In the second part of our conversation with 2024 <a href="https://www.arts.gov/honors/jazz">NEA Jazz Master</a> trumpeter and composer <a href="https://www.arts.gov/honors/jazz/terence-blanchard">Terence Blanchard</a>, we explore the emotional and creative depths of his work, from his jazz innovations to his evolution as an opera composer.Blanchard shares the challenges of scoring the documentary When the Levees Broke and discusses how his <a href="https://www.grammy.com/">Grammy</a>-winning album A Tale of God’s Will emerged from those themes, evolving into a deeply personal statement on loss and resilience. From jazz to film and opera, he examines how his musical voice has expanded across genres, culminating in his historic operas Champion and Fire Shut Up in My Bones—the first opera by an African American to be produced at the Metropolitan Opera. He also discusses his role in bringing the Monk Institute  (now the Herbie Hancock Institute) to New Orleans after Katrina and his ongoing dedication as an educator and mentor to young musicians.He discusses his then-new role as Artistic Director of <a href="https://www.sfjazz.org/">SFJAZZ</a>, where he provides opportunities for mid-career as well as emerging musicians and brings innovative programming to audiences. As he reflects on receiving the NEA Jazz Master honor, Blanchard considers the legacy of those who came before him and the responsibility of carrying the music forward.

<description>
 &lt;p&gt;In the second part of our conversation with 2024 &lt;a href="https://www.arts.gov/honors/jazz"&gt;&lt;strong&gt;NEA Jazz Master&lt;/strong&gt;&lt;/a&gt; trumpeter and composer &lt;a href="https://www.arts.gov/honors/jazz/terence-blanchard"&gt;&lt;strong&gt;Terence Blanchard&lt;/strong&gt;&lt;/a&gt;, we explore the emotional and creative depths of his work, from his jazz innovations to his evolution as an opera composer.&lt;/p&gt;&lt;p&gt;Blanchard shares the challenges of scoring the documentary &lt;em&gt;When the Levees Broke&lt;/em&gt; and discusses how his &lt;a href="https://www.grammy.com/"&gt;&lt;strong&gt;Grammy&lt;/strong&gt;&lt;/a&gt;-winning album &lt;em&gt;A Tale of God’s Will&lt;/em&gt; emerged from those themes, evolving into a deeply personal statement on loss and resilience. From jazz to film and opera, he examines how his musical voice has expanded across genres, culminating in his historic operas &lt;em&gt;Champion&lt;/em&gt; and &lt;em&gt;Fire Shut Up in My Bones—&lt;/em&gt;the first opera by an African American to be produced at the Metropolitan Opera. He also discusses his role in bringing the Monk Institute  (now the Herbie Hancock Institute) to New Orleans after Katrina and his ongoing dedication as an educator and mentor to young musicians.&lt;/p&gt;&lt;p&gt;He discusses his then-new role as Artistic Director of &lt;a href="https://www.sfjazz.org/"&gt;&lt;strong&gt;SFJAZZ&lt;/strong&gt;&lt;/a&gt;, where he provides opportunities for mid-career as well as emerging musicians and brings innovative programming to audiences. As he reflects on receiving the NEA Jazz Master honor, Blanchard considers the legacy of those who came before him and the responsibility of carrying the music forward.&lt;/p&gt;&lt;p&gt;&lt;br&gt;&lt;br&gt;&lt;/p&gt;
 </description>

From composing opera to heading SFJAZZ,  NEA Jazz Master Terence Blanchard continues to push creative boundaries

In the second part of our conversation with 2024 <a href="https://www.arts.gov/honors/jazz">NEA Jazz Master</a> trumpeter and composer <a href="https://www.arts.gov/honors/jazz/terence-blanchard">Terence Blanchard</a>, we explore the emotional and creative depths of his work, from his jazz innovations to his evolution as an opera composer.

Blanchard shares the challenges of scoring the documentary When the Levees Broke and discusses how his <a href="https://www.grammy.com/">Grammy</a>-winning album A Tale of God’s Will emerged from those themes, evolving into a deeply personal statement on loss and resilience. From jazz to film and opera, he examines how his musical voice has expanded across genres, culminating in his historic operas Champion and Fire Shut Up in My Bones—the first opera by an African American to be produced at the Metropolitan Opera. He also discusses his role in bringing the Monk Institute  (now the Herbie Hancock Institute) to New Orleans after Katrina and his ongoing dedication as an educator and mentor to young musicians.

