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Jacob Collier on whom he’d prefer to lose to at the Grammy Awards

BBG News

Despite being less recognized than artists like Beyoncé, Billie Eilish, and Taylor Swift, Jacob Collier is a surprising nominee for Album of the Year at this year’s Grammy Awards. However, he’s no stranger to Grammy recognition; his latest album “Djesse Vol. 4” is actually his second nomination for the prestigious award, following his previous nod for “Djesse Vol. 3” in 2020, which competed against albums by Post Malone, Dua Lipa, and Coldplay at the 63rd Grammys. (Taylor Swift ultimately won that year with “Folklore.”)

On “Djesse Vol. 4”, you’ll find an impressive lineup of guests including Brandi Carlile, Michael McDonald, Anoushka Shankar, Shawn Mendes, Kirk Franklin and John Mayer. This extensive album seamlessly combines electronics with hand-crafted instruments, creating a unique blend of R&B, jazz, folk, and even a hint of death metal. The opening track, “100,000 Voices”, showcases recordings from approximately that many attendees at Collier’s concerts, where he skillfully directs the crowd like a massive choir.

Apart from being nominated for Album of the Year, Collier, who is 30 years old, also has two additional Grammy nominations for this Sunday’s ceremony: one for Best Global Music Performance for “A Rock Somewhere” and another for Best Arrangement for his version of “Bridge Over Troubled Water,” which features John Legend and Tori Kelly. During a recent afternoon in Los Angeles, Collier shared insights about his album and his connections with Joni Mitchell and the late Quincy Jones.

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Did you plan ahead that “Djesse Vol. 4” would be the final installment in a four-album series? Yes, indeed. My initial album, titled “In My Room,” was a solo endeavor where I took care of recording, mixing, and everything else on my own. After this experience, I yearned for collaboration. So, I envisioned creating four distinct spaces or environments for the albums, each characterized by unique sonic landscapes. The first one had an orchestral feel – vast, expansive, and almost explosive. The second was more folk-oriented with a smaller, intimate acoustic setting than the first. Vol. 3, which I made during quarantine, had minimal space, mimicking the isolation and confusion experienced in our minds during those times. “Djesse Vol. 4” represents the culmination of this musical journey.

So, what about Volume 4? For a long while, I wasn’t sure what its theme would be. However, during the tour of Volume 3, it was the audience that captivated me. In reflecting on my infatuation, I realized that the feeling was reminiscent of the early days. The voice I found myself drawn to this time around was not just my own, but the collective voice instead.

Compared to the other candidates for Album of the Year, yours appears to have some similarities with “New Blue Sun,” André 3000’s jazz experimentation album. However, he emphasizes the importance of a fresh perspective in his flute playing journey, whereas your music doesn’t seem to carry that sense of innocence.

Your fourth album could be seen as an expression of what you’ve gathered during a decade of making music. It differs from “In My Room,” which was all about freshness and discovery: “I’ve never done this before. What happens when you make an album? Let’s explore.” But this album isn’t a naive production. I wouldn’t describe it as unexpected or out of the blue.

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Before the 67th Grammy Awards on Sunday, I thought it would be fun to compile and rank all the Record of the Year winners since the very first ceremony by the Recording Academy back in 1959. Here they are!

[List the songs]

Have you listened to André’s latest album? I must say, the worth of this record isn’t about its musical merit, and I believe he would appreciate that sentiment. The song titles are brief, like diary entries, which adds a unique charm to it. I find the unconventional structure of the album invigorating, even if it doesn’t inspire me to create music, it does encourage me to reconsider my perspective on life. I wonder how he will feel about this album in 20 years, and what insights he has gained from it. It’s intriguing to ponder who voted for it, given his iconic status. Although the Grammy Awards can sometimes be ambiguous in their values, I’m pleased that he is a part of it because his album stands out distinctly among others in its category. In a way, it embodies a “f— you” spirit, which I admire. I’m a fan of him for maintaining that attitude.

