Ask almost anybody in the burgeoning crossover jazz sphere about the barriers between jazz and rap, and they'll glow about how they're evaporating before our ears. Kassa Overall once called the two "from the same tree as far as where they come from, which is Black music in America." Jon Batiste recently opined to GRAMMY.com, "I don't even think genre exists." 

While D-Nice doesn't take the unity of the two genres quite that far, he can attest to their connections: He's headlining the biggest jazz festival in our nation's capital on Sunday, September 5.

"Growing up, we used to look for jazz records to sample, and jazz records always had the best grooves to them," the rapper, DJ and producer famous for solo hits like "Call Me D-Nice"—as well as hard-hitting works with KRS-One and DJ Scott La Rock as Boogie Down Productions—tells GRAMMY.com. "That's part of the way my set is: I'm blending in a lot of those kinds of records, but I'm also blending in songs that were inspired by jazz as well." 

During his headlining set—where he'll step on the same stage as bandleader Maria Schneider, pianist Orrin Evans, violinist Regina Carter and other cream-of-the-crop musicians—expect exactly what D-Nice promises. There will be hints of straight-ahead bebop—he namedrops Thelonious Monk and Dizzy GIllespie—but also music that bears those artists' inescapable influence.

Read on for an interview with D-Nice about what listeners can expect at his DC Jazz Fest appearance, the intersection of jazz and hip-hop and why he's making the most authentic music of his life right now.

How does it feel to be headlining DC Jazz Fest this weekend? It seems like a distinct honor.

To be honest with you, it's been an overwhelming experience just to play the music that I love and to have people receive it as well as they've been receiving it. Whether it was virtually or looking forward to this Sunday, obviously—D.C. is one of my favorite places to be—but just sharing music the way I was able to throughout the last two years, it's going to be great doing this live.

What's your connection to the jazz lineage? How does this music emotionally speak to you?

To me, jazz is infused in all music. Being a hip-hop artist, growing up, we used to look for jazz records to sample, and jazz records always had the best grooves to them. When you go back and listen to Thelonious Monk, we sampled those records. That's part of the way my set is: I'm blending in a lot of those kinds of records, but I'm also blending in songs that were inspired by jazz as well.

Whether it's A Tribe Called Quest or anything that DJ Premier produced, I'm kind of infusing that with songs that have heavy horns in them that were jazz-influenced, like Stevie Wonder. It should be a very interesting set.

Read More: "Loops Of Funk Over Hardcore Beats": 30 Years Of A Tribe Called Quest's Debut, 'People's Instinctive Travels And The Paths Of Rhythm'

The longer I work as a music journalist, the more genre distinctions seem blurry or even meaningless. Is there that much of a difference between jazz and hip-hop?

I mean, of course, there's a difference, but it just depends on the artist. I was looking at a video clip of Shock G from Digital Underground and he was breaking down the way certain rappers would rhyme. The way Biggie flowed—I can't remember exactly how he described it—but the way the flow was, it was like someone playing trumpet. 

To me, it was just brilliant, because we've all been inspired by jazz music. Like, Miles Davis' Bitches Brew—Heavy D sampled that. Those records that have that groove to them have always been an important part of hip-hop production. I do understand what you're saying that the lines have been blurred a bit, but the influence is what it is. It starts there.

You mentioned your musical output over the last two years. What has this period been like for you?

Obviously, I've been doing my Club Quarantine [Instagram Live series]. But going back even before [that], I was always traveling the road, DJing and playing big venues, whether I was in Vegas or Atlantic City or Miami. Private events for everyone from former president Barack [Obama] to GRAMMY events. When the world was forced to pause for a minute, we couldn't do any of those things. 

I feel like I found myself musically—being able to play what I wanted to hear and not what I thought people wanted to party to.

Was that a big motivator in the past? Making music that would make a crowd turn up above all?

Oh, yeah. Before, you're kind of promoter-driven. It just depends on the night. At times, I would have to play EDM because it was an EDM night. That high-energy, Vegas-style DJing. Or, if I played private events—whether it was a Spotify or GRAMMY event—I would have to play a lot of new music, [like] Billie Eilish. So, I knew all of those records.

But over the last two years of this quarantine, I was able to just play the music that I loved. There was no audience in front of me, yet there was an audience listening to me. What I loved was what resonated with the world. So even on Sunday coming up in D.C., it's going to be heavy jazz, but I'm tying in songs that feel like when you have Dizzy Gillespie on a Stevie record. That's the jazz influence.

