The universe of Native American heritage contains a fount of traditional melodies. There's just one problem: Hardly anyone remembers them.

When New Mexico trumpeter Delbert Anderson needed new inspiration for his jazz trio, he rolled out to an Aztec library and looked for Indigenous music. As a man of Navajo descent himself, he wanted to dig deeper into his ancestry. What Anderson found was a tape of “spinning songs”—essentially, songs dictating social interaction—chanted by Navajo chiefs. "It was really hard to pick out a melody," Anderson admits to GRAMMY.com. "The melodies that caught my ear were what I focused on."

Needing to know more, Anderson, a faculty member at San Juan College in Farmington, New Mexico, consulted traditional Native families, but their memories were hazy. What they could hum from memory, despite not knowing the origin, he connected to the Navajo spinning songs and learned two things. One: They were mostly in pentatonic, or specifically, minor pentatonic. Two: They were sticky and memorable enough to create stellar jazz tunes—ones that respectfully approach Native American musical tradition while also fostering an accessible experience for listeners.

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Thus, Anderson has staked his claim on an almost-untouched corner of music: Native American jazz. Along with bassist Mike McCluhan and drummer Nick Lucero, joined by a succession of hip-hop MCs, he skillfully braids Indigenous melodies and syncopated grooves in a way that can appeal to purists in either camp. This is evident on his albums like Manitou (2014) as well as his 2021 virtual concert series throughout New Mexico and Colorado, which earned a $30,000 grant from the Doris Duke Charitable Foundation.

GRAMMY.com gave Delbert Anderson a ring about his straight-ahead jazz beginnings, how he began communing more closely with his Navajo roots and how he mourns the melodies lost to time that double as a fertile source of mystery.

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This interview has been edited and condensed for clarity.

I'm amazed by the melodic strength and integrity of some of these Native American tunes you transmuted into jazz. Where did they come from?

We started out playing jazz standards, and we weren't getting anywhere. We sounded like every jazz combo in the world! [Laughs.] So, we decided to dig a little deeper into everyone's culture. Mike [McCluhan], the bass player, obviously, is white. [Drummer] Nick [Lucero] is Hispanic, and actually comes from Peruvian culture. At the same time, both of them were urging me, "We need to do something Native American, with that kind of influence."

So, I went to this Aztec library that's 12 miles from where I live right now. I found this tape of Navajo spinning songs. At that time, I didn't really know what spinning songs were. I knew of them. But after doing a lot more research and speaking with some of the elders that are still on the reservation today, [I learned] they were basically social songs that taught their children or outsiders manners or how to operate. It's really neat that they used music to teach those things.

Just an example: When the song starts, it's the male who would have to ask politely for the lady to dance. There was a certain gesture they would make. They would dance, and that was a time they would get in a conversation. They had a very specific dance. It seemed pretty intense. It wasn't like today, [where you're] both dancing however you feel like. There were certain structures to it. It was really well-disciplined.

They had songs for everything. They had songs for love, songs for war, ceremonial healing-type songs, but there were also just spinning songs. The Navajo spinning songs that I started to be influenced by were those social ones. The reason why I chose those songs was that I didn't want to be playing ceremonial, sacred music and then get in trouble by someone who says that it's too sacred to share. [Laughs.] We ran into a lot of that stuff all the way through.

The melodies that caught my ear were what I focused on. We paid attention to how we mixed those together with the Latin [melodies] that Nick brings and the jam-band that Mike brings. We found out the hard way that when we create really heavy Navajo melodies, we lose the audience a bit. We lose certain people because it becomes a little too native; we fall into a hard, general category of being just Native American music.

We paid close attention to fusing those songs together to where it blends better or has a more palatable sound to everyone versus a particular demographic.

I feel like the average American may be aware of Native American history, but not be able to subdivide it. I'd like to place these melodies at a specific point in history. In the context of Navajo people, at which point did these tunes spring up?

This is something that's always been a little weird for me. Because, to tell you the truth, I didn't really grow up 100% traditional.

