Skip to main content
 
  • Recording Academy
  • GRAMMYs
  • Membership
  • Advocacy
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
GRAMMYs
  • Advocacy
  • Awards
  • Membership
  • GRAMMYs
  • News
  • Governance
  • Jobs
  • Press Room
  • Events
  • Login
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
  • More
    • Governance
    • Jobs
    • Press Room
    • Events
    • MusiCares
    • GRAMMY Museum
    • Latin GRAMMYs

The GRAMMYs

  • Awards
  • News
  • Recording Academy
  • More
    • Awards
    • News
    • Recording Academy

Latin GRAMMYs

MusiCares

Advocacy

  • About
  • News
  • Issues & Policy
  • Act
  • Recording Academy
  • More
    • About
    • News
    • Issues & Policy
    • Act
    • Recording Academy

Membership

  • PRODUCERS & ENGINEERS WING
  • SONGWRITERS & COMPOSERS WING
  • GRAMMY U
  • More
    • PRODUCERS & ENGINEERS WING
    • SONGWRITERS & COMPOSERS WING
    • GRAMMY U
Log In Join
  • SUBSCRIBE

See All Results
Modal Open
Subscribe Now

Subscribe to Newsletters

Be the first to find out about GRAMMY nominees, winners, important news, and events. Privacy Policy
GRAMMY Museum
Membership

Join us on Social

  • Recording Academy
    • The Recording Academy: Facebook
    • The Recording Academy: Twitter
    • The Recording Academy: Instagram
    • The Recording Academy: YouTube
  • GRAMMYs
    • GRAMMYs: Facebook
    • GRAMMYs: Twitter
    • GRAMMYs: Instagram
    • GRAMMYs: YouTube
  • Latin GRAMMYs
    • Latin GRAMMYs: Facebook
    • Latin GRAMMYs: Twitter
    • Latin GRAMMYs: Instagram
    • Latin GRAMMYs: YouTube
  • GRAMMY Museum
    • GRAMMY Museum: Facebook
    • GRAMMY Museum: Twitter
    • GRAMMY Museum: Instagram
    • GRAMMY Museum: YouTube
  • MusiCares
    • MusiCares: Facebook
    • MusiCares: Twitter
    • MusiCares: Instagram
  • Advocacy
    • Advocacy: Facebook
    • Advocacy: Twitter
  • Membership
    • Membership: Facebook
    • Membership: Twitter
    • Membership: Instagram
    • Membership: Youtube

GRAMMYs

GRAMMYs

  • Awards
GRAMMYs

Terence Blanchard

Photo by Douglas Mason/Getty Images

News
Up From The Streets: New Orleans’ Q&A terence-blanchard-michael-murphy-will-host-%E2%80%98-streets%E2%80%99-documentary-premiere-qa

Terence Blanchard & Michael Murphy Will Host ‘Up From The Streets’ Documentary Premiere Q&A

Facebook Twitter Email
The film’s executive producer and director will come together for a live streamed discussion and Q&A following its virtual premiere
Onaje McDowelle
GRAMMYs
May 12, 2020 - 4:49 pm

On May 16, six-time GRAMMY-winning jazz trumpeter Terence Blanchard and documentary filmmaker Michael Murphy will join forces for a special Q&A livestream following the virtual release of the forthcoming documentary Up From The Streets: New Orleans: The City of Music. As the film’s executive producer and director, Blanchard and Murphy’s new project features in-depth sit downs and archival footage from the likes of Louis Armstrong, Wynton Marsalis, Harry Connick Jr., Keith Richards and others, while highlighting the universal force of music, whether jazz, rock, hip-hop, or gospel, as the backbone of the city’s historically budding creative culture and hence, its influence on the world.

Over 90 theatres and record stores nationwide have joined forces for the virtual premiere event, encouraging widespread support of local businesses that are facing new and unprecedented challenges during this time through ticket purchases and community streaming of the movie, all while isolating from home. The docu-film is slated for a May 15 release and will be available for viewing through June 15. Tickets for Up From The Streets are available for purchase here.

