A force to be reckoned with. It appears that everything Fiona Ross touches takes flight, backed by her innate need to breathe into her art, writing and work with the kind of commitment admired and upheld by both the jazz and journalist community. So, it’s no wonder her latest album is aptly titled ‘Thoughts, Conversations and To Do Lists ’ ( out 27 April) . Before even listening to her album, one thing was clear: finally, at long last, someone decided to write an album dedicated to what happens in the everyday. It explores the vulnerability, the bold confidence, the polarity of trying to live in the present just when responsibility and desire come knocking at your door. It’s about the big and small things, and who we are, at all hours of the day. I haven’t heard an album that honest, lyrically in quite a while. Musically, Ross’s album shift-shapes its way through her mind and heart as she takes us through a day in the life, of us all. It’s one of those rare instances where something so personally written and expressed becomes instantly relatable. It’s what makes a good songwriter, and moreover, it’s what makes this album so fantastically poignant.

UKJazz News: Fiona, every single track of the new album spoke to me personally. I want to know: how long did it take you to compose the music, and was it a conceptual process?

Fiona Ross: Thank you so much for your very kind words, Lara and I am so happy to hear it spoke to you. To be honest, the writing part didn’t take me very long at all, once I managed to find some time to actually do it, that was the bigger struggle! I allocated myself some writing time (a few evenings and the odd weekend) and wrote mostly three songs in each session as the first stage, whatever came into my head at the time. Some songs were quicker to write than others of course, depending on the arrangements. I love writing brass parts so I spent quite a bit of time on these. Normally, the themes for my album become apparent quite quickly during the writing process, but for this one, I didn’t even have a title until I had almost finished recording. It wasn’t until someone was asking me what my new album was about that I explained that it was just a collection of some of my thoughts, some conversations I had with people and to do lists and so I thought, that’s the title! But you know, this is how I am really, I very much just go with the flow and see what evolves.

UKJN: There seems to be an ongoing theme of emotional and mental polarity. Do you think that this was a poignant motivation for you, with this album?

FR: Well my goodness life is a rollercoaster isn’t it? Societal expectations, artistic expectations and our own personal goals can make life so very challenging at times. One minute we are supposed to be, quite rightly, taking time out and looking after our mental and physical wellbeing but then we also need to be working really hard to earn money to pay for rising bills and trying to not get worried about it. We also must spend time with loved ones, work on our craft, support others – I mean it is just non stop but all valid and of equal importance. But it is something we all have to figure our way through and find our balance. There are many wonderful moments within all the crazy. I am a big believer in the power of shared experiences. If you know someone else is going through the same thing, it can help you feel you are not alone and that in turn can help you get through it. At least I do hope the album does this.

UKJN: Your voice takes on a beautiful speech quality, almost touching on the verge of a stripped-down singer- storyteller set at the West End. It feels like you’re encouraging that place of vulnerability as an artist, speaking directly to their audience?

FR: Thank you so much. This is something I find fascinating and discuss often with many people. As an artist, I have never actually tried to open up or make myself vulnerable. I write whatever is in my head at the time and writing can sometimes be therapy – and I know you understand this as a songwriter yourself (and a brilliant one at that!). This is something I learnt from Billie Holiday very early on. Music is the place to put your pain. It’s only really when I must perform a particular song, or when someone else has listened to it, that I realise how vulnerable I made myself and then I often wonder why I did that. I have several songs that I find very hard to sing live. In fact, there is one song on this album, that I wrote in about 20mins and recorded it in one take, just because it was all a bit much, emotionally. No idea how I will perform that song live to be honest. But as artists, we do seem to lay ourselves bare and hope that the audience connects with those emotions.

UKJN: The track ‘The Best Version of Me’ spoke volumes, and the music showcases both angst, frenzy and willingness to overcome the pressure we feel to be the best version of ourselves. Is this a direct symptom of being a multi- disciplinary artist, or is this something you feel we all need to explore a little further?

FR: I have always been very reflective and I continually critically analyse everything I do. I think this stems from my theatre training which I began at a very young age. I have never been competitive, and I have always just worked hard to be the best I can be, on a personal level. We live in a very competitive society, full of top tens, best of lists, especially in music but I have never wanted to be ‘the best’ singer or musician and I don’t even know what ‘the best’ really is in that context. I set myself completely unrealistic expectations of what I feel I should be able to achieve and then of course I never feel good enough because I obviously can’t achieve the unrealistic expectations. It seems to be a recurring theme in my music. For me, this is born out of a combination of things, one of which is just the nature of being a creator. But we must always allow ourselves time to breathe, take a step back and recognise our achievements. And also, very importantly, we are all in this together and there is plenty of room for everyone. When you realise that we are all on the same side and support each other, it is a very beautiful thing. There is a wonderful quote, I’m not sure who said it ‘surrounded yourself with women who would mention your name in a room full of opportunities’. I love this and gender aside, something we can all reflect on.

