degrees of success. Jazz becomes a test case for integration because it’s a very popular form of music, and it also happens to be making people a lot of money.There’s no reason they would put any money into it if they didn’t stand to profit. There’d be a band followed by a movie followed by another band followed by a comedian. Instead of approaching the solo as a heroic foregrounding gesture, Moran finds ways to blend and blur.

Gary Giddins of the Village Voice exclaimed, “Black Stars is possibly a Blue Note benchmark, definitely one of 2000's outstanding discs.”In 2002, Moran released his universally acclaimed solo piano disc Modernistic, prompting the Cork (Ireland) Jazz Festival to award him the 2002 Guinness Rising Star Award. I think he’s trying to show us the difference between anywhere and everywhere, anything and everything.The most important news stories of the day, curated by Post editors and delivered every morning.The most important news stories of the day, curated by Post editors and delivered every morning.Discussion of news topics with a point of view, including narratives by individuals regarding their own experiences Perhaps to give the set some symmetry, Kelela floated off the stage a few minutes early, allowing the Bandwagon to generate a conclusion.

"We run on a jazz schedule," says Alicia Hall Moran (in a Dolce & Gabbana dress), pictured with her husband, Jason Moran (in Tom Ford). With Tarus Mateen on bass and Nasheet Waits on drums, the trio warmed things up instantly, establishing their mind-meld in a groove so tight, it was hard to imagine how Kelela might sing her way into the center of the telepathic triangle.Every other day of the year, Kelela’s music involves synthesizers and drum machines — and somehow, the Bandwagon managed to translate that sci-fi feeling to traditional instruments without turning everything into Sunday gospel brunch. —Village Voice We’re looking at these films now, and it’s making me wonder who in 2020 is using art to speak into the future in a progressive way, so that seventy years from now someone can say, “shit, they were The reason I reached out to you to have this conversation is because so much of your work lives at the intersection of jazz and the image. It’s powerful, like a signature: His playing does what rudeness does without being rude.Then there was the stuff we couldn’t hear. And then we start seeing how the music is affecting the community around them.

—The New York Times The film premiered at the 13th Annual Full Frame Documentary Festival, and will have a special screening with the New York Public Library in April as part of the Jazz Loft Project exhibition.Not surprising, the legendary Monk had a pivotal role in influencing young Moran to become a jazz musician. Joining Renée Fleming for a program of pristine music that swung from Rachmaninoff to Johnny Hartman, the pianist carried all of the music’s secret tension in his hands — 10 fingertips advancing meticulous rhythms without ever stepping in front of Fleming’s celebrated soprano.With Fleming in pure finesse mode, every note Moran struck counted as a supportiveFleming’s voice consistently pushed to the fore, but she wasn’t the loudest sound of the night. He influenced pianists like Bud Powell, McCoy Tyner, Chick Corea, Jason Moran and countless other artists beyond the jazz world. And then in some of the films, you also see: how do we copy it?Like in the Bing Crosby films, where the entire cast is white. He was kind of like the jazz bard of his era. in jazz...” We mustn’t turn away.Andrew Chan is web editor at the Criterion Collection.

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