After the premiere, the discussion and coinciding Q&A will take place on May 16 at 7 PM Eastern Standard Time via EventLive, where viewers will be able to join Blanchard and Murphy in conversation by submitting their comments and questions to the event’s live chat forum. Hosts will address questions and further unpack the film, its attention to the city of New Orleans and its artist communities and historical roots in fostering the genre of jazz and beyond. Following the live event, the full-length video stream will be made available for viewing for those who were unable to tune in in real time.

Ahead of the release events, you can prep for the film’s premiere and Q&A by tuning into the specially curated Spotify playlist below, which features music and artists from the movie itself:

Essence Festival 2020 Cancelled Due To COVID-19 | GRAMMY.com

GRAMMYs

Sheryl Crow 

Photo: Taylor Hill/Getty Images

News
Jazz Foundation Of America’s "#TheNewGig Live" jazz-foundation-america%E2%80%99s-thenewgig-live-feature-sheryl-crow-elvis-costello-jon-batiste

Jazz Foundation Of America’s "#TheNewGig Live" To Feature Sheryl Crow, Elvis Costello, Jon Batiste & More

Facebook Twitter Email
Donations collected throughout the special one-night stream will directly benefit JFA’s Coronavirus Musicians’ Fund
Onaje McDowelle
GRAMMYs
May 14, 2020 - 4:18 pm

As a benefit to the Jazz Foundation of America’s COVID-19 Musicians’ Fund, the organization will host its livestreamed benefit concert, #TheNewGig Live, tonight (May 14) beginning at 8 P.M. Eastern Standard Time. The one-night special event is slated to see performances from GRAMMY-winning and nominated artists Elvis Costello, Sheryl Crow, Jon Batiste and others.

https://twitter.com/JazzFoundation/status/1258400687999913984

The Jazz Foundation of America is proud to announce #TheNewGig Live! Please join us, along with this incredible lineup, on Thursday 05.14 at 8pm EST for a digital fundraiser benefiting jazz, blues and roots musicians affected by COVID-19. (1/2) pic.twitter.com/JTEiL0vmbL

— Jazz Foundation of America (@JazzFoundation) May 7, 2020

In addition to being hosted by comedian Keegan-Michael Key, the two-hour stream will also include appearances from other celebrity guests like Bruce Willis, Danny Glover and Rosie Perez. The program will feature archival footage of live shows and performances by other GRAMMY-winners and nominees like Brittany Howard, Herbie Hancock, Patti Smith, and August Greene (Common, Robert Glasper, and Karriem Riggins). Additional artists set to perform include Robert Cray and Angelique Kidjo.

For fans unable to catch the event in real-time, the livestream will be re-broadcasted at 10 P.M. Eastern Standard Time and will be made available online for viewing for 24 hours. You can stream the event here.

More information on donating to the foundation and their COVID-19 relief efforts can be found here.

"In The House": Katy Perry, John Legend + More

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
GRAMMYs

Wallace Roney

Photo by Ernesto Ruscio/FilmMagic

News
Jazz Trumpeter Wallace Roney Dies At 59 jazz-trumpeter-wallace-roney-dies-59

Jazz Trumpeter Wallace Roney Dies At 59

Facebook Twitter Email
The musician popularly associated as a mentee of Miles Davis reportedly passed away after coronavirus complications
Onaje McDowelle
GRAMMYs
Apr 1, 2020 - 4:54 pm

GRAMMY-winning jazz trumpeter Wallace Roney has officially passed away at the age of 59, according to his fiancée Dawn Jones. It is reported that the musician who performed alongside jazz greats and GRAMMY Hall of Famers Miles Davis and Ornette Coleman was admitted into a hospital in Paterson, New Jersey as recently as last week after contracting the coronavirus.

Born in Philadelphia, Roney began his musical training as a student at the Duke Ellington School of Music and went on to finish from both Howard University and the Berklee College of Music. After being recognized by Davis when playing in a retrospective concert, he shortly after became the late legend's protégé.