UKJN: I was thrilled to see that celebrated American journalist Jordannah Elizabeth wrote the liner notes to your album. She quite rightly pinpoints the collaborative spirit of the album, saying ‘Beyond gender, as a musician and songwriter, the album is a complete culmination of a myriad of viewpoints, thoughtful self-reflection, and collaborative music as she brings together a band that gels and has balanced chemistry.’ Is your intention to shine a light on your role as an artist and person, all at the same time with your music?

FR: I have always felt uncomfortable shining a light on myself, as many artists do, so to be honest, I am not trying to shine a light at all. I really just write about my experiences and how I am feeling at that particular moment in time. I wear a few different hats and although I have always tried to keep them separate, they do keeping crossing over. I am always humbled by the incredible people I get to work with and meet through those hats and I relish any opportunity to shine a light on them. I decided a few albums ago how wonderful it would be to have women who have inspired me write the liner notes and I have been overwhelmed and so very grateful to have such incredible women say yes. Jordannah joins Maxine Gordon & Celine Peterson in what is becoming an incredible lineage of women. I am much happier shining a light on others.

UKJN: The last track of the album, ‘#Thursday Thoughts’ really blew my mind. I couldn’t’ help but feel transported by the intensely relentless piano riff that seem to swirl out of bounds with the rest of the album. I wonder- was this track a parting gift to you at the end of the day, when you’ve given it your all, and leave the rest to fate?

FR: Thank you so much and I really love playing this, so much fun. I wish it was, because that sounds amazing although playing it, is like a gift to me I guess. This track first appeared on my last album as #TuesdayThougths and was a piano solo piece. I had intended at the time to expand this and develop it into a song, but when I revisited this, lyrics just didn’t come into my head. So I simply added a section in the middle with a groove that came to mind. I am hoping that this will become a 3 part track, so in my next album, maybe it will be an actual song with lyrics, but we shall see and to reference you, yes, I am leaving it to fate. I have to say the response to this track as the piano only track was wonderful and it was nice to remind people that I am a pianist too.

UKJN: Thank you so much, Fiona!

‘Thoughts, Conversations and to do Lists’ is out on Friday 28 April on all music platforms.

The post Fiona Ross – new album ‘Thoughts, Conversations and To Do Lists’ first appeared on UK Jazz News.

In the chaotic industry that is contemporary music, Jon Batiste has managed to stay true to the thing that motivates him: simply, his love for music and all that it entails. As he has said: “…music has always been something that has had all of the different purposes of our life and our community and our healing and our unspoken pain – and the transmission of messages and the raising awareness of a condition of a people”.

This is the most prominent reason I have for thinking that Jon Batiste is our modern-day Renaissance Man, and a true healer. Any work he’s done he’s excelled at, whether it was his early formative years of teaching workshops and clinics to under-educated, inner city school children in The Netherlands, or affirming his status as an exceptional bandleader and pianist performing with his band Stay Human for the Stephen Colbert Show since 2015.

His film work, most notably his compositions for the film Soul, brought joy in one of humanity’s darkest hours, and his attention to detail to revitalise his culture and bring awareness has seen him shifting between the protest of Juneteenth, performing on the steps of the Brooklyn Public Library in the aftermath of George Floyd and revitalising the original Harlem Dance in his song ‘I Need You’. He’s quite literally unstoppable, generating one of the most profound honours of all which is the respect he has amongst musicians he’s worked with, including Stevie Wonder, Prince, Willie Nelson, Lenny Kravitz, Ed Sheeran, Roy Hargrove, and Mavis Staples. I am honestly ecstatic that as of 2021, Batiste has garnered a whopping 14 Grammy nominations.

Enigmatic but with a charisma that somehow combines swagger with modesty, it’s Jon Batiste’s time to bring music back to the people, for the people.

1) What A Wonderful World (from Hollywood Africans)

Batiste’s piano playing was the initial link that drew me to him; his feel moves within a world of harmonics that speak to the heart. The video for his take on ‘What A Wonderful World’ is sublime, featuring Batiste, with his piano, in the middle of London against a second narrative of nuns enjoying the sites and sounds. Keeping an Eb pedal drone, Batiste takes his time to paint his own depiction of the magical world he inhabits, at least, momentarily. He has that ability to make the melancholic sound like hope; isn’t that the point of the song itself?

2) We Are (from We Are)

We inhabit a world of music synonymous with activism; arguably, Batiste is at the forefront of this movement, and man is he a leader! Against a filmic docu-narrative of the Black Lives Matter movement, Batiste calls the peacemakers, game changers and voices of our generation to “tell the truth” in a rousing chorus: “We are the golden ones, we are the chosen ones”. Again, his song springs hope amidst the injustice.