The only traditional music I know probably comes from my grandparents when they were traditional. Actually, both sides of my grandparents [converted] to Christianity at a later time in their lives. However, they used to be traditional, and they made this decision to follow a Christian faith instead of their traditional spiritual faith that most Native Americans follow right now.

I was still a baby when they were traditional. I would say when I was 14 or 15, that's when they decided to [convert] to Christianity. They never allowed me to go to ceremonies or put that on me to go and learn them. However, when I started, in 2013, I started to do research. I went to some of the more traditional families and asked, "What is the earliest melody you guys can remember?" A lot of them couldn't recall, but they did some humming for me and I recorded it on my phone.

My paternal grandfather was really heavy [into] tradition and still remembered his great-grandfather's melodies. One of those—we haven't released it yet or anything—but he did the same thing. He hummed it out and said he had no idea where it came from. It's just something that his great-grandfather would sing around.

However, when I paired that melody with the research I found on the tapes from the 1920s [era], it was a bunch of chiefs singing chants. There were no words. It was just pure chants. I found some similarities. One was that everything was pentatonic. Most of the time, they were in minor pentatonic. In that tape from the 1920s—who knows when it came from—it was really hard to pick out a melody.

I honestly don't know how long these songs have gone back. There are a lot of musicologists, and even Native American musicologists, that say they've been way, way early. Like, as back to as far as we can trace. The thing that I found out is that everyone has a different story. Everyone believes it came about differently. It's hard to say when or where.

There are historians that have really hard dates. But even then, to figure out the music portion is very complicated. Nothing was written down. Nothing was preserved.

Delbert Anderson. Photo: Maurice Johnson

When you think of the knowledge that might be lost forever, do you process that in a grieving way or as a mystery to explore?

It's a little bit of both. I wish I could know straight out what a certain era sounded like. But the thing that keeps me going is that whole mystery aspect, too. I don't even know if I'm going to find anything else, more, but I'm starting to listen to these earlier tapes I found a little more closely. I'm trying to figure out, "Is there anything I'm missing?" That stuff is really encouraging; it keeps me going.

I am somewhat sad that there isn't a recording or a piece of paper that says what happened back then. I tend to stay more on the mystery side of things—figuring it out maybe later down the road.

I've also been looking into number sequences. The number four is really important to Diné culture as well as a lot of other cultures. I was trying to listen to the music and find a significance for [the number] four in their piece.

More in-depth research like that is what I've been clinging to. I'm still writing my own tunes, but [they’re] inspired by what I'm finding in the earliest recording I can find. That's as deep as I'm going. I don't know if it would make sense to visit some more places or talk to more elders. I've only been able to get, maybe, two generations back.

Anything like three or four [generations back], it's really hard. Everyone at that point is like, "I don't remember," or "I have no idea. I was too small." We never had historians. We kind of go on a telephone system.

I don't want people to walk away from this article—and this subject—simply saying, "Oh, that's cool." How can people interface with Native American jazz and support it?

I honestly never thought of it. One thing I try to do, especially when filling out grants or anything like that, is that I want to get to the core of the healing process of music. I think Native Americans share a lot of similar history with African Americans.

I think one thing is that our African American ancestors were able to get through the worst time ever in U.S. history. Not "get through it"; I know some were lost. But for the majority, a lot of African American ancestors got through that period of time, and they did it with music; they did it with self-expression. In fact, a lot of people now aren't calling it jazz. They're calling it "Black liberation music."

Liberation music itself is what I really wanted to focus on because I think there are similarities. The Native American tribes, we have the history of genocide and all that stuff. But there are people that got through it, and I'm wondering if any of those used these songs. Obviously, there are healing songs in our ceremonies and stuff like that, but I wanted to find the core reason for it.

It's a very tough question. We're kind of the only ones doing it, you know? There's not a lot of people that are trying to preserve this music. That's what I would say: We really want to highlight the healing components of this Indigenous music to everyone. I think the support would be to these areas of research of how liberation works, or how music really heals people.

People say it's good for the soul and it makes you happy, but there has to be more than that. If somebody wanted to support it, I would go with historian research, and almost like medical research, on this type of Indigenous music.