Despite creative comparison to the likes of Davis, from his debut release in 1987’s Verses and all 21 that would follow, Roney effectively established himself as a leader in new movements of jazz that incorporated influence from hip-hop and Afro-Caribean music. His sensibility focused on forward and nearly experimental harmonies and rhythms, which he was able to adopt most precisely through Davis’ teachings.

Throughout his illustrious career, Roney collaborated and performed with iconic jazz staples including Chick Corea and Pharoah Sanders, and contributed to numerous recordings including those with the early 1950’s jazz collective the Jazz Messengers, solo and tribute albums, and musical arrangements for movies Love Jones and The Visit.  

Roney received his first GRAMMY at the 37th Annual GRAMMYs in 1994 for Best Jazz Instrumental Performance, Individual or Group. He was awarded for his appearance on the tribute album A Tribute For Miles, which featured recordings from members of the Davis quintet; Herbie Hancock, Ron Carter, Wayne Shorter and Tony Williams, with Roney filling in for Davis on trumpet. He was nominated for the same award in 1997 for contributions on the album Remembering Bud Powell.

Recording Academy And MusiCares Establish COVID-19 Relief Fund

Bandcamp

Bandcamp

News
Musicians Earn $4.3 Million From Bandcamp musicians-earn-43-million-bandcamp-nearly-800000-items-sold-friday

Musicians Earn $4.3 Million From Bandcamp With Nearly 800,000 Items Sold On Friday

Facebook Twitter Email
"On a typical Friday, fans buy about 47,000 items on Bandcamp, but this past Friday, fans bought nearly 800,000, or $4.3 million worth of music and merch"
Rachel Brodsky
GRAMMYs
Mar 23, 2020 - 12:34 pm

Last Friday, March 20, in an effort to help artists impacted by coronavirus-related concert cancelations, music discovery and streaming platform Bandcamp waived its revenue shares for 24 hours, with a number of independent record labels following suit. 

Now, according to a statement from Bandcamp co-founder Ethan Diamond, the streaming platform has reportedly had its biggest sales day ever, with nearly 800,000 items sold. 

Last Friday, fans spent $4.3 million—15x a normal day of sales—in support of artists on Bandcamp https://t.co/ElpCIN3s4f

— bandcamp (@Bandcamp) March 23, 2020

"The numbers tell a remarkable story," Diamond wrote today (Monday, March 23). "On a typical Friday, fans buy about 47,000 items on Bandcamp, but this past Friday, fans bought nearly 800,000, or $4.3 million worth of music and merch. That’s more than 15 times our normal Friday, and at the peak, fans were buying 11 items per second.

"We don’t yet know the long-term impact of Covid-19, but we know that we all need music—to uplift and inspire us, to heal us, and to give us hope,” the message continues. “We’ll continue working to make Bandcamp the best place for fans and artists to come together and sustain each other in the challenging times ahead. Thank you again, and we wish you all good health!”

In support of keeping the music community alive and thriving, you can also donate to the MusiCares COVID-19 relief fund here.

MORE RESOURCES FOR MUSIC CREATORS & PROFESSIONALS:

Resources For Music Creators & Professionals Affected By COVID-19: West Region
Resources For Music Creators & Professionals Affected By COVID-19: East Region
Resources For Music Creators & Professionals Affected By COVID-19: South Region

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Eddie Palmieri

Eddie Palmieri

Photo: Rob Davidson Media

News
Eddie Palmieri On His NYC Blue Note Residency eddie-palmieri-blue-note-residency-pioneering-latin-jazz-interview

Eddie Palmieri On Pioneering Latin Jazz & His Blue Note Residency: "We're Talking About The Greatest Jazz Room In The World"

Facebook Twitter Email
At 84, pianist and bandleader Eddie Palmieri is grateful to be alive and performing. And even though he's been at the forefront of Latin jazz for 60 years, he's more interested in the future than the past—as his latest Blue Note residency attests
Morgan Enos
GRAMMYs
Jul 20, 2021 - 2:44 pm

To fully appreciate an Eddie Palmieri show, it helps to see it twice. First, catch the pianist outdoors at New York's Lincoln Center and soak in the space and balance between the septet. Later, head downtown to Blue Note and behold the same ensemble—with the horns mere feet from your face. The effect, as Palmieri said during a recent Blue Note set, is of "a herd of elephants, or 99 Mack trucks."

