Photo: Todd Wawrychuk/A.M.P.A.S. via Getty Images
(L-R) Pete Docter and Dana Murray accept the Animated Feature Film award at the 2021 Oscars
Disney And Pixar's 'Soul' Wins Best Animated Feature Film At 2021 Oscars
Disney and Pixar's love letter to jazz, 'Soul,' which features music by Trent Reznor, Atticus Ross and Jon Batiste, won Best Animated Feature Film at the 2021 Oscars
Disney and Pixar's Soul, which follows a jazz musician in the ether as he attempts to return to Earth for the gig of a lifetime, won Best Animated Feature Film at the 2021 Oscars.
The film was directed by Pete Docter and Kemp Powers and featured music by Trent Reznor, Atticus Ross and Jon Batiste, with consultation by Herbie Hancock, Terri Lyne Carrington and other jazz luminaries.
Keep watching this space at GRAMMY.com for more news on winners and performers at the 2021 Oscars.
Photo: Rommel Demano / Getty Images
Trent Reznor, Atticus Ross Wrote Original Score For New Doc
The GRAMMY-winning duo have written 17 original tracks for Ken Burns' latest documentary on the Vietnam War
Burns' latest documentary, The Vietnam War, will be broadcast on PBS as a 10-part television event beginning on Sept. 17, and Reznor and Ross' 17-track soundtrack will be released as a two-disc CD and three-LP vinyl package on Sept. 15.
The pair have had much success in film music over the past years, winning an Oscar and a Golden Globe for the soundtrack for The Social Network, nabbing a GRAMMY nomination for their work on the Gone Girl soundtrack, and winning for Best Score Soundtrack For Visual Media for The Girl With The Dragon Tattoo at the 55th GRAMMY Awards. Their previous documentary soundtrack projects include the Leonardo DiCaprio-narrated Before The Flood, as well as director Peter Berg's acclaimed retelling of the Boston Marathon bombing, Patriot's Day.
Reznor's and Ross' 17 original tracks will stand a long side a curated compilation of contemporary music from the Vietnam War era, selected by Burns and his co-director Lynn Novick. This companion package will be released as a two-disc package entitled The Vietnam War: The Soundtrack, and will include selections by Bob Dylan, Jimi Hendrix, Otis Redding, and Marvin Gaye.
ReImagined At Home: Watch Ant Clemons Croon The Cosmic Blues In Performance Of Bill Withers' "Ain't No Sunshine"
Singer/songwriter Ant Clemons puts his own spin on Bill Withers' immortal "Ain't No Sunshine" in an exclusive performance for ReImagined At Home.
Why has Bill Withers' immortal hit, "Ain't No Sunshine," endured for decades? And, furthermore, why does it seem set to reverberate throughout the ages?
Could it be because it's blues-based? Because it's relatable to anyone with a pulse? Because virtually anyone with an ounce of zeal can believably yowl the song at karaoke?
Maybe it's for all of those reasons and one more: "Ain't No Sunshine" is flexible.
In the latest episode of ReImagined At Home, check out how singer/songwriter Ant Clemons pulls at the song's edges like taffy. With a dose of vocoder and slapback, Clemons recasts the lonesome-lover blues as the lament of a shipwrecked android.
Giving this oft-covered soul classic a whirl, Clemons reminds music lovers exactly why Withers' signature song has staying power far beyond his passing in 2020. It will probably be a standard in 4040, too.
Check out Ant Clemons' cosmic, soulful performance of "Ain't No Sunshine" above and click here to enjoy more episodes of ReImagined At Home.
Baritone saxophonist Veronica Leahy
Photo: Astrid Stawiarz/Getty Images
GRAMMY Jazz Band Plays Duke Ellington, Count Basie & More | 2018 GRAMMY Week
The GRAMMY In The Schools Live! program showcased the formidable chops of this year's GRAMMY Camp — Jazz Session band and celebrated music education in the Big Apple
After spending the first few days of GRAMMY Week getting acquainted, rehearsing and plotting their schedule, the members of GRAMMY Camp — Jazz Session finally got to let the music do the talking at the GRAMMY In The Schools Live! concert in New York City on Jan. 25.
Taking place at The New School's John L. Tishman Auditorium, the GRAMMY Museum event proved to not only showcase this year's class of Jazz Session students and the many alumni of the program who were in attendance, but it also spotlighted the year-round initiatives of the Museum, which include a range of programs for youth musicians and music education.
The event also acknowledged the Recording Academy and GRAMMY Museum's 2018 Music Educator Award recipient Melissa Salguero, a music teacher at P.S. 48 in the South Bronx.
"This is one of the most epic moments of my life. My dream was to teach in a city that loved and cherished music," said Salguero. "To be honored in New York City as a New York teacher, this has been one of the most amazing experiences in my life."
But on this January evening, the spotlight shone brightly on the 18 young musicians in the Jazz Session band — comprising five saxophones, five trumpets, four trombones, bass, drums, guitar, and piano.
With direction from conductor Justin DiCioccio, the band performed a taught set list showcasing, in DiCioccio's words, the "different styles and moods of jazz." Out of the gate, the band swung through Neal Hefti's "Whirly Bird" with a brisk fervor, highlighted by the sax chairs trading solos.
They segued into "Cabeza De Carne," a Latin clave-based tune that put some pep in the audience's collective step, and Benny Golson's "Along Came Betty," which seemed to bottle the sounds one might hear at 2 a.m. at a late-night NYC jazz club.
"We've had one rehearsal, by the way," quipped DiCioccio in between songs.