I learned to just play from my heart instead of what people wanted to hear, and it just makes my events that much more exciting.

White Dave On The Producers That Inspire Him, Why He's "Not A Rapper By Nature" & His New EP, 'Porch Sessions'

A wide, uplifting tapestry of sounds was saluted and rewarded during the 2023 GRAMMYs. The telecast's pluralistic approach delivered a view of the present as a time of musical splendor while also celebrating its past — from hip-hop's legacy, to Latin's cultural influence, to pop's boundary-pushing stars.

Between history-making wins from Beyoncé and Kim Petras, a major victory by a young jazz sensation, and celebratory performances honoring greats, there was plenty to be reveled both on and off the GRAMMY stage. Below, take a look at the highlights of another memorable edition of Music's Biggest Night.

Bad Bunny Sticks Close To His Caribbean Roots

After global star Bad Bunny celebrated a year of extraordinary achievements — both artistic and commercial — the Puerto Rican tastemaker used his GRAMMYs performance to celebrate his Caribbean roots.

Benito could have picked an obvious selection, like the crowd-pleasing single "Tití Me Preguntó." Instead, he focused on the soulful roots of Puerto Rico and the Dominican Republic by performing electrifying renditions of "El Apagón" and "Después de la Playa." 

Bad Bunny has demonstrated time and again a gift for reinventing Latin genres. And yet, "Después de la Playa" kept its insanely syncopated beats and feverish brass section faithful to traditional merengue. The late Dominican icon Johnny Ventura would have been proud.

The Fans Receive A Much-Deserved Spotlight

The awards, record deals and critical raves are indispensable elements of stardom. But in the end, it is the contributions of average fans that sustain a career. With that in mind, the GRAMMYs organized a roundtable with 10 studious fans, each making a case for their favorite performer to win the Album Of The Year award. 

To their delight — and genuine surprise — host Trevor Noah invited them on stage for the coveted award, asking one of the most devoted fans in Harry Styles' pack to announce his win. The two shared a joyous embrace before she handed him his golden gramophone, serving as a touching closing reminder that the fans mean everything.

The Magic Of Motown Becomes Transformational

A brisk tribute to Motown co-founder Berry Gordy and musical genius Smokey Robinson — three songs, augmented by an inspired Stevie Wonder — proved that words will never be enough to capture the label's contribution to pop culture. A factory of beautiful dreams, Motown gave us a string of timeless hits that combine aural poetry with propulsive rhythms, honeyed hooks and virtuoso arrangements. Seeing the 82 year-old Robinson perform the 1967 classic "The Tears of a Clown" was one of the evening's most dazzling moments. (The performance also featured Wonder's rendition of the Temptations' "The Way You Do The Things You Do" and a duet with country singer Chris Stapleton on Wonder's own "Higher Ground.")

Honoring The Past Shows The Future Is Bright

2022 was a year of artistic triumph, but also of tremendous loss. The In Memoriam segment of the telecast was sobering, also honoring performers who are lesser known in the United States but definitely worthy of a mention — such as Brazil's Erasmo Carlos and Argentina's Marciano Cantero. 

It began with a stately rendition of "Coal Miner's Daughter" by Kacey Musgraves in tribute to country legend Loretta Lynn, then continued with Quavo and Maverick City Music honoring Migos' Takeoff, ending with an homage to Fleetwood Mac's Christine McVie from Sheryl Crow, Bonnie Raitt and Mick Fleetwood. Many artists were lost during the past 12 months, but their music lives on.

A Queen Breaks Records — To A Disco Beat

Beyoncé was allegedly stuck in traffic when she won her third GRAMMY of the evening — Best R&B Song for the joyful single "CUFF IT" — which, as Trevor Noah noted, put her one win away from making GRAMMY history. Luckily, by the time her name was announced for that record-setting feat, she was in attendance — and very much in shock.

Her seventh studio LP, RENAISSANCE, won Best Dance/Electronic Album. The win put her GRAMMY total at 32, marking the most wins of all time. Visibly emotional, Beyoncé first took a deep breath and said "I'm trying to just receive this night"; before heading off stage, she made sure to honor the queer dance pioneers who inspired the album, an exuberant tribute to classic dance format. 

Hip-Hop Shines As A National Treasure

2023 marks the 50th anniversary of hip-hop — so, naturally, the GRAMMYs put together perhaps the most legendary celebration possible. Featuring the Roots, Run-DMC, Queen Latifah, and many, many more, the nearly 15-minute performance highlighted the genre's influence from past to present.