Why is this music so viscerally overwhelming, capable of pulling your head in seven directions while maintaining precision? It's simple, Palmieri says during a recent phone call. "After I take a piano solo, I give it to one of the drummers and then we synchronize," he tells GRAMMY.com. "And when the horns come in, I guarantee you I'm going to put you to dance in your seat!"

Now, music fans of all backgrounds can watch that equation play out before them. If you're on the East Coast, Palmieri's current run of shows at the West Village institution are a masterclass in swinging and dancing rhythms. 

His next Blue Note gigs are August 2 and 16—and if you can't make those, there are bound to be more. Because, to hear Palmieri tell it, traveling overseas is an ordeal at 84—and the Blue Note is his temple for now. "We're very fortunate to perform at the greatest jazz club in the world," Palmieri says humbly. "But when I'm playing there," he adds with an audible grin, "It's the greatest Latin jazz club in the world!" 

GRAMMY.com caught up with the 10-time GRAMMY winner and 14-time nominee to discuss his 60-year career, the lessons he learned along the way and why the Blue Note is, in his words, "the greatest jazz room in the world."

This interview has been lightly edited and condensed for clarity.

How are you, Mr. Palmieri?

Never been better, my man!

That's good to hear!

Never been. Ever!

Why do you say that? Having a particularly good day?

It's just wonderful to be alive under the conditions that exist. There's so much danger out there and unfortunately, that virus has affected the whole planet. At my age, I've seen so much, but never anything like this. 

There was a bandleader called Vicentico Valdés. That was the singer for Tito Puente in the '50s when my brother, Charlie Palmieri, played piano also for Tito Puente, for two years. Vicentico Valdés made his own orchestra in 1954; I joined in 1956. He taught me this. He said, "Palmieri, remember this. It's dangerous to be alive, but you can't live if you're dead." You know what I mean?

I'm happy to be so healthy and alive and that I can perform. I celebrate that every day.

While the virus remains a threat throughout much of the world, it's calmed down significantly stateside. How does it feel to be onstage again?

Well, you know, the pandemic is still around. That variant is still around. Now, they want to give you a booster and it could be like that for many more years, which is unfortunate. But that's what we have to deal with. It's the most wonderful feeling that I could have ever had [to be back onstage]. We didn't perform for a year and four months, at all.

I thank the gods for the Blue Note that gave us these five engagements. We did two in the summer, July 4 and 5. Then, we're going there on the 19th. Then, we have two more in August, and that's it.

The agency that I work with, Kurland, coming out of Boston, has all the jazz greats in there. Because of the pandemic, by the time they start booking for next year, that means that we're not going to be working until 2023. So, it's been a situation of two and a half years of financial drought because there's no income coming in.

It made it completely hard on every musician. Broadway closed. It changed music in seconds, unfortunately. But there's a saying that without music, the world would be flat.

I was at the Lincoln Center gig and loved it. What's the difference in energy between playing a giant outdoor show like that and the Blue Note?

We did Lincoln Center outdoors and there was a select crowd. They had to get a COVID test. We did that and it was great to play again. But to answer your question, the reason is also that on July 4 and 5, we broke the record playing at the Blue Note. No one put as many people as we put in there July 4 and 5 because we put over 750 people—around there—in four shows. 

So, it wasn't expected. I expected it because of the long time [since] we had performed. I predict that on the 19th that it'll be a sellout, the two shows. I predict that for sure because people are hungry to hear the music and we're very fortunate to perform at the greatest jazz club in the world. But when I'm playing there, it's the greatest Latin jazz club in the world!