Last year, I witnessed your piano performance alongside Joni Mitchell at the Hollywood Bowl. Can you tell me about how you got involved with the “Joni Jam”?
I encountered Brandi Carlile in 2021 when she was revitalizing Joni’s music. At home, Joni had been quite fragile and isolated, but Brandi, a truly remarkable individual, conceived the idea of “Joni Jams.” These were gatherings at Joni’s house where people would sing her songs. I was fortunate enough to visit Joni’s house and was astounded by the experience as an avid Joni fan. I thought it was a unique opportunity, assuming that Joni’s condition was deteriorating. However, to my surprise, Joni has only grown stronger since then. At the start of last year, Brandi contacted me about Joni’s performance at the Grammys, and we ended up playing “Both Sides Now” on the show. This performance eventually evolved into the “Joni Jam” at the Hollywood Bowl.

Joni’s musical skills have shown some changes: She seldom plays the guitar now, and her voice is lower than before. However, her unique phrasing remains, which indicates her jazz background and her connection with Wayne Shorter. Every time she sings, there’s a slight delay or elongation in her phrases. When I realized she was like-minded, we developed a sort of understanding. It was extraordinary to share that freedom, as some band members were strictly adhering to her parts. If they hadn’t been there, the band might have disintegrated. I was fortunate to be invited to add my touch, to play around and occasionally provoke her into a musical duel. That experience will always stay with me.

The playlist for the Bowl performance was incredibly adventurous. For the first half, we were essentially asking Joni, “What would you like to perform?” To which she responded, “I want to play some of my deepest tracks.” In the second half, she moved on to more popular tunes. Despite being at a stage in her career where she could easily wrap things up with a polished setlist, she continues to challenge herself.

Did Quincy Jones’ passing last year mark the end of something unique? Was there an aspect of his personality or work that we might not witness again?
The most valuable lesson I learned from him was observing how he interacted with people. Such a legacy doesn’t come about without knowing how to touch people deeply, both emotionally and spiritually. I believe we won’t find another individual who combines talent, audacity, and genuine humanity in the same way. Surely, it’s evident in his music. However, what truly set him apart was his ability to make every encounter feel personal, rather than just accepting praise. People would often approach him with accolades, but he had a knack for deflecting adoration, turning those moments into genuine human connections.

Are there any songs or albums by Quincy Jones that hold a special place in your heart? For me, one of his tunes I’ve always loved is “Razzamatazz” from “The Dude,” sung beautifully by Patti Austin. It’s just the epitome of funky and enjoyable music!

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From ‘The Dude,’ the track that resonates with me most is ‘Just Once.’ The part at the end where the tune rises… [sings] “Discover a means to remain united…” It’s simply incredible. What stands out about Quincy is his ability to grasp the harmonic nuances of such compositions because he was involved in the arrangement process. The song could have remained in C-major, but instead, it climbs higher. He was just the epitome of cool.

What’s your most fastidious standpoint regarding music, particularly tuning? I’ve delved into microtonality, which might seem perfect to some, but on the other side, I often find myself wishing that even perfectly tuned brass sextets or string quartets playing classical music could be more in tune with the piano itself.

After wrapping up the “Djesse” project, I’m curious about what my next musical endeavor will be. At this moment, I don’t have a definite answer as I usually do after seven years of planning and creating. This uncertainty is actually exciting for me. For a while now, I’ve been accustomed to working on large-scale projects like “100,000 Voices.” Now, I feel my creative mind yearning for more intimate spaces. Perhaps I might compose a record featuring only the piano or the guitar.

If someone else were to win the Album of the Year instead of you, who would you be thrilled to see victorious? Given that Beyoncé’s album is bold and admirable, I must say I would feel quite content if she were the one winning. She had the courage to create such an audacious piece, something that could have been more conventional. It seems to me that it was a daring move, born out of a deep understanding of what she wished to express and saying it with conviction. So, I’d be quite happy to see Beyoncé take the prize.

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2025-02-02 05:02

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