Or purchase a subscription for unlimited access to real news you can count on. That’s music. Moran was pure concentration.
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. He radiates such facility and generosity from behind that piano. Instead of approaching the solo as a heroic foregrounding gesture, Moran finds ways to blend and blur. Instead of settling into the center of his expanding soundworld, Moran decides to keep moving.

(Jati Lindsay)Jason Moran, Ron Miles, Scott Colley, Brian Blade and Bill Frisell play at the Kennedy Center in February.

Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. Accordingly, this program felt aptly epic, chaotic and vast. I tried. I think he’s trying to show us the difference between anywhere and everywhere, anything and everything. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole.
With his eloquence flooding our ears, we were suddenly invited to listen for a private friction in his brain.We’ll never be able to hear those firing synapses, only the decisions that they create. Moran uses the same amount of force, but pulls in the opposite direction. We can learn something about who he is by where he decides to go, how he decides to get there, and what he decides to do once he arrives.But after a year of following closely, I don’t think Moran is trying to tell us who he is. He won a MacArthur “genius” grant in 2010 and became Kennedy Center’s artistic adviser for jazz in 2011 before being promoted to artistic director in 2014.

Keep supporting great journalism by turning off your ad blocker. This concert was held outdoors in the shadow of heavy air traffic, with screaming airplanes and woofing helicopters flying overhead every 10 minutes or so. It’s powerful, like a signature: His playing does what rudeness does without being rude.Then there was the stuff we couldn’t hear. I only managed to catch roughly half of Moran’s performances at the Kennedy Center over the past 12 months, but listening closely made the world feel exponentially bigger.I wanted to figure out where Moran stands in that borderless bigness. Miles introduced him to the audience as “our host,” and in this music, Moran appeared to relish his assignment, supporting the other musicians with wide, welcoming gestures that sounded like sparkling filigree but worked like steel rebar. Before long, the music had veered into a vintage New Orleans stomp, but with every musician onstage working in soft focus, as if they were dreaming up the past instead of reenacting it.Moran’s strongest solo turn came during “Carolina Shout,” a James P. Johnson tune that Moran used like a time machine, accelerating through the rhythms of ragtime, bop, hip-hop and techno.

(Jati Lindsay)Jason Moran and Alicia Hall Moran perform “Two Wings” at the Kennedy Center in April. That’s fine. Now, at 44, Moran is a towering figure in this music of endless possibility, and he appears to be taking those possibilities more seriously than ever.And when an aesthetic proposition feels as broad as Jason Moran’s, the best way to understand it is to experience as much of it as you can.


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