3) Coltrane (from We Are) – live for NPR’s Tiny Desk Concert

You can always realise the genius of a musician from record to the stage. Batiste is a compelling example constantly reinventing his own music to live audiences; much like his jazz ancestors, always improvising to the vibe of each setting. I’ve had his entire NPR Tiny Desk concert on repeat for a whole week now. ‘Coltrane’ in particular celebrates a return to Batiste’s native Louisiana. Enthralling in his exquisite switch from rapping over a verse celebrating black culture to Coltranesque lyrical chords; because he can.

4) Let God Lead – Jon Batiste and Stay Human

“Music is your own experience, your own thoughts, your wisdom” – Charlie Parker. Yes indeed. Batiste is a classically trained musician with jazz-blues roots. He lives and breathes the here and now in quite literally every piece he composes. ‘Lead the Way’, performed with his stellar band that catapulted him into fame, Stay Human, is about celebrating his own belief; it’s nothing to do with religion, it’s about faith and letting the power of music be your guide.

5) Nocturne No. 1 in D Minor

Duke Ellington was the first pianist for me to set the record straight when it came to uniting the virtuosity of classical and its long-lost cousin, jazz. Jon Batiste is another. Backed by a smooth-talking rhythm section, you can almost hear Batiste toying with Chopin, coyly asking him to explain what happens during the ‘nocturnal’ hours. It’s an extension of what Chopin intended, in my humble opinion, and what blows me even more away is how adamantly Batiste insists on pushing the boundaries. That’s jazz, baby.

6 ) St. James Infirmary (from Hollywood Africans) – live on the Stephen Colbert Show

‘St. James Infirmary’ is not just a blues song: it’s a tale of injustice, racial and social, a woeful tale of trying to make amends with grief and wallowing in a path that leads to a state of chaos so great it’s almost unbearable. When Batiste sings the final verse – “Folks, this is the end of my story” – that did it for me. His voice, like his piano playing, shapeshifts into something altogether timeless.

7 ) Language – from Tori Kelly with Jon Batiste (live, unrehearsed)

To quote Batiste himself: “Let’s create something we haven’t rehearsed; it’s music after all.” Having collaborated several times with soul-pop songstress Tori Kelly, Batiste once again demonstrates one of his many talents: improviser, bandleader and one-man band whilst staying respectful to a vocalist as an instrumentalist. Instrumentalists take note: converse with a singer and you’ve got yourself a music relationship made in heaven.

8) It’s Alright (from Pixar Motion Picture Soul, featuring Celeste)

Let’s add film composing credits to Batiste’s infinite accomplishments. Batiste earned the Oscar for Best Original Score with Soul. Context is imperative to appreciating the greatness of this track: the plot centres around a talented music teacher who inspires his students. I often find we tend to forget the story behind the music, especially with jazz. I chose this track because now, more than ever, we are part of an era still refusing to acknowledge the pursuit of arts, and the truly healing qualities it has to offer. That’s what Soul is about; it’s not about momentary escape through music, it’s about using music to better us as human beings. Such is the message of Batiste’s music in general.

9) I Need You (from We Are)

Another track from Batiste’s Grammy-nominated album We Are, ‘ I Need You’ should be playing on repeat until this pandemic is over. As Batiste himself said, we don’t need a whole lotta things in this world; what we need is each other. The video speaks volumes, once again certifying Batiste as a visionary when it comes to bringing out the art of his music. It depicts modern day Batiste at a museum, inviting a woman to dance whilst bringing a painting depicting dancers to life. Of course, it isn’t just any painting: there’s a powerful nod to the 1941 film Hellzapoppin’. Based on a hit Broadway play, the dance sequence showcases Whitey’s Lindy Hoppers dancing the most famous and most spectacular Lindy Hop scene ever preserved on film. Batiste’s video takes us on a whirlwind frenzy of celebration. Also, appreciate Batiste’s stellar vocal range, moving effortlessly from baritone to high tenor and a piercing falsetto.

10) My Oh My – Chris Thile feat. Jon Batiste (Live From Here)

Earlier I mentioned jazz and folk go hand in hand for one main reason: they re-interpret stories which we universally share. One of the greatest concerts I’ve ever attended was the Punch Brothers at the Barbican Centre in 2019. Chris Thile is as versatile on his tiny mandolin as Batiste is at the piano. Improvising the intro into show stopping trades, then cascading into vocal harmonies almost ethereal, then finally jamming it out on stage, on purpose. That’s music, and that’s perfect.

(*) Athens-born to Lebanese-Canadian parents, Lara Eidi is an accomplished singer-songwriter, recording artist and jazz vocalist based in London and Athens. Her music has gained her critical acclaim as a genre defying artist (BBC Artist, 2020), described as “a singer with true gift of a voice, a kind soul, and a captivating presence.” (Sandy Brown Jazz). As well as being a multi-disciplinary artist, she is sought after as a composer for vocal film scores, writes as a freelance music journalist, and is in demand as a creative workshop leader. She’ll be back in London for a show at the 606 Club on 31 March 2022: www.laraeidimusic.com

The post 10 Tracks I Can’t Do Without: Jon Batiste first appeared on UK Jazz News.