{"id":43923,"date":"2016-10-17T13:39:18","date_gmt":"2016-10-17T18:39:18","guid":{"rendered":"http:\/\/news.medill.northwestern.edu\/chicago\/?p=43923"},"modified":"2016-10-17T13:39:18","modified_gmt":"2016-10-17T18:39:18","slug":"millennial-era-jazz-marquis-hill","status":"publish","type":"post","link":"https:\/\/news.medill.northwestern.edu\/chicago\/millennial-era-jazz-marquis-hill\/","title":{"rendered":"Millennial Era Jazz: Marquis Hill"},"content":{"rendered":"<p><strong>By Thaddeus Tukes<\/strong><\/p>\n<p><em>[A version of the story was co-published on <a href=\"http:\/\/blavity.com\/millennial-era-jazz-marquis-hill\/\"><strong>Blavity<\/strong><\/a>.]<\/em><\/p>\n<p class=\"dropcap\">Jazz is the essence of black culture, yet for years, black musicians have felt it being taken away by the rapaciousness of commerce and profit.<\/p>\n<p>The newest emerging voice in reclaiming jazz hails from the South Side of Chicago, which gave birth and meaning to international trumpet phenomenon Marquis Hill.<\/p>\n<p>\u201cChicago made me into the <em>man<\/em> I am today. Chicago made me into the <em>musician<\/em> I am today,&#8221; said the 29-year-old Chatham native. &#8220;I\u2019m really excited to be a part of this big Chicago movement that\u2019s happening.\u201d<\/p>\n<p><!--more--><\/p>\n<p>Hill, fresh off of a tour with legendary bassist Marcus Miller, is back on the road with his band, the Blacktet, performing music from their latest album, &#8220;The Way We Play.&#8221; With an album cover of the famous Chicago skyline, and a unique approach to composition and improvisation, Hill has one message.<\/p>\n<p>\u201cWhen you trace the history of everything, it\u2019s all the same. I\u2019m a hip-hop lover, I love blues, I love jazz, I love soul, I love rock. Those forms fall under the umbrella of black music. Now, those were just genre names, but if you want to think about it, it\u2019s really just a melting pot of black music.&#8221;<\/p>\n<p><iframe title=\"Spotify Embed: The Way We Play \/ Minority - Medley\" width=\"300\" height=\"380\" allowtransparency=\"true\" frameborder=\"0\" allow=\"encrypted-media\" src=\"https:\/\/open.spotify.com\/embed\/track\/3ChTIAxpxPY5OKOZeixrrM\"><\/iframe><\/p>\n<p>Cultural authenticity in jazz music has been a long-debated point of contention in the music community. During the Cold War, trumpeter Louis Armstrong was sent on a U.S. State Department-sponsored tour of Europe, in a diplomatic effort to showcase American culture, earning him the name \u201cAmbassador Satchmo.\u201d In more recent years, trumpeter Wynton Marsalis was appointed United Nations Messenger of Peace by Secretary-General Kofi Annan, under the Bush administration.<\/p>\n<p>In 2014, New Orleans trumpeter Nicholas Peyton introduced <a href=\"https:\/\/nicholaspayton.wordpress.com\/2014\/04\/30\/black-american-music-and-the-jazz-tradition\/\">Black American Music, or BAM<\/a>, to combat the divisive conversations around the word \u201cjazz,\u201d which he says \u201cprevents an authentic analysis of the art.\u201d<\/p>\n<p>\u201cIn Black music there are no fields, per se, there are territories and lineages. It\u2019s very clear who is a master drummer in the tribe and who is not. There is also a rhythmic lilt to how you phrase that is encoded in your DNA that gives a sign as to where you are from,\u201d said Peyton in an article on his website.<\/p>\n<p>Before that, renowned jazz critic Stanley Crouch was fired from the magazine JazzTimes, after backlash from his article, &#8220;<a href=\"http:\/\/jazztimes.com\/articles\/19802-putting-the-white-man-in-charge\">Putting the White Man in Charge<\/a>,&#8221; which discussed the commercial push of white jazz musicians over black musicians.<\/p>\n<p>Crouch wrote: &#8220;This time white musicians who can play are too frequently elevated far beyond their abilities in order to allow white writers to make themselves feel more comfortable about being in the role of evaluating an art from which they feel substantially alienated\u2026 . Now certain kinds of white men can focus their rebellion on the Negro.\u201d<\/p>\n<p>Hill has his own ideas.<\/p>\n<p>\u201cThe first known recording of \u2018jazz\u2019 was an all-white band, I believe the original Dixieland jazz band. They were making a mockery of this black music that was being created by people like Louis Armstrong and all of those cats in Chicago. So it\u2019s just a word that was given to this music from day one, and it just stuck through the generations.\u201d<\/p>\n<p><iframe title=\"Spotify Embed: My Foolish Heart\" width=\"300\" height=\"380\" allowtransparency=\"true\" frameborder=\"0\" allow=\"encrypted-media\" src=\"https:\/\/open.spotify.com\/embed\/track\/12DifydbXlrNlD95hh377D\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Since winning the <a href=\"http:\/\/monkinstitute.org\/competition\/2014-competition\/\">2014 Thelonious Monk Institute International Jazz Competition<\/a>, Hill has been on an international stage. He was a featured artist with the Jazz at Lincoln Center Youth Orchestra, and <a href=\"http:\/\/www.npr.org\/event\/music\/454861342\/the-making-of-marquis-hill\">NPR did a special on him, called \u201cThe Making of the Marquis Hill Blacktet<\/a>,\u201d which reflected on his journey as a musician, from the Chicago area to international tours. With these experiences in mind, Hill believes that black music connects with audiences everywhere.