Jon Batiste – makes it work on Hollywood Africans
24th September 2018 · 0 Comments
Jon Batiste
Hollywood Africans
(Verve)
First of all, a little explanation concerning the cover and title of Jon Batiste’s new album seems to be in order. Yes, the cover is simply a serene photograph of Batiste minus his or the album’s name. Granted, that’s very unusual but then the immensely talented pianist/vocalist/composer and the leader of his band, Stay Human, which appears weeknights on the television show, “Late Night with Stephen Colbert,” isn’t you’re “usual” kind of guy.
In many ways, that observation also clarifies his choice to name his release, Hollywood Africans, which was inspired by a painting by the highly-regarded African-American artist Jean-Michel Basquiat. Batiste, who says he, like Basquiat, has benefited by the sacrifice of those who came before, has been quoted explaining that on this album he wanted to “pay homage to a long line of ancestors… They left us with super powers – blues, rock and roll, boogie woogie, jazz, gospel and so many more.”
New Orleanians have long known Batiste as a versatile musician from back in the days when he played percussion and drums with his family’s group, the Batiste Brothers Band. Then as a student at the New Orleans Center for the Creative Arts (NOCCA), Batiste was primarily viewed as a serious jazz pianist playing at spots like Snug Harbor with his parents proudly watching on. So the softer side of the pianist, who went on to study at Juilliard, as heard on Hollywood Africans shouldn’t come as much of a surprise to them as those who know Batiste solely as the sharply dressed, gregarious bandleader who greets Colbert each night blowing a melodica (a hand-held keyboard) that he often takes with him when he and his band head into the audience second line style.
Unlike in the television studio, Batiste is often alone at the piano on the album or with his voice as his only accompaniment. He kicks off the disc with the high-spirited “Kenner Boogie,” which is named for his hometown of Kenner, Louisiana. It’s a toe-tapper that he interjects with some unique stop time intervals while providing fingers flying keyboard technique. His sense of humor that is very apparent on the Colbert show also makes it into the tune’s final bars.
The sound quality of the album, which was recorded in a New Orleans church and produced by the noted T Bone Burnett, can truly be appreciated on Batiste’s bow to Louis Armstrong on the legendary New Orleans trumpet player’s “What a Wonderful World.” Batiste’s talents as a vocalist and interpreter of songs are recognized in his lovingly gentle approach to this classic. He makes what is often considered an over-performed song new again.
Batiste is, of course, a studied musician and shows his abilities in classical music on “Chopinesque,” which is credit to the brilliant Polish composer Frederic Chopin and Batiste. It’s a lovely marriage.
Syncopation and a Latin-tinge, both of which are central to New Orleans music, flavor Batiste’s original, “Nocturne No. 1 in D Minor.” The pianist gets playful and throws in a touch of more modern piano licks by the song’s end.
Batiste reveals both his romantic and child-like sides on the interesting next selection of tunes. He takes his time and makes the standard “The Very Thought of You,” warmly personal with his breathy vocals. As observed by millions on TV, Batiste doesn’t seem to mind being a bit silly as might be confirmed by his choosing to perform the jaunty “Green Hill Zone,” from the video game “Sonic the Hedgehog,” which with the addition of strings becomes downright sophisticated. Next up is his own “Mr. Buddy,” a sweet ditty that lyrically brings to mind the children’s program “Mr. Rogers’ Neighborhood.” “Mr. Buddy was someone who never steered you wrong…”
The stylistic setting moves into the church on one of the album’s highlights, “Is It Over,” a ballad on which Batiste transforms into an old-school, despairing soul singer. The mood is enhanced by the introduction of an organ and the call-and-response between him and the female background vocalists. He does some screamin’ here too while his piano provides the heartbeat.
Continuing in the soulful balladeer mode, Batiste brings a similar sense of emotion though presented in a bit more modern style to “Don’t Stop,” which he co-wrote with the prolific composer/guitarist Steve McEwan. The tune begins as if it’s going in a classical direction that is enforced by the string orchestration. It’s Batiste’s vocals that steers it to today.
Jon Batiste has always shown different sides of himself as an artist as well as displaying his various musical interests. Those elements can be heard on his 2013 release, Social Music that boasted an assortment of themes. On that outing, however, the pianist was primarily backed by Stay Human and delved into more popular music.
This album presents an often more serene and singular Jon Batiste just as the cover photo captures. His playfulness found in the opener “Kenner Boogie” and soulfulness that blooms on “Don’t Stop” remain ingrained in his music and spirit.
On Hollywood Africans Jon Batiste proves that given most any style or song, he can make it work.
This article originally published in the September 24, 2018 print edition of The Louisiana Weekly newspaper.