The parade of legends tracing the history of the genre was breathtaking. From Grandmaster Flash ("The Message") and De La Soul ("Buddy") to Missy Elliott ("Lose Control") and Lil Uzi Vert ("Just Wanna Rock"), the extensive medley gave hip-hop its rightful place of honor as the most compelling musical movement of the past 50 years.

The Art Of Songwriting Stands The Test Of Time

One of the show's most endearing images was the utter shock on Bonnie Raitt's face when she was announced as the winner of the Song Of The Year GRAMMY — perhaps because her competition featured the likes of Beyoncé, Adele and Harry Styles. "This is an unreal moment," she said. "The Academy has given me so much support, and appreciates the art of songwriting as much as I do." 

In retrospect, Raitt's win shouldn't surprise anyone who is aware of her superb musicianship — and her 15 GRAMMYs to show for it. A rootsy, vulnerable song, "Just Like That" is the title track of her eighteenth studio album; the song also took home the GRAMMY for Best American Roots Song earlier in the evening.

Lizzo Dedicates Her Grammy Win to Prince (And Beyoncé)

By the time Record Of The Year was announced, the prodigiously gifted Lizzo had already brought the GRAMMY house down with rousing performances of the funky "About Damn Time" and the anthemic "Special." But clearly the best was yet to come, as the former track took home one of the night's biggest honors.

As Lizzo began her speech, she paid homage to Prince, who both served as an idol and a mentor to the star. "When we lost Prince, I decided to dedicate my life to making positive music," she said, going on to explain that while she first felt misunderstood for her relentless positivity, mainstream music has begun to accept it — as evidenced by her win for "About Damn Time." 

Before leaving the stage, she made sure to give one more idol a shout-out: Beyoncé. "You changed my life," Lizzo said, reflecting on seeing the "BREAK MY SOUL" singer when she was in 5th grade. "You sang that gospel medley, and the way you made me feel, I was like, 'I wanna make people feel this way with my music.' So thank you so much."

Contrary To Popular Belief, Jazz Proves It's Far From Dead

It only takes one listen to the wondrous voice of young Bronx singer Samara Joy to understand that she follows the same path once walked by Sarah Vaughan and Ella Fitzgerald. Joy's second album, Linger Awhile, includes atmospheric versions of such classic nuggets as "Misty," "'Round Midnight" and "Someone To Watch Over Me." 

The rising star was already a winner going into the telecast, as Joy took home the golden gramophone for Best Jazz Vocal Album in the Premiere Ceremony. But when she beat out mainstream hitmakers like Latto, Anitta and Måneskin for the coveted Best New Artist GRAMMY, Joy not only set her place in the jazz firmament — it hinted that the genre may be ripe for a revival.

The Pop Concept Album Lives On

It's not only the stunning beauty of its melodies, and the pristine warmth of the production. Harry's House is a special album partly because of its vaguely conceptual sheen — the pervasive feeling that the 13 songs within are interconnected, an intimate journey into the singer's creative soul. 

At the telecast, Styles performed an ethereal reading of his luminous mega-hit "As It Was." His well-deserved win for Album Of The Year confirmed that it's perfectly valid to mix accessible pop with a sophisticated unifying theme — and if you do it really right, you may just win a GRAMMY.

Check out the complete list of winners and nominees at the 2023 GRAMMYs.

Stevie Wonder isn't just a 25-time GRAMMY winner; he's one of the most beloved talents in American music. And on Music's Biggest Night, it's the Recording Academy's honor to broadcast a special performance by the titanic singer, songwriter and multi-instrumentalist.

At the 2023 GRAMMYs, viewers will behold a broadcast of Wonder singing three classic hits, starting with the Temptations' "The Way You Do the Things You Do," featuring the R&B vocal group WanMore.

Next, Wonder will perform Smokey Robinson's "Tears of a Clown" with Robinson himself — one of MusiCares' two Persons Of The Year for 2023, the other being Motown founder Berry Gordy.

Wonder will finish off this special performance — drawn from the 2023 MusiCares Persons Of The Year Gala — with his hit "Higher Ground," from his classic 1973 album Innervisions.

Joining him will be country singer/songwriter Chris Stapleton — an eight-time GRAMMY winner in his own right, who's nominated this year for Best Country Song for co-writing Willie Nelson's "I'll Love You Till The Day I Die," from 2022's A Beautiful Time.