The difference is the rhythm section! I call our jazz the fusion of the 21st century mainly because of the rhythm section that stems from Africa. That's called the 8/8 series, and we play in 4/4 time, 6/8 time or 2/4 time. The 8/8 series came from Africa when the captives were brought by force all over the Caribbean and South America.

But I'm talking about one island: Cuba! Cuba was the most incredible cultural exchange between the Spanish and the Africans. Out of that cultural exchange came the mulatto, and the mulatto put the world to dance with the drum. The drum is the pulse of my life. It can make el rumbero del piano, and that's because I'm a percussionist at heart.

I started playing timbale when I was 13 years old, which is the drum in the rhythm section and what creates the rhythmical tension and resistance. Put them together, and you'll reach the high degree of a musical climax—a rhythmical and harmonic climax. After I take a piano solo, I give it to one of the drummers and then we synchronize.

That creates tension and resistance. It starts to swell. And when the horns come in, I guarantee you I'm going to put you to dance in your seat! And like I say as always, that's because I comprehend well the African rhythm, and that African rhythm will always getcha.

https://www.instagram.com/p/CRcm0E3l_eB/?utm_source=ig_web_copy_link

GRAMMYs

Content Not Available

Tell me about the material you're performing at these gigs. With your debut album turning 60 soon, does it feel like it's time to look back and survey your career? Or are you more interested in the future?

No, no, no. You've always got to look forward. That's for sure. But the recordings that I have done—remember that my forte was with the big band, OK? Always with the big band.

When I started my orchestra, the trombone was important. [We had] a genius called Barry Rogers, another genius called Jose Rodrigues, a Brazilian. Two trombones up front, a wooden flute, a singer. Timbale and bongo—that was played by one man, Manny Oquendo. Then, we had a conga player, Tommy López, and a bass player, Dave Pérez. Then, Jose Rodrigues came in and then Dave Pérez came in again.

When I was presenting the music, my structures for Latin jazz were danceable. I'm a dance orchestra leader. When we played the Palladium Ballroom, the greatest ballroom in the history of Latin music that started in 1949—and I closed it in 1966; I started playing there in 1963—you had a thousand people dancing. I'm wanting to put people to dance, and little by little, that is the way. 

My wife, who passed away in 2013—Iraida Palmieri—told me: Look at the writing on the wall. The Latin music that you play is not what they're playing now. They have watered it down to a disaster and put it on commercial radio.

When I was a young man, commercial radio had the Machito Orchestra, the Tito Puente Orchestra, the Tito Rodriguez Orchestra coming on commercial radio. But when you turn on commercial radio now, you've got to run to the pharmacy to try to get the largest bottle of Pepto-Bismol because of what you're hearing! That's how bad it is!

So my wife says, "If you can do Latin jazz, then do it. That will extend your career and keep you going with employment." She was completely right. We did the first one, [1994's] Palmas, with the great [trumpeter] Brian Lynch, [saxophonist] Donald Harrison—Chief Donald Harrison from New Orleans! And a great trombone player, Conrad Herwig.

Eddie Palmieri

Eddie Palmieri. Photo: Rob Davidson Media

We did three albums. We did Palmas, [1995's] Arete and [1996's] Vortex. Then, I went back to Latin dance music with [1998's] El Rombero Del Piano. Then, before Tito Puente passed away, that was [2000's] Masterpiece. Then, Tito passed away and we never went on tour after that because he died right after the album was done. So, we keep going and keep going and keep going.

Now, the Blue Note has given me the opportunity to present my new works and the new arrangements I'm doing. I really appreciate the home I have at the Blue Note. I'd like to keep something out because if I keep something out, I can have it—more important—at the Blue Note. 

Which helps me, because at my age—look, I've played five continents already! We've done more than 2,500 concerts since I started going to Europe, and that's many, many years ago. I started in 1974. Being home means a lot to me—staying home and not traveling so much. 