He discusses his then-new role as Artistic Director of <a href="https://www.sfjazz.org/">SFJAZZ</a>, where he provides opportunities for mid-career as well as emerging musicians and brings innovative programming to audiences. As he reflects on receiving the NEA Jazz Master honor, Blanchard considers the legacy of those who came before him and the responsibility of carrying the music forward.

Terence Blanchard: The Music That Speaks

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master <a href="https://www.arts.gov/honors/jazz/terence-blanchard">Terence Blanchard </a>speaks about his deep musical roots in New Orleans and how the city’s rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including <a href="https://en.wikipedia.org/wiki/Roger_Donald_Dickerson">Roger Dickerson</a> and <a href="https://www.ellismarsalis.com/">Ellis Marsalis</a>, and his formative experiences at the <a href="https://nocca.com/">New Orleans Center for Creative Arts</a> and Rutgers University. He also shares stories of touring with <a href="https://www.arts.gov/honors/jazz/lionel-hampton">Lionel Hampton</a> as a teenager, learning the ropes of the jazz world, and his time with <a href="https://www.arts.gov/honors/jazz/art-blakey">Art Blakey’s</a> Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with <a href="https://www.arts.gov/honors/jazz/donald-harrison-jr">Donald Harrison</a> and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo’ Better Blues, and how that led to a decades-long collaboration with <a href="https://tisch.nyu.edu/about/directory/grad-film/109468161.html">Spike Lee</a>. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of <a href="https://www.sfjazz.org/">SFJAZZ</a>, and his role as an educator mentoring the next generation of musicians.

<description>
 &lt;p&gt;In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master &lt;a href="https://www.arts.gov/honors/jazz/terence-blanchard"&gt;&lt;strong&gt;Terence Blanchard &lt;/strong&gt;&lt;/a&gt;speaks about his deep musical roots in New Orleans and how the city’s rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including &lt;a href="https://en.wikipedia.org/wiki/Roger_Donald_Dickerson"&gt;&lt;strong&gt;Roger Dickerson&lt;/strong&gt;&lt;/a&gt; and &lt;a href="https://www.ellismarsalis.com/"&gt;&lt;strong&gt;Ellis Marsalis&lt;/strong&gt;&lt;/a&gt;, and his formative experiences at the &lt;a href="https://nocca.com/"&gt;&lt;strong&gt;New Orleans Center for Creative Arts&lt;/strong&gt;&lt;/a&gt; and Rutgers University. He also shares stories of touring with &lt;a href="https://www.arts.gov/honors/jazz/lionel-hampton"&gt;&lt;strong&gt;Lionel Hampton&lt;/strong&gt;&lt;/a&gt; as a teenager, learning the ropes of the jazz world, and his time with &lt;a href="https://www.arts.gov/honors/jazz/art-blakey"&gt;&lt;strong&gt;Art Blakey’s&lt;/strong&gt;&lt;/a&gt; Jazz Messengers, where he honed his skills as a composer and bandleader.&lt;/p&gt;&lt;p&gt; &lt;/p&gt;&lt;p&gt;Blanchard also talks about forming a quintet with &lt;a href="https://www.arts.gov/honors/jazz/donald-harrison-jr"&gt;&lt;strong&gt;Donald Harrison&lt;/strong&gt;&lt;/a&gt; and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with &lt;em&gt;Mo’ Better Blues&lt;/em&gt;, and how that led to a decades-long collaboration with &lt;a href="https://tisch.nyu.edu/about/directory/grad-film/109468161.html"&gt;&lt;strong&gt;Spike Lee&lt;/strong&gt;&lt;/a&gt;. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of &lt;a href="https://www.sfjazz.org/"&gt;&lt;strong&gt;SFJAZZ&lt;/strong&gt;&lt;/a&gt;, and his role as an educator mentoring the next generation of musicians.&lt;/p&gt;&lt;p&gt; &lt;/p&gt;
 </description>

Trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard joins Art Works for a conversation that traces his extraordinary musical journey.