The 2023 GRAMMYs air Sunday, Feb. 5, from Los Angeles' Crypto.com Arena, and it will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET / 5-8:30 p.m. PT. Be sure to log into live.GRAMMY.com for the full experience.

Don't miss what's sure to be a transfixing performance by an American musical giant and two of his fellow greats!

2023 GRAMMY Nominations: See The Complete Nominees List

Fifty years ago, a record-breaking 600,000 people gathered to see the Grateful Dead, the Allman Brothers Band and the Band play Summer Jam at Watkins Glen. This is just one of many significant historical events that happened in 1973 — a year that changed the way music was seen, heard and experienced.

Ongoing advancements in music-making tech expanded the sound of popular and underground music. New multi-track technology was now standard in recording studios from Los Angeles to London. Artists from a variety of genres experimented with new synthesizers, gadgets like the Mu-Tron III pedal and the Heil Talk Box, and techniques like the use of found sounds.  

1973 was also a year of new notables, where now-household names made their debuts. Among these auspicious entries: a blue-collar songwriter from the Jersey Shore, hard-working southern rockers from Jacksonville, Fla. and a sister group from California oozing soul. 

Along a well-established format, '73 saw the release of several revolutionary concept records. The Eagles’ Desperado, Pink Floyd’s Dark Side of the Moon, Lou Reed’s Berlin and the Who’s Quadrophenia are just a few examples that illustrate how artists used narrative techniques to explore broader themes and make bigger statements on social, political and economic issues — of which there were many.

On the domestic front, 1973 began with the Supreme Court’s landmark decision in Roe v. Wade. Internationally, the Paris Peace Accords were signed — starting the long process to end the Vietnam War. An Oil crisis caused fuel prices to skyrocket in North America. Richard Nixon started his short-lived second term as president, which was marked by the Watergate scandal. 

Politics aside, the third year of the '70s had it all: from classic- and southern-rock to reggae; punk to jazz; soul and R&B to country. Read on for 20 masterful albums with something to say that celebrate their 50th anniversary in 2023. 

Band On The Run - Paul McCartney & Wings

Laid down at EMI’s studio in Lagos, Nigeria and released in December 1973, the third studio record by Paul Mcartney & Wings is McCartney’s most successful post-Beatles album. Its hit singles "Jet" and the title cut "Band on the Run" helped make the record the biggest-selling in 1974 in both Australia and Canada.

Band on the Run won a pair of GRAMMYS the following year: Best Vocal Performance by a Duo, Group or Chorus and Best Engineered Recording, Non-Classical. McCartney added a third golden gramophone for this record at the 54th awards celebration when it won Best Historical Album for the 2010 reissue. In 2013, Band on the Run was inducted into the GRAMMY Hall of Fame. 

Head Hunters - Herbie Hancock

Released Oct. 13, Herbie Hancock’s Head Hunters was recorded in just one week; its

four songs clock in at just over 40 minutes. That the album was not nominated in the jazz category, but instead Best Pop Instrumental Performance, demonstrates how Hancock was shifting gears.

Head Hunters showed Hancock moving away from traditional instrumentation and playing around with new synthesizer technology — especially the clavinet — and putting together a new band: the Headhunters. Improvisation marks this as a jazz record, but the phrasing, rhythms and dynamics of Hancock’s new quintet makes it equal parts soul and R&B with sprinkles of rock 'n' roll. 

The album represented a commercial and artistic breakthrough for Hancock, going gold within months of its release. "Watermelon Man" and "Chameleon," which was nominated for a Best Instrumental GRAMMY Award in 1974, were later both frequently sampled by hip-hop artists in the 1990s.

Greetings From Asbury Park, N.J. - Bruce Springsteen

Bruce Springsteen, 22, was the new kid in town in 1973. This debut was met with tepid reviews. Still, Greetings introduced Springsteen’s talent to craft stories in song and includes many characters The Boss would return to repeatedly in his career. The album kicks off with the singalong "Blinded by the Light," which reached No. 1 on the Billboard 100 four years later via a cover done by Manfred Mann’s Earth Band. This was the first of two records Springsteen released in 1973; The Wild, The Innocent & The E Street Shuffle arrived before the end of the year — officially introducing the E Street Band.

