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Jon Batiste: We Are (Verve)

A review of the expressive pianist's fourth release on Verve

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Cover of We Are by Jon Batiste

“The music I’ve been making is a way to light a way to the truth of who we are and reintroduce us to the depth of who we are.” Jon Batiste used these words to describe the music of We Are, the pianist and (Late Show) bandleader’s latest album, in an interview with San Francisco Classical Voice published just days after his performance at the Juneteenth celebration in Brooklyn this past June. The music, spirit, and message of We Are—like most music released in the last few months—feels imbued with the urgency of the political, social, and physical upheavals of 2020, but Batiste’s enlightened vision was realized before this.

Like fellow New Orleanian Christian Scott aTunde Adjuah’s “Stretch Music,” what Batiste constructs here is something that can’t really be categorized: It remixes the last 400 years of Black American Music to dizzying and wondrous effect. “Tell the Truth” crossfades the relentless punch of early-’70s Booker T. & the M.G.’s with honey-sweet string arranging that suggests the likes of Jimmy Jones. The horns drive the brightness into your brain until you come out smiling. On “Show Me the Way” Batiste stretches his vocals to the heavenly heights of ’50s crooners like Little Anthony while seemingly taking cues from the Thundercat song of the same name, blending rumbling rhythms with the melty melodies of slow-jam R&B.

Lyrically, Batiste is forceful in directing listeners toward certain ideas. Titles like “We Are,” “Tell the Truth,” “Freedom,” and “Sing” are not casual requests or suggestions; they are commandments. However, he ends with the one-minute piano solo “Until,” a wayfaring yet hopeful tune that serves as Batiste’s final invitation to us to join him in the light.

Learn more about We Are on Amazon!

Jon Batiste: All in the Family

Jackson Sinnenberg

Jackson Sinnenberg is a broadcast journalist and writer based in Washington, D.C. He serves as an editor for Capitalbop, a non-profit that focuses on presenting live jazz and covering the D.C. jazz scene through grassroots journalism. He’s covered the city’s local jazz scene since 2015 but has covered national and international jazz, rock and pop artists for a variety of publications. He graduated from Georgetown in 2015 with a degree in American Musical Culture and will gladly argue why Kendrick Lamar is a jazz musician. Follow him @sinnenbergmusic.