Those trips are very hard to do. We went to Australia five times, Japan seven or eight times. That's 13 hours. When you go to Australia, it's 27 hours. You've got to do 13 hours, then you stay overnight and fly over the Indian Ocean for four more hours. Because from Sydney to Perth is a thousand miles longer than New York to California. It's 4,000 miles. Unbelievable!

So, we did all that. We went to Africa. All over Europe. The body can only take so much. I like to stay more local, and that would be the Blue Note for me. That's why the Blue Note means everything to me. I love the Blue Note very, very much and what they've done for me. 

I hope we can extend these with more and more presentations there with my septet, which is an amazing septet. And that's it for now. You know what I mean?

https://www.instagram.com/p/CQW20HgsyFZ/?utm_source=ig_web_copy_link

GRAMMYs

Content Not Available

I do. You're staying here and settling in at your chosen home.

Well, yeah. We're talking about the greatest jazz room in the world! And at the same time, I've played the one in China. I've played the one in Japan four or five times. Then, we went to the one in Italy, in Milan. Now, I want to do the one I'm missing in Hawaii! I want to go, but that's a little bit of a tremendous, long trip.

I'm a Blue Note member. I appreciate them calling me because when we play there, we play hard and we play very good. We've started to pack them in. And when you start packing in the hall, then you've got yourself employment, and that's what I'm after. Health and employment have been my prayers always. I'm 84; I'll be 85 in December. The great Chocolate Armenteros taught me that after 50, you have to start counting by one again. So, I'm 34—I'll be 35 in December!

I'm a happy camper with all my experience. I would say my brother was the pianist; I'm the piano player. It's an incredible story between two brothers who loved each other very much. He died at 60 years young. I've made it my business to not only extend my legacy as far as what I do, but to live as long as I possibly can because there's so much work to do.

Right now, I'm recording a young lady called Arlene G. A lot of this is now back to dance music, and it's going to be a great composition that I did for her. It's going to turn out to be another album. What I want to do at the end of the year is Harlem River Drive, Vol. 2. The new one will be Poverty is the Parent of Wars and Crime.

The importance of staying healthy and alive to me means everything as I reach this stage. Let me put it this way: The great Pablo Casals from Spain—the greatest cellist in the world—was 92. The reporters asked him, "Maestro, at 92, when you've been acclaimed as the greatest cellist alive in the world, why do you keep practicing?" His answer was so simple and so true: "I hear progress." 

So, I hear progress in my playing and see progress in my writing. I'm writing some new compositions with exchanges for five horns. Things that I'm doing and experimenting with. I'm still healthy enough to perform, and that's all of it in a nutshell. Would you agree?

Yes, absolutely. Do you feel that the future of Latin jazz is in good hands? You mentioned that young musician you're working with.

Oh, yeah. Latin jazz is the fusion of the 21st century.

Great talking to you, Mr. Palmieri.

I think you've got enough for a book, my man!

For The Record: Celebrating Cuban Sensation & Queen Of Salsa Celia Cruz

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Top
Logo
  • Recording Academy
    • About
    • DEI
    • Governance
    • Press Room
    • Jobs
  • GRAMMYs
    • Awards
    • News
    • Videos
    • Events
    • Store
  • Latin GRAMMYs
    • Awards
    • News
    • Photos
    • Videos
    • Cultural Foundation
    • Members
    • Press
  • GRAMMY Museum
    • COLLECTION:live
    • Museum Tickets
    • Exhibits
    • Education
    • Support
    • Programs
    • Donate
  • MusiCares
    • About
    • Get Help
    • Support
    • News
    • Events
  • Advocacy
    • About
    • News
    • Issues & Policy
    • Act
  • Membership
    • Chapters
    • Producers & Engineers Wing
    • Songwriters & Composers Wing
    • GRAMMY U
    • Events
    • Join
Logo

© 2022 - Recording Academy. All rights reserved.

  • Terms of Service
  • Privacy Policy
  • Cookie Policy
  • Copyright Notice
  • Contact Us

Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.