Jen Shyu On New Album 'Zero Grasses: Ritual For The Losses,' Overcoming Grief & Discrimination In Enlightened Spaces

"I only make records when I feel I have something to say," Sade Adu asserted in 2010 upon the highly anticipated release of Sade's GRAMMY-winning Soldier of Love album, which arrived after a 10-year hiatus. "I'm not interested in releasing music just for the sake of selling something. Sade is not a brand."

This lifetime of dedication toward achieving musical excellence helped Sade — vocalist Adu, bassist Paul S. Denman, keyboardist Andrew Hale, and guitarist/saxophonist Stuart Matthewman — gain prominence in the mid-80s, also garnering enormous respect from fans, critics, and peers alike. Formed in 1982, the English band is one of the few acts that can still be met with a hungry audience after disappearing from the spotlight for multiple years.

In an industry where churning out a new body of work is expected every couple of years, the four meticulous members of Sade move on their own time, putting out a mere six studio albums since 1984. Every project becomes more exquisite than the last, but it all began 40 years ago with Sade's illustrious debut album, Diamond Life. Ubiquitous hits like "Smooth Operator" and "Your Love Is King" appealed to listeners young and old — offering a unique blend of R&B, jazz, soul, funk, and pop that birthed a new sound and forced the industry to take notes from the jump.

As Sade's Diamond Life celebrates a milestone anniversary, here's a look at how the album helped push R&B forward, and why it's just as relevant today.

It Helped Set Off The "Quiet Storm" Craze

By mid-1984, Michael Jackson, was riding high off of winning the most GRAMMYs in a single night (including Album Of The Year) for his blockbuster album Thriller, Madonna celebrated her first top 10 hit with "Borderline," and Prince's Purple Rain was just days away from its theatrical release. Duran Duran, Culture Club, Billy Idol, and the Police were mainstays, while "blue-eyed soul" in particular had also hit an all-time high thanks to Hall and Oates, Wham, Simply Red, and others. What's more, many Black artists like Lionel Richie and Whitney Houston opted for more of a pop sound to appeal to broader audiences during MTV's golden era. 

Diamond Life was refreshing at the time, as it fully embraced soul and R&B. The album offered a chic sophistication amid the synth-heavy pop and rock music that ruled the charts.

Singles like "Your Love Is King" and "Smooth Operator" introduced jazz elements into mainstream radio. In turn, Sade helped usher in the "quiet storm" genre — R&B music at its core, with strong undertones of jazz for an ultra-smooth sound. Sade and Diamond Life also laid some of the groundwork for neo-soul, which saw a surge in the '90s à la Lauryn Hill, Maxwell, and Erykah Badu.

It Made GRAMMY History

In the 65-year history of the GRAMMYs, a small number of Nigerian artists, including Burna Boy and Tems, have won a golden gramophone. In 1986, a then 27-year-old Sade Adu made history as the first-ever Nigerian-born artist to win a GRAMMY when she and her band was crowned Best New Artist at the 29th GRAMMYs. Still, Billy Crystal and Whoopi Goldberg had to accept the award on Sade's behalf — signaling Adu's elusive nature as she rarely attends industry events or grants interviews.

Since then, Sade has gone on to earn three more GRAMMYs, including Best Pop Vocal Album in 2001 for their fifth studio album, Lovers Rock. The win signified their staying power in the new millennium.

It Birthed The Band's Signature Song…

While Diamond Life spawned timeless hits like "Your Love Is King" and "Hang On to Your Love," "Smooth Operator" became the album's highest-charting single — and remains the most iconic song in their catalog. The seductive track about a cunning two-timer propelled the band into international stardom: "Smooth Operator" skyrocketed to No. 5 on the Billboard Hot 100 and hit No. 1 on the Adult Contemporary chart.

Even non-Sade fans can identify "Smooth Operator" in an instant, from Adu's unmistakable vocals to that now-iconic instrumental saxophone solo. As of press time, it boasts over 400 million Spotify streams alone, and has remained a set list staple across every one of Sade's tours.

