, it ended up being a eulogy: Mingus died before the album could be completed.

Despite its lopsided nature — it contains five spoken-word "raps," as well as a true oddity in the eerie, braying "The Wolf That Lives in Lindsey" — Mingus remains rewarding almost 45 years later. And the Mingus-composed "A Chair in the Sky," with lyrics by Mitchell, is arguably its apogee.

Like the rest of Hejira, "A Chair in the Sky" features Jaco Pastorius and Wayne Shorter from Weather Report, as well as the one and only Herbie Hancock; this ethereal, ascendant track demonstrates the magic of when this phenomenal ensemble truly gels.

"Moon at the Window" (Wild Things Run Fast, 1982)

In Mitchell’s trajectory, Wild Things Run Fast represents the conclusion of her fusion phase, in favor of a more rock-driven sound — and, with it, the sunset of her second epoch.

Following Wild Things Run Fast would be 1985’s critically panned Dog Eat Dog and 1988’s even more assailed Chalk Mark in a Rain Storm. But for every arguable misstep, like the guitar-squealing "You Dream Flat Tires," there’s a baby that shouldn’t be thrown out with the bathwater.

One is "Chinese Cafe/Unchained Melody," another is "Ladies’ Man," and perhaps best of all is the luminous "Moon at the Window," where bassist/husband Larry Klein and Shorter wrap Mitchell’s sumptuous lyric, and melody, in spun gold.

"Passion Play (When All the Slaves Are Free)" (Night Ride Home, 1991)

At the dawn of the grunge era, Mitchell found her way back to her atmospheric best, with the gorgeously written, performed and produced Night Ride Home.

While its follow-up, Turbulent Indigo, won the GRAMMY for Best Pop Album (and is certainly worth savoring), Night Ride Home might have more to offer those who were enraptured by the majestic Hejira, and thirsted for a continuation of its aural universe.

The equally excellent "Come in From the Cold" is the one that has ended up on Mitchell setlists in the 2020s, but "Passion Play (When All the Slaves Are Free)" is even more transportive.

Despite the early 1900s sonics, "Passion Play" feels ageless and eternal, tapped into some Jungian collective unconscious as a wizened Mitchell posits, "Who’re you going to get to do your dirty work/ When all the slaves are free?"

"No Apologies" (Taming the Tiger, 1998)

If Night Ride Home sounds less played than conjured Taming the Tiger is like the steam that twists and disperses from its broiling, potent stew.

As much ambience pervaded
Night Ride Home, Hejira and the like, Taming the Tiger is the only album in Mitchell’s estimable catalog to feel ambient.

Much of this is owed to Mitchell’s employment of the Roland VG-8 virtual guitar system, which allowed her to change her byzantine guitar tunings at the push of a button; the ensuing sound is a suggestion of a guitar, which enhances​​ Taming the Tiger’s diaphanous and ephemeral feel.

"No Apologies" is something of a centerpiece, where Mitchell sings of war and a dilapidated homeland, sailing forth on a cloud of Greg Liestz’s sonorous lap steel.

"Bad Dreams" (Shine, 2007)

Mitchell has always cast a jaundiced eye at the music industry machine, so it’s no wonder she hasn’t released a new album in 16 years. (Although, as she revealed to Rolling Stone, she’s eyeing a small-ensemble album of standards with her old mates in the jazz scene.)

But if Shine ends up being her swan song, it’d be a fine farewell. "Bad Dreams" — written around a quote from Mitchell’s 3-year-old grandson: "Bad dreams are good / In the great plan" — is impossibly moving.

Therein, Mitchell considers an Edenic tableau as opposed to our modern world, where "these lesions once were lakes." Movingly, the song’s final lines accept reality for what it is ("Who will come to save the day? / Mighty Mouse? Superman?") rather than what she wishes it could be.