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master <a href="https://www.arts.gov/honors/jazz/terence-blanchard">Terence Blanchard </a>speaks about his deep musical roots in New Orleans and how the city’s rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including <a href="https://en.wikipedia.org/wiki/Roger_Donald_Dickerson">Roger Dickerson</a> and <a href="https://www.ellismarsalis.com/">Ellis Marsalis</a>, and his formative experiences at the <a href="https://nocca.com/">New Orleans Center for Creative Arts</a> and Rutgers University. He also shares stories of touring with <a href="https://www.arts.gov/honors/jazz/lionel-hampton">Lionel Hampton</a> as a teenager, learning the ropes of the jazz world, and his time with <a href="https://www.arts.gov/honors/jazz/art-blakey">Art Blakey’s</a> Jazz Messengers, where he honed his skills as a composer and bandleader.

 

Blanchard also talks about forming a quintet with <a href="https://www.arts.gov/honors/jazz/donald-harrison-jr">Donald Harrison</a> and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo’ Better Blues, and how that led to a decades-long collaboration with <a href="https://tisch.nyu.edu/about/directory/grad-film/109468161.html">Spike Lee</a>. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of <a href="https://www.sfjazz.org/">SFJAZZ</a>, and his role as an educator mentoring the next generation of musicians.

February 11, 2025

Koto musician and 2024 National Heritage Fellow <a href="https://www.arts.gov/honors/heritage/june-kuramoto">June Kuramoto</a> shares her remarkable journey from Japan to Los Angeles, recounting the challenges of adapting to a new culture as a young child and how a chance encounter with the koto reconnected her with her heritage. Kuramoto discusses her rise as one of the few koto masters in America, her deep exploration of the instrument’s traditional roots, and her innovative work blending the koto with jazz, R&amp;B, and contemporary music. She reflects on co- founding the <a href="https://www.grammy.com/">Grammy</a>-nominated band <a href="https://hiroshimamusic.com/">Hiroshima</a> with <a href="https://hiroshimamusic.com/content/bio/dan_bio.html">Dan Kuramoto,</a> and how the band redefined Asian American music.  Kuramoto also highlights the importance of teaching and passing on tradition while encouraging students to find their unique voices, shares her gratitude for the communities and audiences that embraced the koto’s sound, and reflects on the honor of receiving the National Heritage Fellowship, her commitment to living up to its legacy, and her lifelong mission to expand the koto’s reach across musical genres and cultures.

<description>
 &lt;p&gt;Koto musician and 2024 National Heritage Fellow &lt;a href="https://www.arts.gov/honors/heritage/june-kuramoto"&gt;&lt;strong&gt;June Kuramoto&lt;/strong&gt;&lt;/a&gt; shares her remarkable journey from Japan to Los Angeles, recounting the challenges of adapting to a new culture as a young child and how a chance encounter with the koto reconnected her with her heritage. Kuramoto discusses her rise as one of the few koto masters in America, her deep exploration of the instrument’s traditional roots, and her innovative work blending the koto with jazz, R&amp;amp;B, and contemporary music. She reflects on co- founding the &lt;a href="https://www.grammy.com/"&gt;&lt;strong&gt;Grammy&lt;/strong&gt;&lt;/a&gt;-nominated band &lt;a href="https://hiroshimamusic.com/"&gt;&lt;strong&gt;Hiroshima&lt;/strong&gt;&lt;/a&gt; with &lt;a href="https://hiroshimamusic.com/content/bio/dan_bio.html"&gt;&lt;strong&gt;Dan Kuramoto,&lt;/strong&gt;&lt;/a&gt; and how the band redefined Asian American music.  Kuramoto also highlights the importance of teaching and passing on tradition while encouraging students to find their unique voices, shares her gratitude for the communities and audiences that embraced the koto’s sound, and reflects on the honor of receiving the National Heritage Fellowship, her commitment to living up to its legacy, and her lifelong mission to expand the koto’s reach across musical genres and cultures. &lt;/p&gt;
 </description>

A National Heritage Fellow Reflects on Tradition, Innovation, and a Lifetime of Music

Koto musician and 2024 National Heritage Fellow <a href="https://www.arts.gov/honors/heritage/june-kuramoto">June Kuramoto</a> shares her remarkable journey from Japan to Los Angeles, recounting the challenges of adapting to a new culture as a young child and how a chance encounter with the koto reconnected her with her heritage. Kuramoto discusses her rise as one of the few koto masters in America, her deep exploration of the instrument’s traditional roots, and her innovative work blending the koto with jazz, R&amp;B, and contemporary music. She reflects on co- founding the <a href="https://www.grammy.com/">Grammy</a>-nominated band <a href="https://hiroshimamusic.com/">Hiroshima</a> with <a href="https://hiroshimamusic.com/content/bio/dan_bio.html">Dan Kuramoto,</a> and how the band redefined Asian American music.  Kuramoto also highlights the importance of teaching and passing on tradition while encouraging students to find their unique voices, shares her gratitude for the communities and audiences that embraced the koto’s sound, and reflects on the honor of receiving the National Heritage Fellowship, her commitment to living up to its legacy, and her lifelong mission to expand the koto’s reach across musical genres and cultures.

