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“The first time I heard her,” explains Love, “it was obvious that she had remarkable talent, without a doubt.
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And the question facing Dave Love, president of the Heads Up International label, was how to manage and develop all this far-reaching potential. And when she adds her arching, blues- and gospel-inflected vocals to her bass, combining all the elements with remarkable synchronicity, she radiates the charismatic qualities of a born communicator.īy any measure, it’s an extraordinary combination. When she plays the bass, her deeply grooving lines and colorful harmonic choices are the stuff of a rapidly maturing, first-rate jazz artist.
Slender and graceful, with luminous brown eyes and a turbulent halo of black hair, garbed in her own unique assemblage of thrift-store chic, she has the look of a sexy young pop star. How did Spalding, a Portland, Oregon-born, Berklee-trained talent, who was virtually unknown to the wider jazz audience months ago, become the most visible, rapidly rising jazz artist in years?Īny salesman will tell you that you’re only as effective as the product you have to sell, and a quick glance at Spalding, whether it’s in person, on her Web site (), or in one of her YouTube spots, affirms that she has the visual, aural and dynamic aspects of performance well in place. debut, Esperanza (Heads Up), and featured spots on iTunes’ jazz homepage, and it was pretty obvious that the Spalding promotional express was in high gear, effectively propelling her widespread media identification as one of the hottest new jazz stars. Add an appearance on NPR’s All Things Considered, a number one hit on the jazz bestsellers list for her U.S. It happened in early June, when 23-year-old bassist/singer Esperanza Spalding and her trio performed on both those popular late-night shows. Never? Or, at least, not in a very long time? Esperanza Spalding When was the last time you saw a jazz artist under the age of 25 make showcase appearances on The Late Show with David Letterman and Jimmy Kimmel Live! within a week of each other? Without applauding too heavily and jinxing anyone, we urge you to peruse the section, buy some music, and follow the ebbs and flows of these artists’ careers. It’s a mingled group: Esperanza Spalding is working smartly and steadily to give pop-jazz a good name Christian Scott is the architect of a new commercially viable fusion and one of jazz’s young style gods the pianist Aaron Parks applies rigorous postbop chops to compositions of pop concision the Israeli reedist Anat Cohen represents the music’s fully globalized state, and her quickly rising profile exhibits precocious business acumen. If anyone is to start jazz’s next slight revolution, these seven musicians are among the brightest candidates-the kind of players whose songs will spruce up the layman’s rock ‘n’ roll iTunes collection and help fund the jazz economy in total. They’re inarguably capable as players, but they also give forth a marketable charisma and the potential to promote real innovation. The seven artists chosen here, all in their 20s or early 30s, offer much promise in disparate ways. (There’s another theory that says today’s up-and-comers aren’t any good, though that one isn’t worth your time.)
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Why not? Well, anything jazz had resembling a star-making machine is now moot: blame scant attention from the mainstream media the few remaining labels and their willingness to reissue and crack vaults rather than fund artistic growth losing hopefuls to rock, rap and pop or the Internet, which has all but imploded the monoculture that made icons possible. The industry and community don’t want to even entertain the idea that another comet of a player-the kind worthy of a keen nickname-could forever alter the music’s route. One of the most frustrating dogmas jazz harbors today is an almost hopeless longing for the past.
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JazzTimes spotlights 7 New Visionaries in a series of profiles by its contributors
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