Innervisions - Stevie Wonder 

This Stevie Wonder masterpiece shows an artist, in his early 20s, experimenting with new instrumentation such as TONTO (The Original New Timbral Orchestra) — the world’s largest synth — and playing all instruments on the now-anthemic "Higher Ground."

The song reached No.1 on the U.S. Hot R&B Singles Chart, and Innervisions peaked at No. 4. The album won three GRAMMYS the following year, including Album Of The Year. Wonder was the first Black artist to win this coveted golden gramophone. In 1989, Red Hot Chili Peppers kept the original funk, but injected the song with a lot of rock on their cover — the lead single from Mother’s Milk.

The Dark Side Of The Moon - Pink Floyd

Critics perennially place this Pink Floyd album, the band's eighth studio record, as one of the greatest of all-time. The Dark Side of the Moon hit No.1 and stayed on the Billboard charts for 63 weeks.

A sonic masterpiece marked by loops, synths, found sounds, and David Gilmour’s guitar bends, Dark Side of the Moon is also a concept record that explores themes of excessive greed on tracks like "Money." Ironically, an album lambasting consumerism was the top-selling record of the year and has eclipsed 45 million sales worldwide since its release. The album’s cover has also become one of the most recognized in the history of popular music.

Pronounced 'lĕh-'nérd 'skin-'nérd - Lynyrd Skynyrd

This debut release features several of the northern Florida rockers' most beloved songs: "Gimme Three Steps," "Tuesday’s Gone" and "Simple Man." The record, which has since reached two-times platinum status with sales of more than two million, also includes the anthemic "Free Bird," which catapulted them to stardom. The song with its slow-build and definitive guitar solo and jam in the middle became Lynyrd Skynyrd's signature song that ended all their shows; it also became a piece of pop culture with people screaming for this song during concerts by other artists.

Houses Of The Holy - Led Zeppelin

The first Led Zeppelin record of all originals — and the first without a Roman numeral for a title — Houses of the Holy shows a new side of these British hardrockers. Straying from the blues and hard rock of previous records, Houses of the Holy features funk (“The Ocean” and “The Crunge”) and even hints of reggae (“D’Yer Mak’er”). This fifth studio offering from Page, Plant, Jones and Bonham also includes one of this writer’s personal Zeppelin favorites — "Over the Hills and Far Away.” The song was released as the album’s first U.S. single and reached No. 51 on the Billboard charts. Despite mixed reviews from critics, Houses of the Holy eventually achieved Diamond status for sales of more than 10 million. Interesting fact: the song “Houses of the Holy” actually appears on the band’s next record (Physical Graffiti).

Quadrophenia - The Who

The double-album rock opera followed the critical success of Tommy and Who’s Next. Pete Townshend composed all songs on this opus, which was later adapted into a movie. And, in 2015, classically-scored by Townshend’s partner Rachel Fuller for a new generation via a symphonic version (“Classic Quadrophenia”). The story chronicles the life of a young mod named Jimmy who lives in the seaside town of Brighton, England. Jimmy searches for meaning in a life devoid of significance — taking uppers, downers and guzzling gin only to discover nothing fixes his malaise. With sharp-witted songs, Townshend also tackles classicism. His band of musical brothers: Roger Daltrey, John Entwistle and Keith Moon provide some of their finest recorded performances. The album reached second spot on the U.S. Billboard chart.

Berlin - Lou Reed

Produced by Bob Ezrin, Berlin is a metaphor. The divided walled city represents the divisive relationships and the two sides of Reed — on stage and off. The 10 track concept record chronicles a couple’s struggles with drug addiction, meditating on themes of domestic abuse and neglect. As a parent, try to listen to "The Kids" without shedding a tear. While the couple on the record are named Caroline and Jim, those who knew Reed’s volatile nature and drug dependency saw the parallels between this fictionalized narrative and the songwriter’s life.

Catch A Fire - Bob Marley & the Wailers

The original cover was enclosed in a sleeve resembling a Zippo lighter. Only 20,000 of this version were pressed. Even though it was creative and cool, cost-effective it was not — each individual cover had to be hand-riveted. The replacement, which most people know today, introduces reggae poet and prophet Robert Nesta Marley to the world. With a pensive stare and a large spliff in hand, Marley tells you to mellow out and listen to the tough sounds of his island home.