…And It Houses Underrated Gems

"Smooth Operator" may be Sade's commercial classic, but deep cuts like "Frankie's First Affair," "Cherry Pie," and "I Will Be Your Friend" are fan favorites that embody the band's heart and soul.

"Frankie's First Affair" offers a surprisingly enchanting take on infidelity: "Frankie, didn't I tell you, you've got the world in the palm of your hand/ Frankie, didn't I tell you they're running at your command." And, it's impossible to resist the funky groove that carries standout track "Cherry Pie," which served as a catalyst for some of Sade's later, more dance-oriented hits, including "Never As Good As the First Time" and "Paradise." Some of Sade's most poignant statements about lost love, including "Somebody Already Broke My Heart" from 2000's Lovers Rock, can be traced back to "Cherry Pie."

Diamond Life's penultimate song, "I Will Be Your Friend," offers both solace and companionship — another recurring theme throughout Sade's music, from 1988's "Keep Looking" to 2010's "In Another Time."

It Was The Best-Selling Debut Album By A British Female Singer For More Than Two Decades

Sade has sold tens of millions of albums worldwide, but Diamond Life remains the band's most commercially successful LP with over 7 million copies sold. Most of Sade's other platinum-selling LPs, including Diamond Life's follow-up, 1985's Promise, boast sales between four and six million copies.

The 7 million feat helped Sade set the record for best-selling debut album by a British female singer. She held the title for nearly 25 years until Leona Lewis' 2008 album Spirit, which has sold over 8 million copies globally.

It Introduced Sade Adu As A Style Icon

When we first met Adu, her signature aesthetic consisted of a long, slicked-back ponytail, red lip, and gold hoops. Sade's impeccable style is front and center in early videos like "When Am I Going to Make a Living," in which she sports an all-white ensemble paired with a pale gray, ankle-length trench coat and loafers.

Adu rocked the model off-duty style long before it became a trend. Her oversized blazers, classic trousers, and head-to-toe denim looks were as effortless as they were chic and runway-ready — proving that less was more amid the decade of excess.

"It's now so acceptable to be wacky and have hair that goes in 101 directions and has several colours, and trendy, wacky clothes have become so acceptable that they're… conventional," Adu, who briefly worked as a fashion designer and model before pursuing music, told Rolling Stone in 1985. "I don't like looking outrageous. I don't want to look like everybody else."

It Shined A Light On Larger Societal Issues

While most of Diamond Life leans into love's ebbs and flows, a handful of tunes deal with financial strife coupled with a dose of optimism, as evidenced by "When Am I Going to Make a Living" and "Sally." The latter song characterizes the Salvation Army as a young charitable woman: "So put your hands together for Sally/ She's the one who cared for him/ Put your hands together for Sally/ She was there when his luck was running thin."

Meanwhile, Adu, a then-starving artist, scribbled down portions of "When Am I Going to Make a Living" on the back of her cleaning ticket. The soul-stirring "We are hungry, but we won't give in" refrain emerges as a powerful mantra in the face of adversity and still holds relevance in 2024. Similar themes appear throughout Sade's later work, including unemployment ("Feel No Pain"), unwanted pregnancy ("Tar Baby"), survival ("Jezebel"), prejudice ("Immigrant"), and injustice ("Slave Song").

Diamond Life closer "Why Can't We Live Together" is a well-done cover of Timmy Thomas' 1972 hit about the staggering Vietnam War deaths. The band wisely doesn't veer too far from the original recording, but Adu's distinctive contralto voice brings a haunting quality that's reminiscent of Billie Holiday.

It Ignited The Public's Ongoing Fascination With Sade Adu

Since 1984, Sade has only released six studio albums, and a remarkable 14 years have passed since the group's last offering, 2010's Soldier of Love. Ironically, that scarcity — both in terms of music and access to the artist — has actually added to Adu's appeal. Case in point: Sade's sold-out Soldier of Love Tour grossed over $50 million in 2011, and the band still brings in close to 14 million monthly listeners on Spotify.