With that, Mitchell’s studio discography — as we know it today — reaches its conclusion. But although the artist is only fully getting her flowers today, we’ve only scratched the surface of the gifts she’s bestowed upon us.

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Remembering Wayne Shorter: 7 Gateway Tracks From The Jazz Titan's 1960s Run
Jazz Musician and composer Wayne Shorter in 2018

Photo: Marvin Joseph/The Washington Post via Getty Images

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Remembering Wayne Shorter: 7 Gateway Tracks From The Jazz Titan's 1960s Run

The pioneering composer and tenor and soprano saxophonist passed away on March 2. His influence and legacy spans decades and permutations of jazz, but for the uninitiated, here are seven highlights from his 1960s leader albums.

GRAMMYs/Mar 3, 2023 - 10:57 pm

When the world learned of the pioneering saxophonist and composer Wayne Shorter's death on March 2, it did so partly through a quote from the maestro itself: "It's time to go get a new body and come back to continue the mission." 

This evocation of reincarnation not only speaks to Shorter's elaborate psychospiritual universe — he followed Nichiren Buddhism for half a century — but his multitudes as an artistic behemoth. In his 89-year life, Shorter irrevocably altered so many sectors of jazz and related forms that he seemed to inhabit many bodies at once.

To trace the 12-time GRAMMY winner's artistic evolution is to tell the story of the music as it evolved and propagated through the latter half of the 20th century. He was a member of two of the most crucial groups in jazz history: the brilliant, hotheaded drummer Art Blakey's unofficial jazz academy the Jazz Messengers and Miles Davis' so-called Second Great Quintet. 

But even that's just the tip of the iceberg. After an astonishing run of leader albums on Blue Note — including all-timers like JuJu, Speak No Evil and The All Seeing Eye — Shorter formed Weather Report, a fundamental group in '70s and '80s jazz fusion. Along the way, he also collaborated with AOR legends — Joni Mitchell on a slew of mid-period records, and on the title track to Aja, Steely Dan.

In the 21st century, he continued hurtling forward as a composer, and work only seemed to grow more eclectic and multifarious, arguably culminating with (Iphigenia), an expansive opera co-created with bassist and vocalist Esperanza Spalding. At the 2023 GRAMMYs, he won Best Improvised Jazz Solo alongside pianist Leo Genovese for "Endangered Species," a cut on Live at the Detroit Jazz Festival, which also features Spalding and drummer Terri Lyne Carrington.

In 2015, the Recording Academy bestowed upon him a Lifetime Achievement Award. "Wayne Shorter's influence on the jazz community has left an indelible mark on the music industry," Harvey Mason jr., CEO of the Recording Academy, said in part. "It's been a privilege to celebrate his contributions to our culture throughout his incredible career."

As bandleader Darcy James Argue put it, "There isn't a jazz composer today who does not owe an absolutely immeasurable debt to Wayne Shorter. Whether you assimilated his harmonic language, or consciously rejected it, or tried to thread a path somewhere in between, his influence is as unavoidable as the elements."

But with this vast cosmology established, how can Shorter neophytes find their own way in? To traverse the universe of the self-dubbed Mr. Weird — from a line about person or thing X being “as weird as Wayne” — one need not enter it at random.

Arguably, the gateway is Shorter's aforementioned '60s run as a leader; from there, one can venture out in a dozen directions and be rewarded with a lifetime of cerebrality and majesty.

So, for those looking for a way in, here are seven essential tracks from that specific period and component of Shorter's culture-quaking legacy.

"Night Dreamer" (Night Dreamer, 1964)

Shorter was terrific as a leader from the jump, but he arguably came into his own with his fourth album under his own name, Night Dreamer. Much of this had to do with paring down his compositions to their haunting essence. "I used to see a lot of chord changes, for instance, but now I can separate the wheat from the chaff," Shorter said at the time

Immerse yourself into the fittingly crepuscular title track, which Shorter crafted for a nighttime brood. "The minor keys often connotes evening or night to me," he wrote in the liner notes. "Although the beat does float, it also is set in a heavy groove. It's a paradox, in a way — like you'd have in a dream, something that's both light and heavy." 