While Bob and his Wailers had been making music for nearly a decade and released several records in Jamaica, Catch a Fire was their coming out party outside the Caribbean. Released in April on Island Records, the feel-good reggae rhythms and Marley’s messages of emancipation resonated with a global audience. A mix of songs of protest ("Slave Driver," "400 years") and love ("Kinky Reggae"), Catch A Fire is also notable for "Stir it Up," a song American singer-songwriter Johnny Nash had made a Top 15 hit the previous year. 

The New York Dolls - The New York Dolls

The New York Dolls burst on the club scene in the Big Apple, building a cult following with their frenetic and unpredictable live shows. The Dolls' hard rock sound and f-you attitude waved the punk banner before the genre was coined, and influenced the sound of punk rock for generations. (Bands like the Sex Pistols, the Ramones and KISS, cite the New York Dolls as mentors.) Singer-songwriter Todd Rundgren — who found time to release A Wizard, A True Star this same year — produced this tour de force. From the opening "Personality Crisis," this five-piece beckons you to join this out-of-control train.

Aladdin Sane - David Bowie

This David Bowie record followed the commercial success of The Rise and Fall of Ziggy Stardust & The Spiders from Mars. Many critics unfairly compare the two. A career chameleon, with Aladdin Sane, Bowie shed the Ziggy persona and adopted another alter-ego. The title is a pun that means: "A Lad Insane." For the songwriter, this record represented an attempt to break free from the crazed fandom Ziggy Stardust had created.

A majority of the songs were written the previous year while Bowie toured the United States in support of Ziggy. Journal in hand, the artist traveled from city to city in America and the songs materialized. Most paid homage to what this “insane lad” observed and heard: from debauchery and societal decay ("Cracked Actor") to politics ("Panic in Detroit") to punk music ("Watch That Man"). Top singles on Aladdin Sane were: "The Jean Genie" and "Drive-In Saturday." Both topped the U.K. charts.

Faust IV -Faust

This fourth studio album — and the final release in this incarnation by this experimental avant-garde German ambient band — remains a cult classic. Recorded at the Manor House in Oxfordshire, England (Richard Branson’s new Virgin Records studio and the locale where Mike Oldfield crafted his famous debut Tubular Bells, also released in 1973), Faust IV opens with the epic 11-minute instrumental "Krautrock" — a song that features drones, clusters of tones and sustained notes to create a trance-like vibe. Drums do not appear in the song until after the seven minute mark.

The song is a tongue-in-cheek nod to the genre British journalists coined to describe bands like Faust, which musicians largely did not embrace. The rest of Faust IV is a sonic exploration worthy of repeated listens and a great place to start if you’ve ever wondered what the heck Krautrock is.

Brothers & Sisters - the Allman Brothers Band

Great art is often born from grief, and Brothers & Sisters is exemplary in this way. Founding member Duanne Allman died in 1971 and bassist Berry Oakley followed his bandmate to the grave a year later; he was killed in a motorcycle accident in November 1972. Following this pair of tragedies, the band carried on the only way they knew how: by making music.

With new members hired, Brothers & Sisters was recorded with guitarist Dicky Betts as the new de facto band leader. The Allman Brothers Band’s most commercially successful record leans into country territory from the southern rock of previous releases and features two of the band’s most popular songs: "Ramblin’ Man" and "Jessica." The album went gold within 48 hours of shipping and since has sold more than seven million copies worldwide.  

Call Me -  Al Green

Call Me is considered one of the greatest soul records of the 20th century and Green’s pièce de résistance. The fact this Al Green album features three Top 10 Billboard singles — "You Ought to Be With Me," "Here I Am" and the title track — helps explain why it remains a masterpiece. Beyond the trio of hits, the soul king shows his versatility by reworking a pair of country songs: Hank Williams’ "I’m so Lonesome I Could Cry," and Willie Nelson’s "Funny How Time Slips Away."

Killing Me Softly - Roberta Flack

This Roberta Flack album was nominated for three GRAMMY Awards and won two: Record Of The Year and Best Female Vocal Pop Performance at the 1974 GRAMMYs (it lost in the Album of the Year category to Innervisions). With equal parts soul and passion, Flack interprets beloved ballads that showcase her talent of taking others’ songs and reinventing them. Producer Joel Dorn assembled the right mix of players to back up Flack — adding to the album’s polished sound. Killing Me Softly has sold more than two million copies and, in 2020, Roberta Flack received the GRAMMY Lifetime Achievement Award.

The album's title cut became a No.1 hit in three countries and, in 1996, the Fugees prominently featured Lauryn Hill on a version that surpassed the original: landing the No.1 spot in 21 countries. The album also includes a pair of well-loved covers: Leonard Cohen’s "Suzanne" and Janis Ian’s wistful "Jesse," which reached No. 30.