Adu's striking beauty, mysterious persona, and knack for letting her music do all the talking has earned the admiration of her peers across genres and generations. Everyone from Beyoncé to Kanye West to Snoop Dogg have sung her praises. Drake even has two portrait-style tattoos of the singer on his torso. Prince reportedly described 1988's "Love Is Stronger Than Pride" as "one of the most beautiful songs ever." Metalheads Chino Moreno of the Deftones and Greg Puciato of the Dillinger Escape Plan have also cited Adu as inspiration — showing that her influence runs far and wide.

In 2022, reports circulated that Sade was recording new music at Miraval Studios in France. But upon Diamond Life's 40th anniversary, "Flower of the Universe" and "The Big Unknown" from the respective soundtracks to 2018 films A Wrinkle in Time and Widows stand as Sade's latest releases.

Whether fans get new music anytime soon remains to be seen, but the impressive repertoire of Adu, Denman, Hale, and Matthewman is one that aims to be truth-seeking and inspiring while exploring life's peaks and valleys. Diamond Life in particular holds up as one of the purest representations of the group's creative legacy, both commercially and musically. 

From quadruple platinum status to resonating with several generations, Diamond Life will forever stand as a remarkable debut — one that continues to influence music in a multitude of ways.

Meshell Ndegeocello won the first-ever GRAMMY for Best Alternative Jazz Album at the 2024 GRAMMYs.

The album bested Arooj Aftab, Vijay Iyer and Shahzad Ismaily's Love in Exile; Louis Cole's Quality Over Opinion; Kurt Elling, Charlie Hunter and SuperBlue's SuperBlue: The Iridescent Spree; and Cory Henry's Live at the Piano.

In her acceptance speech, the two-time GRAMMY winner and 12-time nominee thanked Don Was, the president of Blue Note Records, as well as other colleagues and loved ones — including her two sons. “I hope I haven’t forgotten anybody,” Ndegeocello graciously said at the end, and invoked an elder of the music: “Oliver Lake, this is for you.”

Keep watching this space for more information about the 2024 GRAMMYs!

A Year In Alternative Jazz: 10 Albums To Understand The New GRAMMYs Category

What, exactly, is "alternative jazz"? After that new category was announced ahead of the 2024 GRAMMYs nominations, inquiring minds wanted to know. The "alternative" descriptor is usually tied to rock, pop or dance — not typically jazz, which gets qualifiers like "out" or "avant-garde."

However, the introduction of the Best Alternative Jazz Album category does shoehorn anything into the lexicon. Rather, it commensurately clarifies and expands the boundaries of this global artform.

According to the Recording Academy, alternative jazz "may be defined as a genre-blending, envelope-pushing hybrid that mixes jazz (improvisation, interaction, harmony, rhythm, arrangements, composition, and style) with other genres… it may also include the contemporary production techniques/instrumentation associated with other genres."

And the 2024 GRAMMY nominees for Best Alternative Jazz Album live up to this dictum: Arooj Aftab, Vijay Iyer and Shahzad Ismaily's Love in Exile; Louis Cole's Quality Over Opinion; Kurt Elling, Charlie Hunter and SuperBlue's SuperBlue: The Iridescent Spree; Cory Henry's Live at the Piano; and Meshell Ndegeocello's The Omnichord Real Book.

Sure, these were the standard bearers of alternative jazz over the past year and change — as far as Recording Academy Membership is concerned. But these are only five albums; they amount to a cross section. With that in mind, read on for 10 additional albums from 2023 that fall under the umbrella of alternative jazz.

Allison Miller - Rivers in Our Veins

The supple and innovative drummer and composer Allison Miller often works in highly cerebral, conceptual spaces. After all, her last suite, Rivers in Our Veins, involves a jazz band, three dancers and video projections.

Therein, Miller chose one of the most universal themes out there: how rivers shape our lives and communities, and how we must act as their stewards. Featuring violinist Jenny Scheinman, trumpeter Jason Palmer, clarinetist Ben Goldberg, keyboardist and accordionist Carmen Staff, and upright bassist Todd Sickafoose — Rivers in Our Veins homes in on the James, Delaware, Potomac, Hudson, and Susquehanna.