"Juju" (Juju, 1965)

Night Dreamer and Juju feature a rhythm section closely associated with John Coltrane — the classic Olé Coltrane one, composed of pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones.

As a tenorist influenced by Coltrane, Shorter invited comparisons to his inspiration. But alongside Trane's accompanists, he had developed his own style — with the raw, unvarnished quality of said legend, but a barer tone and more elliptical sense of articulation. Juxtaposed against his accompanists' dazzling, shattered-glass approach, the side-eyeing Shorter is enchanting.

"House of Jade" (Juju, 1965)

After the rainshower of piano notes that initiates "House of Jade," Shorter demonstrates his inimitable way with a ballad, hung on Jones' weighty swing and sway. As jazz author and columnist Mark Stryker put it in an edifying Twitter thread compiling the best of Shorter at a gentler pace: "The ballads are everything. It's all there, now and forever."

"Indian Song" (Etcetera, rec. 1965 rel. 1980)

Featuring bassist Cecil McBee, drummer Joe Chambers, and harmonic mastermind Herbie Hancock — Shorter's lifelong ride-or-die — on piano, Etcetera was recorded the same year as Juju but remained on the shelf for a decade. Better late than never: it stands tall among Shorter's Blue Notes of its time.

All five tracks are fantastic — four Shorters, one Gil Evans, in "Barracudas (General Assembly)." But regarding its final track, "Indian Song," one reviewer might have hit the nail on the head: "At times the rest of the album seems like a warm-up for that amazing tune." 

Across more than 11 minutes, "Indian Song" expands and retracts, inhales and exhales, on a spectral path into the unknown. Want an immediate example of how Shorter and Hancock twinned and intertwined their musical spirits to intoxicating effect? Look no further.

"Fee-Fi-Fo-Fum" (Speak No Evil, 1966)

As per compositional mastery, evocative interplay and plain old vibe, Speak No Evil represents something of an apogee for Shorter — and many in the know regard it as the crown jewel. 

The majestic, mid-tempo "Fee-Fi-Fo-Fum" is just one highlight of this quintessential, classic-stuffed Blue Note. Hear how Hancock's elusive harmonic shades and Shorter's simple yet impassioned approach just gel — with support from trumpeter Freddie Hubbard, bassist Ron Carter and drummer Elvin Jones.

"Wayne isn't playing the changes, but plays around the composition—he's creative within the composition," saxophonist David Sanchez once explicated. "[It's] distinct from a lot of other Blue Note recordings of the period on which, generally speaking, people would improvise on the changes once the head or theme was over."

But you don't need to know what's under the hood to hear how this classic thrillingly pushes and pulls.

"Infant Eyes" (Speak No Evil, 1966)

"Infant Eyes" is a Shorter ballad of almost surreal atmosphere and beauty: on a compositional and emotional level, it's difficult to compare it to much else. It's "doom jazz" decades before that was ever a thing. 

Down to Shorter's sheer note choices and the grain of his tone, "Infant Eyes" will make your heart leap into your throat. As per Stryker's Twitter litany of enchanting Shorter ballads, the combination is stiff — but if one is supreme, it's difficult to not pick this one.

"Footprints" (Adam's Apple, 1967)

This loping waltz-not-waltz from 1967's Adam's Apple is one of Shorter's most well-known tunes; even without close analysis of its sneaky rhythms, it's downright irresistible. And talk about gateways: it's a launchpad for any young musician who wants to give his tunes a shot.

"Footprints" continues to be a standard; it titled his biography; the Facebook post announcing Shorter's death bore footprint emojis. Shorter may have transitioned from this body, but his impressions are everywhere — and we'll never see the likes of Mr. Weird again.

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