Bette Midler - Bette Middler

Co-produced by Arif Mardin and Barry Manilow, the self-titled second studio album by Bette Midler was an easy- listening experience featuring interpretations of both standards and popular songs. Whispers of gospel are mixed with R&B and some boogie-woogie piano, though Midler’s voice is always the star. The record opens with a nod to the Great American Songbook with a reworking of Johnny Mercer and Hoagy Carmichael’s "Skylark." The 10-song collection also features a take on Glenn Miller’s "In the Mood," and a divine cover of Bob Dylan’s "I Shall be Released." The record peaked at No. 6 on the U.S. charts.

Imagination - Gladys Knight & the Pips

Released in October, Imagination was Gladys Knight & the Pips' first album with Buddha Records after leaving Motown, and features the group’s only No. 1 Billboard hit:  "Midnight Train to Georgia." The oft-covered tune, which won a GRAMMY the following year, and became the band’s signature, helped the record eclipse a million in sales, but it was not the only single to resonate. Other timeless, chart-topping songs from Imagination include "Best Thing That Ever Happened to Me," and "I’ve Got to Use My Imagination."

The Pointer Sisters - The Pointer Sisters

The three-time GRAMMY-winning Pointer Sisters arrived on the scene in 1973 with this critically-acclaimed self-titled debut. Then a quartet, the group of sisters from Oakland, California made listeners want to shake a tail feather with 10 songs that ranged from boogie-woogie to bebop. Their sisterly harmonies are backed up by the San Francisco blues-funk band the Hoodoo Rhythm Devils. The record opens with "Yes We Can," a hypnotic groove of a song written by Allen Toussaint which was a Top 15 hit alongside another cover, Willie Dixon’s "Wang Dang Doodle."

Behind Closed Doors - Charlie Rich

This pop-leaning country record of orchestral ballads, produced by Billy Sherrill, made Rich rich. The album has surpassed four million in sales and remains one of the genre’s best-loved classics. The album won Charlie Rich a GRAMMY the following year for Best Country Vocal Performance Male and added four Country Music Awards. Behind Closed Doors had several hits, but the title track made the most impact. The song written by Kenny O’Dell, and whose title was inspired by the Watergate scandal, was the first No.1 hit for Rich. It topped the country charts where it spent 20 weeks in 1973. It was also a Billboard crossover hit — reaching No. 15 on the Top 100 and No. 8 on the Adult Contemporary charts.

1972 Was The Most Badass Year In Latin Music: 11 Essential Albums From Willie Colón, Celia Cruz, Juan Gabriel & Others

Many tribute shows for legacy artists end in a plume of confetti and a feel-good singalong. But not Paul Simon's.

At the end of the songbook-spanning "Homeward Bound: A GRAMMY Tribute To Paul Simon," the only person on the darkened stage was the man of the hour. Sure, the audience had been baby-driven through the Simon and Garfunkel years, into the solo wilderness, through Graceland, and so forth. But all these roads led to darkness.

Because Simon then played the song that he wrote alone, in a bathroom, after JFK was shot.

It doesn't matter that Simon always ends gigs with "The Sound of Silence." After this commensurately cuddly and incisive tribute show, it was bracing to watch him render his entire career an ouroboros. 

That "The Sound of Silence" felt like such a fitting cap to a night of jubilation speaks to Simon's multitudes. The Jonas Brothers coolly gliding through "50 Ways to Leave Your Lover," juxtaposed with the ache of Garth Brooks and Trisha Yearwood's "The Boxer," rubbing up against Dave Matthews getting goofy and kinetic with "You Can Call Me Al," and so on and so forth.

The intoxicating jumble of emotions onstage at "Homeward Bound: A GRAMMY Tribute To Paul Simon" did justice to his songbook's emotional landscape — sometimes smooth, other times turbulent, defined by distance and longing as much as intimacy and fraternity.

Here were eight highlights from the telecast on Dec. 21 — which you can watch on demand on Paramount+ now.

Read More: Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"

Woody Harrelson's Lovably Bumbling Speech

After Brad Paisley's rollicking opening with "Kodachrome," the momentum cheekily ground to a halt as Harrelson dove into a rambling, weirdly moving monologue.