Strings of Transformation: June Kuramoto and the Journey of the Koto

A conversation with <a href="https://www.arenastage.org/about-us/whos-who/leadership/">Hana S. Sharif</a>, Artistic Director of <a href="https://www.arenastage.org/">Arena Stage</a> since August 2023. Sharif discusses her transformative first year at the helm and her inaugural season as Arena’s producing artistic director. She reflects on the vibrant theatrical community in Washington, D.C., and her commitment to amplifying dynamic voices in American theater. With an ambitious 2024/25 season featuring eight new works, including her directorial debut at Arena Stage with the world premiere of <a href="https://www.arenastage.org/tickets/2024-25-season/death-on-the-nile/">Death on the Nile</a>, adapted by <a href="https://www.arts.gov/stories/podcast/ken-ludwig">Ken Ludwig</a>, Sharif shares the careful curation process behind creating a year-long conversation through theater, aiming to reflect the full spectrum of American voices.Sharif also opens up about her journey from running a scrappy theater company begun at <a href="https://www.spelman.edu/">Spelman College</a> to leading one of the country’s most prominent regional theaters. As the first Black artistic director of Arena Stage, she reflects on the significance of this milestone, her dedication to fostering inclusivity, and the critical role of theater in bridging divides and exploring our shared humanity.

<description>
 &lt;p&gt;A conversation with &lt;a href="https://www.arenastage.org/about-us/whos-who/leadership/"&gt;&lt;strong&gt;Hana S. Sharif&lt;/strong&gt;&lt;/a&gt;, Artistic Director of &lt;a href="https://www.arenastage.org/"&gt;&lt;strong&gt;Arena Stage&lt;/strong&gt;&lt;/a&gt; since August 2023. Sharif discusses her transformative first year at the helm and her inaugural season as Arena’s producing artistic director. She reflects on the vibrant theatrical community in Washington, D.C., and her commitment to amplifying dynamic voices in American theater. With an ambitious 2024/25 season featuring eight new works, including her directorial debut at Arena Stage with the world premiere of &lt;a href="https://www.arenastage.org/tickets/2024-25-season/death-on-the-nile/"&gt;&lt;strong&gt;&lt;em&gt;Death on the Nile&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;&lt;em&gt;,&lt;/em&gt; adapted by &lt;a href="https://www.arts.gov/stories/podcast/ken-ludwig"&gt;&lt;strong&gt;Ken Ludwig&lt;/strong&gt;&lt;/a&gt;, Sharif shares the careful curation process behind creating a year-long conversation through theater, aiming to reflect the full spectrum of American voices.&lt;/p&gt;&lt;p&gt;Sharif also opens up about her journey from running a scrappy theater company begun at &lt;a href="https://www.spelman.edu/"&gt;&lt;strong&gt;Spelman College&lt;/strong&gt;&lt;/a&gt; to leading one of the country’s most prominent regional theaters. As the first Black artistic director of Arena Stage, she reflects on the significance of this milestone, her dedication to fostering inclusivity, and the critical role of theater in bridging divides and exploring our shared humanity. &lt;/p&gt;
 </description>

Arena Stage's first Black artistic director curates bold seasons and builds bridges through art.

A conversation with <a href="https://www.arenastage.org/about-us/whos-who/leadership/">Hana S. Sharif</a>, Artistic Director of <a href="https://www.arenastage.org/">Arena Stage</a> since August 2023. Sharif discusses her transformative first year at the helm and her inaugural season as Arena’s producing artistic director. She reflects on the vibrant theatrical community in Washington, D.C., and her commitment to amplifying dynamic voices in American theater. With an ambitious 2024/25 season featuring eight new works, including her directorial debut at Arena Stage with the world premiere of <a href="https://www.arenastage.org/tickets/2024-25-season/death-on-the-nile/">Death on the Nile</a>, adapted by <a href="https://www.arts.gov/stories/podcast/ken-ludwig">Ken Ludwig</a>, Sharif shares the careful curation process behind creating a year-long conversation through theater, aiming to reflect the full spectrum of American voices.

