Jon Batiste interview: ‘This is a journey with music, from a very eclectic community, with great mentorship’
Friday, November 29, 2024
The multi Grammy Award-winning artist Jon Batiste on the journey behind his latest album reimagining Beethoven’s music
How do I prepare my interpretations of Beethoven? I use my intuition. I go with my gut and I try to follow my intuition to a place that is actualised. I’ll learn the piece as if I was going to perform it, just as the score has rendered it. No changes, no lifting of any of the harmony. Just looking at the melody and the theme and the piece as it is – dynamics, everything completely correct, as it says on the score. Then it starts to become a conversation where I’m thinking about all the different music that has existed since this piece has been wrought, and what musical forms it conjures for me, what it conjures for me in my own musical lineage, in my own artistry, what it conjures for me in the space of conversation that is additive in a way that’s not trying to buck tradition, but trying to expand and extend tradition.
The album only took about a day and a half to record, but I thought about it so much in my mind beforehand. It’s spontaneous composition, it’s not improvisation. Improvising is just the idea of searching through the dots to try to figure out something, whereas spontaneous composition is a process of refinement that happens prior to you even sitting at the instrument. Which musicians in jazz do for years – decades of refinement of your identity and your voice, in your thoughts around melody and harmony and rhythm and sound. And then you sit at your instrument, and you’re able to manifest this glorious compositional feat as if you had spent months and months with a score.
Beethoven is one of the early links in that chain as well, prior to it being a practice and whole cultural movement in jazz, which elevated that idea to something that’s philosophically rooted in a people and an experience. He was improvising, he was spontaneously composing, and many of the classical musicians who we revere and admire were these spontaneous composers that would then codify their work into the score. Sometimes it would even shift and be a variation on a theme within each performance. And its a practice that’s left the classical music milieu. I think, having been both from New Orleans and studied at Juilliard, I kind of have both.
You know, as a kid, I was not really a great musician. And when you’re a kid and you can’t play, you’re driven to get better. I think a lot of my exploration of music in the early years was the search for quality, the search for greatness, the search for a higher level of craft on my instrument and an understanding of music. I had mentors who were pretty rare for anyone to have – this drove me to want to be better, and also opened my musical imagination to allow for me to create music that didn’t have to exist within one frame of pedagogy.
I would study music and do these incredibly challenging classical piano competitions locally, and weekly recital performances within the studio of my piano instructor, the late Shirley Herstein. I would go to her and then I would go to Ellis Marsalis, the patriarch of the Marsalis family, or Alvin Batiste, or Kidd Jordan or Roger Dickerson who taught me composition, or my father, my first musical mentor who was a bassist and singer who played with the likes of King Floyd, Jackie Wilson and Isaac Hayes. This is my natural connection to music – through all of these different channels. I didn’t know how to put it together then, or I didn’t have a deep understanding of really any form of music, I was studying all of them to try to get better.
By the time I did have a grasp of all of it, and I could really understand the elements of the New Orleans traditional repertoire and Chopin’s Études and Preludes, and understand the way that these different forms of composition are structured, I started to be able to then manifest them with each other – and that’s a really exciting place to have arrived to.
And it’s taken 20 years from arriving to that point to get to where I am today. So it’s not an overnight, process – this is a journey with music, from a very eclectic community, with great mentorship.
The record I couldn't live without
Debussy Children’s Corner
Menininha Lobo pf (Estúdio Eldorado)
I listen to this Brazilian pianist’s recording a lot – it’s incredibly pure in its expression in a way that is so wise, yet is so innocent.
Jon Batiste’s ‘Beethoven Blues’ is out on Verve Records / Interscope