"The songs of Paul Simon really are like old friends," the cowboy-hatted "The Hunger Games" star remarked, interpolating one of his song titles and crooning the opening verse.

Harrelson went on to recount a melancholic story from college, where the spiritually unmoored future star clung to Simon songs like a liferaft. We can all relate, Woody.

Garth Brooks & Trisha Yearwood's Pitch-Perfect "The Boxer"

Brooks has always been one of the most humble megastars in the business, praising his wife Trisha Yearwood — and his forebears — a country mile more than his own. (Speaking to GRAMMY.com, he described being "married to somebody 10 times more talented than you.")

The crack ensemble could have made "The Boxer" into a spectacle and gotten away with it, but Brooks wisely demurred.

Instead, the pair stripped down the proceedings to guitar and two voices; Brooks provided an aching counterpoint to Yearwood.

Billy Porter's Heart-Rending "Loves Me Like A Rock"

The "Pose" star blew the roof off of Joni Mitchell's MusiCares Person Of The Year gala in 2022 with "Both Sides Now," so it was clear he would bring napalm for a Simon party. 

Given the gospel-ish intro, one would think he was about to destroy the universe with "Bridge Over Troubled Water." 

Instead, he picked a song of tremendous personal significance, "Loves Me Like a Rock," and dedicated it to his mother. The universe: destroyed anyway.

Stevie Wonder & Ledisi's "Bridge Over Troubled Water"

The question remained: who would get dibs on the still-astonishing "Bridge Over Troubled Water"? A song of that magnitude is not to be treated lightly.

So the producers gave it to generational genius Wonder, who'd bridged numberless troubled waters with socially conscious masterpieces like Songs in the Key of Life.

But he wouldn't do it alone: R&B great Ledisi brought the vocal pyrotechnics, imbuing "Bridge Over Troubled Water" with the grandiosity it needed to take off.

Jimmy Cliff & Shaggy Brought Jamaican Vibes With "Mother & Child Reunion"

Simon embraced the sounds of South Africa with his 1986 blockbuster Graceland, yet his island connection is criminally underdiscussed; since the '60s, Jamaican artists have enthusiastically covered his songs.

For instance, it's impossible to imagine a "Mother and Child Reunion" not recorded in Kingston, pulsing with the energy of Simon's surroundings.

Enter genre luminaries Jimmy Cliff and Shaggy, who flipped the tribute into a bona fide reggae party.

Take 6 Dug Deep With "Homeless"

Leave it to the Recording Academy to avoid superficiality in these events: Mitchell's aforementioned MusiCares tribute included beyond-deep cuts like "Urge for Going" and "If." 

Most remember "Homeless" as Ladysmith Black Mambazo unaccompanied vocal cooldown after bangers like "You Can Call Me Al"; eight-time GRAMMY-winning vocal group Take 6 did a radiant, affectionate rendition.

When Simon took the stage at the end of the night, he was visibly blown away. Touchingly, he shouted out his late guitarist, Joseph Shabalala, who founded Ladysmith Black Mambazo.

"Imagine a guy born in Ladysmith, South Africa, [who] writes a song in Zulu and it's sung here by an American group, singing his words in his language," Simon remarked. "It would have brought tears to his eyes."

Angélique Kidjo & Dave Matthews' Love Letter To Africa

Graceland was Simon's commercial zenith, so it was only appropriate that it be the energetic apogee of this tribute show.

Doubly so, that this section be helmed by two African artists: Angélique Kidjo, hailing from Benin, and Dave Matthews, born in Johannesburg.

"Under African Skies," which Simon originally sang with Linda Ronstadt is a natural choice — not only simply as a regional ode, but due to its still-evocative melody and poeticism.

"This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" drew new power from Kidjo's lungs. 

Afterward, Matthews — a quintessential ham — threw his whole body into Simon's wonderful, strange hit, "You Can Call Me Al."

The Master Himself Took The Stage

With his still-gleaming tenor and still-undersung acoustic guitar mastery, Simon brought the night home with "Graceland," a Rhiannon Giddens-assisted "American Tune" and "The Sound of Silence."

At 81, Simon remains a magnetic performer; even though this is something of a stock sequence for when he plays brief one-off sets, it's simply a pleasure to watch the master work.

Then, the sobering conclusion: "Hello darkness, my old friend," Simon sang, stark and weary. With the world's usual litany of darknesses raging outside, he remains the best shepherd through nightmares we've got.

And as the audience beheld Simon, they seemed to silently say: Talk with us again.

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