And just as these eastern U.S. waterways serve all walks of life, Rivers in Our Veins defies category. And it also blurs two crucial aspects of Miller's life and career.

"I get to marry my environmentalism and my activism with music," she told District Fray. "And it's still growing!

M.E.B. - That You Not Dare To Forget

The Prince of Darkness may have slipped away 32 years ago, but he's felt eerily omnipresent in the evolution of this music ever since.

In M.E.B. or "Miles Electric Band," an ensemble of Davis alumni and disciples underscore his unyielding spirit with That You Not Dare to Forget. The lineup is staggering: bassists Ron Carter, Marcus Miller, and Stanley Clarke; saxophonist Donald Harrison, guitarist John Scofield, a host of others.

How does That You Not Dare To Forget satisfy the definition of alternative jazz? Because like Davis' abstracted masterpieces, like Bitches Brew, On the Corner and the like, the music is amoebic, resistant to pigeonholing.

Indeed, tunes like "Hail to the Real Chief" and "Bitches are Back" function as scratchy funk or psychedelic soul as much as they do the J-word, which Davis hated vociferously.

And above all, they're idiosyncratic to the bone — just as the big guy was, every second of his life and career.

Art Ensemble of Chicago - Sixth Decade - from Paris to Paris

The nuances and multiplicities of the Art Ensemble of Chicago cannot be summed up in a blurb: that's where books like Message to Our Folks and A Power Stronger Than Itself — about the AACM — come in.

But if you want an entryway into this bastion of creative improvisational music — that, unlike The Art Ensemble of Chicago and Associated Ensembles boxed set, isn't 18-plus hours long — Sixth Decade - from Paris to Paris will do in a pinch.

Recorded just a month before the pandemic struck, The Sixth Decade is a captivating looking-glass into this collective as it stands, with fearless co-founder Roscoe Mitchell flanked by younger leading lights, like Nicole Mitchell and Moor Mother.

Potent and urgent, engaging the heart as much as the cerebrum, this music sees the Art Ensemble still charting their course into the outer reaches. Here's to their next six decades.

Theo Croker - By The Way

By The Way may not be an album proper, but it's still an exemplar of alternative jazz.

The five-track EP finds outstanding trumpeter, vocalist, producer, and composer Croker revisiting tunes from across his discography, with UK singer/songwriter Ego Ella May weaving the proceedings with her supple, enveloping vocals.

Compositions like "Slowly" and "If I Could I Would" seem to hang just outside the reaches of jazz; it pulls on strings of neo soul and silky, progressive R&B.

Even the music video for "Slowly" is quietly innovative: in AI's breakthrough year, machine learning made beautifully, cosmically odd visuals for that percolating highlight.

Michael Blake - Dance of the Mystic Bliss

Even a cursory examination of Dance of the Mystic Bliss reveals it to be Pandora's box.

First off: revered tenor and soprano saxophonist Michael Blake's CV runs deep, from his lasting impression in New York's downtown scene to his legacy in John Lurie's Lounge Lizards.

And his new album is steeped in the long and storied history of jazz and strings, as well as Brazilian music and the sting of grief — Blake's mother's 2018 passing looms heavy in tunes like "Merle the Pearl." 

"Sure, for me, it's all about my mom, and there will be some things that were triggered. But when you're listening to it, you're going to have a completely different experience," Blake told LondonJazz in 2023.

"That's what I love about instrumental music," he continued. "That's what's so great about how jazz can transcend to this unbelievable spiritual level." Indeed, Dance of the Mystic Bliss can be communed with, with or without context, going in familiar or cold.

And that tends to be the instrumental music that truly lasts — the kind that gives you a cornucopia of references and sensations, either way.

Dinner Party - Enigmatic Society

Dinner Party's self-titled debut EP, from 2020 — and its attendant remix that year, Dinner Party: Dessert — introduced a mightily enticing supergroup to the world: Kamasi Washington, Robert Glasper, Terrace Martin, and 9th Wonder.