Sharif also opens up about her journey from running a scrappy theater company begun at <a href="https://www.spelman.edu/">Spelman College</a> to leading one of the country’s most prominent regional theaters. As the first Black artistic director of Arena Stage, she reflects on the significance of this milestone, her dedication to fostering inclusivity, and the critical role of theater in bridging divides and exploring our shared humanity.

January 14, 2025 Hana S. Sharif: Curating Conversations at Arena Stage

To mark the rare convergence of Christmas and Chanukah, we’re revisiting a conversation with one of the nation’s most extraordinary musicians 2012 National Heritage Fellow <a href="http://www.andystatman.org/">Andy Statman</a>. A virtuoso clarinetist, mandolin player, and composer, Statman has defied musical boundaries throughout his career. Starting with his early love for bluegrass and mentorship under David Grisman, Statman later embraced jazz before diving into the klezmer music of his Jewish heritage.This podcast weaves together the strands of Statman’s multifaceted career. He reflects on his journey from bluegrass jams in Washington Square Park to collaborations with jazz legends like Richard Grando. Statman shares how he revived klezmer music with the guidance of 1984 National Heritage Fellow Dave Tarras, his inspirations across genres, and his passion for creating music that connects deeply to tradition while pushing artistic boundaries.  Featuring excerpts from his rich discography, including Jewish Klezmer Music and Old Brooklyn, this episode is a celebration of music’s ability to unite cultures and generations. We are taking a two week break for the holidays. But we’ll back on January 7.  We wish all of you the happiest of holidays.

<description>
 &lt;p&gt;To mark the rare convergence of Christmas and Chanukah, we’re revisiting a conversation with one of the nation’s most extraordinary musicians 2012 National Heritage Fellow &lt;a href="http://www.andystatman.org/"&gt;&lt;strong&gt;Andy Statman&lt;/strong&gt;&lt;/a&gt;. A virtuoso clarinetist, mandolin player, and composer, Statman has defied musical boundaries throughout his career. Starting with his early love for bluegrass and mentorship under David Grisman, Statman later embraced jazz before diving into the klezmer music of his Jewish heritage.&lt;/p&gt;&lt;p&gt;This podcast weaves together the strands of Statman’s multifaceted career. He reflects on his journey from bluegrass jams in Washington Square Park to collaborations with jazz legends like Richard Grando. Statman shares how he revived klezmer music with the guidance of 1984 National Heritage Fellow Dave Tarras, his inspirations across genres, and his passion for creating music that connects deeply to tradition while pushing artistic boundaries.  Featuring excerpts from his rich discography, including &lt;em&gt;Jewish Klezmer Music&lt;/em&gt; and &lt;em&gt;Old Brooklyn&lt;/em&gt;, this episode is a celebration of music’s ability to unite cultures and generations. &lt;/p&gt;&lt;p&gt;We are taking a two week break for the holidays. But we’ll back on January 7.  We wish all of you the happiest of holidays. &lt;/p&gt;
 </description>

From Klezmer to Jazz, Andy Statman Redefines Musical Boundaries

To mark the rare convergence of Christmas and Chanukah, we’re revisiting a conversation with one of the nation’s most extraordinary musicians 2012 National Heritage Fellow <a href="http://www.andystatman.org/">Andy Statman</a>. A virtuoso clarinetist, mandolin player, and composer, Statman has defied musical boundaries throughout his career. Starting with his early love for bluegrass and mentorship under David Grisman, Statman later embraced jazz before diving into the klezmer music of his Jewish heritage.

This podcast weaves together the strands of Statman’s multifaceted career. He reflects on his journey from bluegrass jams in Washington Square Park to collaborations with jazz legends like Richard Grando. Statman shares how he revived klezmer music with the guidance of 1984 National Heritage Fellow Dave Tarras, his inspirations across genres, and his passion for creating music that connects deeply to tradition while pushing artistic boundaries.  Featuring excerpts from his rich discography, including Jewish Klezmer Music and Old Brooklyn, this episode is a celebration of music’s ability to unite cultures and generations. 

We are taking a two week break for the holidays. But we’ll back on January 7.  We wish all of you the happiest of holidays.

December 17, 2024 Andy Statman: Master of Many Musical Traditions

The National Endowment for the Arts podcast that goes behind the scenes with some of the nation’s great artists to explore how art works.

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