<\/p>\n<p>\u201cPeople in Europe and Africa and Asia and people in different continents around the world \u2013 they love the music. Funny enough, it\u2019s just here in the U.S. that jazz doesn\u2019t get as much love as it really needs, which takes us back to that word. I believe [Americans] hear the word \u2018jazz\u2019 and it turns them off, but internationally, people love and respect the music.<\/p>\n<p>&#8220;It\u2019s been really, really eye-opening to me,&#8221; Hill says. &#8220;They treat us like royalty.\u201d<\/p>\n<p>Hill is making sure that his music stays accessible, releasing physical and digital copies in an age when almost everything is streamed.<\/p>\n<p>\u201cIt\u2019s very clear the direction we\u2019re going in, in terms of streaming music and downloading. CDs won\u2019t be necessary pretty soon. But I think we\u2019re at the end of that period. There\u2019s still some people that come to live shows and want to leave with a physical record.\u201d<\/p>\n<p>&#8220;The Way We Play&#8221; is Hill\u2019s first commercial release with a major label (Concord Jazz). While he previously released four projects independently, he says he enjoyed his experience with the label.<\/p>\n<p>\u201cThere are certain protocols that have to happen when you want to make a move,&#8221; Hill says. &#8220;When you want to do something, when you want to make a decision, you have to ask them, to a certain extent. When I was producing these records myself, I was my own boss. I didn\u2019t have to ask anyone. If I wanted to do this, OK, let\u2019s make this happen. But other than that, it was amazing.\u201d<\/p>\n<p><iframe title=\"Spotify Embed: Smile\" width=\"300\" height=\"380\" allowtransparency=\"true\" frameborder=\"0\" allow=\"encrypted-media\" src=\"https:\/\/open.spotify.com\/embed\/track\/2QKYJR6yPojjBQlo5F6FiU\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>With co-signs from contemporary greats, such as Wynton Marsalis, Hill aims to develop his own voice in the music industry.<\/p>\n<p>\u201cThe music has always been a reflection of what\u2019s happening in society. It\u2019s been the black voice for a very long time. I think there was a moment where we lost that, but you see artists nowadays bringing that back. And I think that should be one of the major roles of jazz, or black music.\u201d<\/p>\n<div class=\"featurecaption\">\n<p>Photo at Top: Marquis Hill Showcases New Horn. (<em>Courtesy of Deneka Peniston<\/em>).<\/p>\n<\/div>\n<p><span style=\"text-indent: 20px;width: auto;padding: 0px 4px 0px 0px;text-align: center;font: bold 11px\/20px 'Helvetica Neue',Helvetica,sans-serif;color: #ffffff;background: #bd081c no-repeat scroll 3px 50% \/ 14px 14px;cursor: pointer\">Save<\/span><\/p>\n<p><span style=\"text-indent: 20px;width: auto;padding: 0px 4px 0px 0px;text-align: center;font: bold 11px\/20px 'Helvetica Neue',Helvetica,sans-serif;color: #ffffff;background: #bd081c no-repeat scroll 3px 50% \/ 14px 14px;cursor: pointer\">Save<\/span><\/p>\n<p><span style=\"text-indent: 20px;width: auto;padding: 0px 4px 0px 0px;text-align: center;font: bold 11px\/20px 'Helvetica Neue',Helvetica,sans-serif;color: #ffffff;background: #bd081c no-repeat scroll 3px 50% \/ 14px 14px;cursor: pointer\">Save<\/span><\/p>\n<p><span style=\"text-indent: 20px;width: auto;padding: 0px 4px 0px 0px;text-align: center;font: bold 11px\/20px 'Helvetica Neue',Helvetica,sans-serif;color: #ffffff;background: #bd081c  no-repeat scroll 3px 50% \/ 14px 14px;cursor: pointer\">Save<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Thaddeus Tukes [A version of the story was co-published on Blavity.] Jazz is the essence of black culture, yet for years, black musicians have felt it being taken away by the rapaciousness of commerce and profit. The newest emerging voice in reclaiming jazz hails from the South Side of Chicago, which gave birth and [&hellip;]<\/p>\n","protected":false},"author":301,"featured_media":43928,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[194,452,27,2941,28,30,675],"tags":[3081,61,2524,3080,887],"class_list":["post-43923","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","category-beyond-chicago","category-business","category-fall-2016","category-general-interest","category-public-affairs","category-social-justice","tag-blacktet","tag-chicago","tag-jazz","tag-marquis-hill","tag-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Millennial Era Jazz: Marquis Hill - Medill Reports Chicago<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/news.medill.northwestern.edu\/chicago\/millennial-era-jazz-marquis-hill\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Millennial Era Jazz: Marquis Hill - Medill Reports Chicago\" \/>\n<meta property=\"og:description\" content=\"By Thaddeus Tukes [A version of the story was co-published on Blavity.] Jazz is the essence of black culture, yet for years, black musicians have felt it being taken away by the rapaciousness of commerce and profit. 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