TERENCE BLANCHARD

Terence Blanchard is an internationally renowned jazz trumpeter, bandleader, composer, arranger, and Golden Globe-nominated film score composer. Since he emerged on the scene in 1980 with the Lionel Hampton Orchestra and then shortly thereafter with Art Blakey and the Jazz Messengers, Blanchard has been a leading artist in jazz. He was an integral figure in the 1980s jazz resurgence having recorded several award-winning albums and having performed with the jazz elite. He is known as a straight-ahead artist in the hard bop tradition but has recently utilized an African-fusion style of playing that makes him unique from other trumpeters on the performance circuit. However, it is as a film composer that Blanchard reaches his widest audience. His trumpet can be heard on nearly fifty film scores; more than forty bear his unmistakable compositional style. Since 2000, Blanchard has served as Artistic Director at the Thelonious Monk Institute of Jazz. He lives in the Garden District of New Orleans with his wife and four children.

Biography

Terence Oliver Blanchard was born March 13, 1962, in New Orleans, Louisiana, the only child to parents Wilhelmina and Joseph Oliver. Terence began playing piano at the age of five and then the trumpet at age eight upon hearing Alvin Alcorn play. Blanchard played trumpet recreationally alongside childhood friend Wynton Marsalis in summer music camps but showed no real proficiency on the instrument. Then, while in high school, he began studying at the New Orleans Center for Creative Arts (NOCCA) under Roger Dickerson and Ellis Marsalis, Jr.. From 1980 to 1982, Blanchard studied under jazz saxophonist Paul Jeffrey and trumpeter Bill Fielder at Rutgers University, while touring with the Lionel Hampton Orchestra. In 1982, Wynton Marsalis recommended Blanchard to replace him in Art Blakey's Jazz Messengers and until 1986, Blanchard was the band's trumpeter and musical director. With Blakey and as co-leader of a quintet with saxophonist Donald Harrison and pianist Mulgrew Miller, Blanchard rose to prominence as a key figure in the 1980s Jazz Resurgence. The Harrison/Blanchard group recorded five albums from 1984-1988 until Blanchard left to pursue a solo career in 1990.

In the 1990s, after a laborious but successful embouchure change, Blanchard was as busy as ever. He recorded his self-titled debut for Columbia Records which reached third on the Billboard Jazz Charts. After performing on soundtracks for Spike Lee movies, including Do the Right Thing and Mo' Better Blues, Lee wanted Blanchard to compose the scores for his films beginning with "Jungle Fever" (1991). Blanchard has written the score for every Spike Lee film since including, Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man. In 2006, he composed the score for Spike Lee's 4-hour Hurricane Katrina documentary for HBO entitled When the Levees Broke: A Requiem in Four Acts. Blanchard also appeared in front of the camera with his mother to share their emotional journey back to find her home completely destroyed.

Blanchard has also composed for other directors, including Leon Icasho, Ron Shelton and Kasi Lemmons. With over forty scores to his credit, Blanchard is the most prolific jazz musician to ever compose for movies. Entertainment Weekly proclaimed Blanchard "central to a general resurgence of jazz composition for film." Yet in a 1994 interview for Down Beat, Blanchard was quoted as saying, "Writing for film is fun, but nothing can beat being a jazz musician, playing a club, playing a concert,"

All the while, Blanchard has remained true to his jazz roots as a trumpeter and bandleader on the performance circuit. He has recorded several award-winning albums for Columbia, Sony Classical and Blue Note Records, including In My Solitude: The Billie Holiday Songbook (1994), Romantic Defiance (1995), The Heart Speaks (1996), Wandering Moon (2000), Let's Get Lost (2001) and Flow (2005), which was produced by pianist Herbie Hancock and received two Grammy Award nominations.

Terence Blanchard's 2001 CD Let's Get Lost was his most commercially successful album to date. It features new arrangements of classic songs written by Jimmy McHugh and performed by his own quintet along with the leading ladies of jazz vocals: Diana Krall, Jane Monheit, Dianne Reeves, and Cassandra Wilson.

In 2005, Blanchard was part of the ensemble that won a Grammy Award for Best Jazz Instrumental Album for his participation on McCoy Tyner’s Illuminations, an award he shared with Tyner, Gary Bartz, Christian McBride and Lewis Nash.

Print Biography

In December 2002, Scarecrow Press published Contemporary Cat: Terence Blanchard with Special Guests, an authorized biography of Blanchard written by Anthony Magro.
The book is the 42nd title in the publisher's well-regarded "Series In Jazz" headed by editors Dan Morgenstern and Edward Berger.

"Written in an intimate, conversational style, Contemporary Cat: Terence Blanchard with Special Guests begins in the birthplace of jazz, Blanchard's hometown, New Orleans. His family and famous musician teachers speak of a disciplined youngster who matured alongside the Marsalis brothers and saxophonist Donald Harrison to become a leader in the important 1980s jazz resurgence."