While the magnitude of talent there is unquestionable, the quartet were still finding their footing; when mixing potent Black American genres in a stew, sometimes the strong flavors can cancel each other out.

Enigmatic Society, their debut album, is a relaxed and concise triumph; each man has figured out how he can act as a quadrant for the whole.

And just as guests like Herbie Hancock and Snoop Dogg elevated Dinner Party: Dessert, colleagues like Phoelix and Ant Clemons ride this wave without disturbing its flow.

Wadada Leo Smith & Orange Wave Electric - Fire Illuminations

The octogenarian tumpeter, multi-instrumentalist and composer Wadada Leo Smith is a standard-bearer of the subset of jazz we call "creative music." And by the weighty, teeming sound of Fire Illuminations, it's clear he's not through surprising us.

Therein, Smith debuts his nine-piece Orange Wave Electric ensemble, which features three guitarists (Nels Cline, Brandon Ross, Lamar Smith) and two electric bassists (Bill Laswell and Melvin Gibbs).

In characteristically sagelike fashion, Smith described Fire Illuminations as "a ceremonial space where one's hearts and conscious can embrace for a brief period of unconditioned love where the artist and their music with the active observer becomes united."

And if you zoom in from that beatific view, you get a majestic slab of psychedelic hard rock — with dancing rhythms, guitar fireworks and Smith zigzagging across the canvas like Miles. 

Henry Threadgill - The Other One

Saxophonist, flutist and composer Henry Threadgill composed The Other One for the late, great Milfred Graves, the percussionist with a 360 degree vantage of the pulse of his instrument and how it related to heart, breath and hands.

If that sounds like a mouthful, this is a cerebral, sprawling and multifarious space: The Other One itself consists of one three-movement piece (titled Of Valence) and is part of a larger multimedia work.

To risk oversimplification, though, The Other One is a terrific example of where "jazz" and "classical" melt as helpful descriptors, and flow into each other like molten gold.

If you're skeptical of the limits and constraints of these hegemonic worlds, let Threadgill and his creative-music cohorts throughout history bulldoze them before your ears.

Linda May Han Oh - The Glass Hours

Jazz has an ocean of history with spoken word, but this fusion must be executed judiciously: again, these bold flavors can overwhelm each other. Except when they're in the hands of an artist as keen as Linda May Han Oh.

"I didn't want it to be an album with a lot of spoken word," the Malaysian Australian bassist and composer told LondonJazz, explaining that "Antiquity" is the only track on The Glass Hours to feature a recitation from the great vocalist Sara Serpa. "I just felt it was necessary for that particular piece, to explain a bit of the narrative more."

Elsewhere, Serpa's crystalline, wordless vocals are but one color swirling with the rest: tenor saxophonist Mark Turner, pianist Fabian Almazan, and drummer and electronicist Obed Calvaire.

Themed after "the fragility of time and life; exploring paradoxes seeded within our individual and societal values," The Glass Hours is Oh's most satisfying and well-rounded offering to date, ensconced in an iridescent atmosphere.

Charles Lloyd - Trios: Sacred Thread

You can't get too deep into jazz without bumping into the art of the trio — and the primacy of it. 

At 85, saxophonist and composer Charles Lloyd is currently smoking every younger iteration of himself on the horn; his exploratory fires are undimmed. So, for his latest project, he opted not just to just release a trio album, but a trio of trios.

Trios: Chapel features guitarist Bill Frisell and bassist Thomas Morgan; Trios: Ocean is augmented by guitarist Anthony Wilson and pianist Gerald Clayton; the final, Trios: Sacred Thread, contains guitarists Julian Lage and percussionist Zakir Hussain.

These are wildly different contexts for Lloyd, but they all meet at a meditative nexus. Drink it in as the curtains close on 2023, as you consider where all these virtuosic, forward-thinking musicians will venture to next — "alternative" or not.

Arooj Aftab, Vijay Iyer & Shahzad Ismaily On New Album 'Love In Exile,' Improvisation Versus Co-Construction And The Primacy Of The Pulse

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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