Nate Chinen

What makes a first-tier jazz legacy? A signature instrumental style, recognizable within a phrase or two. A body of exceptional recordings, in the studio and in concert. A legion of imitators, great and small. A sense of broad cultural relevance. Maybe even a hit song or two.

Earlier this week, an array of news outlets in New York City reported a macabre discovery: The body of a 53-year-old man was found floating in a Queens marina, fully clothed, with chains wrapped around his legs. The body was noticed by a passerby along the shoreline of the World's Fair Marina in Flushing Harbor, near Citi Field, around 9:15 a.m. Tuesday.

Ambrose Akinmusire offers a litany of the dead as the penultimate track of Origami Harvest, his audacious, politically exigent, altogether astounding new album. The track is titled "Free, White and 21," and its lyrics consist of the names of African-American men and women (and, it must be said, boys) slain in recent years by members of law enforcement or the neighborhood watch.

Wayne Shorter likes to tell a story about going to see Charlie Parker, the mercurial titan of bebop, sometime around 1951. Shorter was 18 at the time — a saxophonist, like Parker, and a bop obsessive already gigging around his hometown of Newark, N.J. He headed across the river into Manhattan, where Parker, colloquially known as Bird, was headlining at Birdland, the club named in Parker's honor.

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify playlist at the bottom of the page.

More Than Keeping Time: A Melodic Drumming Demo

Aug 17, 2018

What would you say if I told you that drums can sing? The best jazz drummers have always understood this as fact. Allison Miller has even made it a core part of her artistic mission — as drummer, a composer and a bandleader, notably with her ensemble Boom Tic Boom.

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