Thelonious Monk Institute of Jazz

In the fall of 2000, Terence Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California. Herbie Hancock serves as chairman; Wayne Shorter, Clark Terry and Jimmy Heath sit on the board of trustees. The conservatory offers an intensive, tuition-free, two-year master's program to a limited number of students (only up to eight per every two years).

In his role as artistic director, Blanchard works with the students in the areas of artistic development, arranging, composition, and career counseling. He also participates in master classes and community outreach activities associated with the program. "Out of my desire to give something back to the jazz community, I wanted to get involved. In fact, I've always said that if I wasn't a musician, that I would like to be a teacher. So I was glad to get involved and to be a part of this unique program that fosters such an open and accessible environment."

In April 2007, the Institute announced its "Commitment to New Orleans" initiative which includes the relocation of the program to the campus of Loyola University New Orleans from Los Angeles. Blanchard had passionately lobbied the Institute to relocate saying, "After Hurricane Katrina, New Orleans was shaken and its musical roots were threatened. I grew up in this city and learned about jazz here at Loyola with other young jazz musicians like Wynton and Branford Marsalis and I know that the Institute will have a great impact on jazz and in our communities. We are going to work hard to help jazz and New Orleans flourish once again."

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Terence Blanchard Biography

The crucible of catastrophe impels creative expression. Since the turn of the century, this has taken shape in manifold ways, from artistic responses to the 9/11 terrorist attacks to the war in Iraq to the pummeling of New Orleans in the wake of Hurricane Katrina in 2005. It is this latter calamity that informs Crescent City native son Terence Blanchard’s impassioned song cycle, A Tale of God’s Will (A Requiem for Katrina), a 13-track emotional tour de force of anger, rage, compassion, melancholy and beauty. A Tale of God’s Will, which features Blanchard’s quintet—pianist Aaron Parks, saxophonist Brice Winston, bassist Derrick Hodge, drummer Kendrick Scott—as well as a 40-member string orchestra, is his third album for Blue Note Records. (Since signing with the label in 2003, Blanchard has released two other critically acclaimed albums, Bounce and Flow, the latter of which was nominated for two Grammys in 2006.)
“This is what we are called to do as artists,” says the trumpeter, bandleader, arranger and film-scorecomposer. “We document our social surroundings and give our impressions of events. The problem with Katrina is that the devastation is so vast that there’s only been a trickle of art so far. We’re all still digesting what went on and what continues to happen. It’s like an unending story. For me, like so many others, it’s taken me a moment to get my mind around all of this. I knew I needed to express this musically to keep the story alive, but so many important things—the safety of family members, figuringout how to rebuild my mother’s house—never allowed me the time to breathe for a minute.”

An important jumpstart for A Tale of God’s Will was director Spike Lee’s decision to document the aftermath of Katrina on film, in what turned out to be the four hour HBO documentary,When The Levees Broke, which aired last year. Lee, who has enlisted Blanchard on numerous occasions to score his films, such as Mo’BetterBlues, Malcolm X, The 25th Hourand Inside Man, tapped him once again for his documentary. “That started me to make some musical statements for this moment in time,” Blanchard says. “It’s part of the grieving process. Once I wrote some of the music for Spike’s film,IknewI could take it and expand upon it. Meanwhile, guys in my band were writing music that reflectedonwhat happened in the aftermath of Katrina. This provided me with the perfect opportunity to bring the band all together.”
Four of the Levees tracks—“Levees,” “Wading Through,” “The Water” and “Funeral Dirge”—formed a nucleus of material for A Tale of God’s Will. “Melodically and structurally, the tunes are the same, but the arrangements are different,” says Blanchard, who cites as an example the dramatic piece “Levees” with its lyrical trumpeted woe. In that case, there’s a long orchestral opening and interlude. “Spike had limited resources in filming the documentary,which means there was no moneyfororchestration,” says Blanchard. He adds, “The whole idea for this piece was to show the calm before the storm that you can hear in the string arrangement and the interlude is when the storm comes and the levees break. The second section is when people are on their roofs waiting for help, so the trumpet cries.”
Recording this album challenged Blanchard, who says that he had to “contain myself, but I was so frustrated and in rage. I wanted the trumpet to scream on every track, but I feel that God is using me to speak for all the souls in New Orleans. We’re all still tired, but it’s almost as if things have gone back to normal for people outside while our lives here don’t matter.”
Another tune from Levees, “Water,” features a full orchestral plunge with Blanchard’s wailing trumpet emerging. Blanchard explains that with all the flood waters still high, it looked as if the city was castaway in an ocean. “The water was omnipresent,” says Blanchard who was out of the city when disaster struck yet was watching CNN nonstop. “I was in disbelief seeing how 80 percent of the city was under water and that my old neighborhood had 12 feet of water. I remember when I was a kid and Hurricane Betsy hit New Orleans and there were a few feet of water. That scared me then and actually made me fear water.”