Following a take on Randy Brecker's "Sponge," which featured cool riffing and angular walking bass lines courtesy of guitarist Jordan Reifkind and bassist Augustus "Gus" Allen, respectively, the Jazz Session members kicked into high gear.
The ensemble performed a spirited take of Buddy Rich's "West Side Story Suite." The multi-layered composition was chosen in honor of the centennials of composer Leonard Bernstein and famed drummer Rich. Appropriately, the sprawling tune was sparked by brassy punctuations and impressive stick work by drummer Varun Das.
Next, the musicians' showcased depth and range that belied their experience on "Red Hair, No Freckles," a complex piece composed by GRAMMY Museum Executive Education Director David Sears, who offered, "If we play it right, your body should move." Judging by the audience reaction, they indeed got it right. The collective navigated the multiple odd time signatures in the piece with aplomb while interpreting the tune's R&B, funk and progressive pop flavors that ably mixed elements of Earth, Wind & Fire, James Brown and Chicago.
For a special encore, the Jazz Session band was joined by one of their own, alumni Jon Batiste. The gregarious pianist/bandleader for "The Late Show With Stephen Colbert" — who came straight from a show taping to play with the students — sat in for a performance of Duke Ellington's "Kiki" and Count Basie's "Splanky."
In the presence of the senior musician, the band upped their game and matched Batiste's fire, measure by measure. For his part, the smiling Batiste dazzled the ivories, with his playing light as a feather and forceful at the appropriate moments and improvised solos that were ripe with articulate calls and responses, motifs and linear flourishes. Jazz Session pianist Esteban Castro, who stepped aside for the final two songs, smiled for the duration as he witnessed the masterclass.
As for the Jazz Session members, the experience and education they amass during their GRAMMY Week crash course will certainly bode well for their future careers. And the time they are spending together in the Big Apple constitutes a form of networking, which one alumnus described as an integral part of the GRAMMY Camp — Jazz Session experience.
"[I advise them to] keep in touch with each other," said David Grossman, a pianist/bassist who was a Jazz Session band member in the mid-'90s. "They might know this but their fellow bandmates, hopefully, they'll know [each other] for a long, long time."
"These are some of the finest young jazz players in the country and we are giving them a very unique lens of what it means to work in music," said Scott Goldman, Executive Director of the GRAMMY Museum. "The kind of challenges that they will face as a working musician, the kind of discipline that is required by a working musician — this is an experience that I don't think you are going to get in any conservatory setting."
Photo: Christopher Polk/Getty Images
Recordings By Janet Jackson, Louis Armstrong, Odetta & More Inducted Into The National Recording Registry
Selections by Albert King, Labelle, Connie Smith, Nas, Jackson Browne, Pat Metheny, Kermit the Frog and others have also been marked for federal preservation
The Librarian of Congress Carla Haden has named 25 new inductees into the National Recording Registry of the Library of Congress. They include Janet Jackson’s “Rhythm Nation 1814,” Louis Armstrong’s “When the Saints Go Marching In,” Labelle’s “Lady Marmalade,” Nas’ “Illmatic,” Kool & the Gang’s “Celebration,” Kermit the Frog’s “The Rainbow Connection” and more.
“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Hayden said in a statement. “We received about 900 public nominations this year for recordings to add to the registry, and we welcome the public’s input as the Library of Congress and its partners preserve the diverse sounds of history and culture.”
The National Recording Preservation Board is an advisory board consisting of professional organizations and experts who aim to preserve important recorded sounds. The Recording Academy is involved on a voting level. The 25 new entries bring the number of musical titles on the registry to 575; the entire sound collection includes nearly 3 million titles. Check out the full list of new inductees below:
National Recording Registry Selections for 2020
Edison’s “St. Louis tinfoil” recording (1878)
“Nikolina” — Hjalmar Peterson (1917) (single)
“Smyrneikos Balos” — Marika Papagika (1928) (single)
“When the Saints Go Marching In” — Louis Armstrong & his Orchestra (1938) (single)
Christmas Eve Broadcast--Franklin D. Roosevelt and Winston Churchill (December 24, 1941)
“The Guiding Light” — Nov. 22, 1945
“Odetta Sings Ballads and Blues” — Odetta (1957) (album)
“Lord, Keep Me Day by Day” — Albertina Walker and the Caravans (1959) (single)
Roger Maris hits his 61st homerun (October 1, 1961)
“Aida” — Leontyne Price, et.al. (1962) (album)
“Once a Day” — Connie Smith (1964) (single)
“Born Under a Bad Sign” — Albert King (1967) (album)
“Free to Be…You & Me” — Marlo Thomas and Friends (1972) (album)
“The Harder They Come” — Jimmy Cliff (1972) (album)
“Lady Marmalade” — Labelle (1974) (single)
“Late for the Sky” — Jackson Browne (1974) (album)
“Bright Size Life” — Pat Metheny (1976) (album)
“The Rainbow Connection” — Kermit the Frog (1979) (single)
“Celebration” — Kool & the Gang (1980) (single)
“Richard Strauss: Four Last Songs” — Jessye Norman (1983) (album)
“Janet Jackson’s Rhythm Nation 1814” — Janet Jackson (1989) (album)
“Partners” — Flaco Jiménez (1992) (album)
“Somewhere Over the Rainbow”/”What A Wonderful World” — Israel Kamakawiwo’ole (1993) (single)
“Illmatic” — Nas (1994) (album)
“This American Life: The Giant Pool of Money” (May 9, 2008)