The other Lee-related tracks are the slowly loping melodic gem, “Wading Through” (also used in Lee’s filmInsideMan) and the march-beat “Funeral Dirge, ”atune Blanchard says “was one of the hardest pieces for me to write. To see your city on TV with dead bodies in neighborhoods you knew was deep. It was as if it were Baghdad. This was my attempt to pay homage to the people who lost their lives, to give people a proper burial. It was intense working on these pieces that sometimes I had to take a breath, go outside and play with the kids, and then come back at it.”
Other Blanchard tunes on A Tale of God’s Will include “Dear Mom,” his personal tribute to his mother who lost her home (her emotional first return to see there mains was documented by Lee in Levees) and a series of “ghost” tunes interspersed throughout the album: the African beat-drenched “Ghost of Congo Square,” the trumpet-bass dance “Ghost of Betsy” (about the aforementioned Hurricane Betsy) and the plaintive tune sketched by saxophone and drums, “Ghost of 1927” (another floodthat ravaged New Orleans). The ghost pieces were unplanned at the onset of the recording sessions, which took place in Los Angeles and Seattle.
“They just came to me throughout the recording,” Blanchard says. “The ghosts represent the warnings of the past. In the firstone,weadded in hand claps and percussion as wellasthechant,‘Thisisthetale of God’s will.’ That’s what this story is about: God’s will be done. We can’t understand why things happened, but we can trust that we can learn something from it.” 
The band member contributions prove to be just as potent and reflective as Blanchard’s music. Park’s “Ashé,” which translated from the Yoruban language means “and so it shall be.” He explains that the beautiful melody “acts as a benediction: an acceptance of—and release from—past troubles and an ushering in of something new, determined and optimistic.” Blanchard notes, “The emotion and melody set the tone for the album in capturing the exhaustion a lot of people felt after the storm and flood.”
Winston’s melancholic “In Time of Need,” is buoyed by Blanchard and Scott’s wordless vocals. “This tune marks a shift in Brice’s artistic career,” Blanchard says. “He wanted it to feature my trumpet, so I said, sure, but slowly I took myself out of the piece so that it became his feature.” Winston, who spent his entire adult life in New Orleans, says he was compelled to write the tune “to express, through music, my sadness and frustration for my own family’s tumultuous existence as well as for the countless people affected as a result of human ineptitude.”
Scott’s epic piece, “Mantra,” begins with a bass feature with tablas in the mix that opens into a pensive and then dramatic soundscape. Scott says, “Our obligation is to help those who survived rebuild their lives and to rebuild their communities safer than they were before. The word mantra…is characterized as a statement that is repeated frequently. My greatest hope is that this recording and this song will serve as a mantra for healing and renewal, for reflection and progression, and as an offering to touch peoples’ lives for the better.”
Hodge says that his ultimately hopeful tune, “Over There,” is about the “constant search in life” for something better. He notes, “Our present circumstances can make it difficult for us at times to see better for ourselves. Sometimes that ‘Over There’ may be just a song that can help us through.” Blanchard explains that the song was captured on tape when the band was sound checking the mikes. After subsequent takes, all agreed that the firstrunthroughwasthekeeper.
Blanchard adds that the entire project, like Hodge’s song, is about gratitude. “Requiem tells the story,” he says, “that needs to heard so that people will continue to talk about what happened after Katrina.”

Source: terenceblanchard.com

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Discography

A complete discography of Blanchard's jazz recordings as a bandleader. Year Title Genre Label
1984 New York Second Line (as Harrison/Blanchard) Jazz Concord 
1986 Discernment (as Harrison/Blanchard) Jazz Concord 
1986 Nascence (as Harrison/Blanchard) Jazz Columbia 
1987 Crystal Stair (as Harrison/Blanchard) Jazz Columbia 
1988 Black Pearl (as Harrison/Blanchard) Jazz Columbia 
1991 Terence Blanchard Jazz Columbia 
1992 Simply Stated Jazz Columbia 
1993 The Malcolm X Jazz Suite Jazz Columbia 
1994 In My Solitude: The Billie Holiday Songbook Jazz Columbia 
1995 Romantic Defiance - dedicated to the memory of John Candy Jazz Columbia 
1996 The Heart Speaks Latin Jazz Columbia 
1999 Jazz In Film Jazz Sony Classical 
2000 Wandering Moon Jazz Sony Classical 
2001 Let's Get Lost Jazz Sony Classical 
2003 Bounce Jazz Blue Note 
2005 Flow Jazz Blue Note 
2007 A Tale of God's Will (A Requiem for Katrina) Jazz Blue Note