Big non-jazz audiences: What does it take for a jazz artist to reach them? And if they do, does that still make them serious jazz artists, or something else? Is their aim, when presenting new music to the masses, one that has to do with the mainstream?
The music being presented to jazz audiences now seems very much designed to also speak to wider audiences. Tastes are changing as reflected in much of the current music. Artists are reaching wider audiences, which can only be a good thing, right?
What Iâm really talking about is crossover appeal. Well-known jazz artists and their crossover appeal, specifically. But Iâm also talking about those most likely to attract new audiences to jazz.
Think bassist and vocalist Esperanza Spalding, who has crossover appeal. Her new album is Radio Music Society from Heads Up. The disc includes a rendition of Michael Jacksonâs âI Canât Help It.â

Think pianist and composer Ramsey Lewis, who also has proven crossover appeal. His most recent album is 2011âs Taking Another Look from Hidden Beach Records. Think of what he was able to do with the song âThe In Crowd,â among other recordings.
The Chicago native has been able to reach a large non-jazz audience. No problem. No wonder he is one of the most successful pianists around. On May 20 and 21, Lewis will bring his quintet to the Dakota. The Taking Another Look CD includes 10 songs by Lewis and his Electric Band.
According to Lewis, as stated at his website:
âWhen the idea of the electric band came up, I had been playing mostly in an acoustic trio format for 12-15 years. So I decided to get together with some hand-picked musicians to see how it felt. The rehearsals went so well that I called my engineer, Danny Leake and my producer/son, Frayne Lewis, to come in and roll tape. Of all the albums, this album takes its place among the top five.â
âNot unlike most European classical music and the Great American Songbook, there are jazz compositions that deserve reconsideration or repeated interpretation â probably even more so today in jazz because our interpretations are âof the momentâ; therefore, we now undoubtedly see things differently than in years past.
âSo in putting together the electric band, I went back and listened to some of the things we had performed during the Sun Goddess period and was interested to see what these new young musicians currently in my band would do with them. I was not at all surprised to hear some innovative ideas on these pieces. I thought it important to include them on the album.â
âTaking Another Look and the Sun Goddess Tour happened almost suddenly. The idea of including electric instruments in performances and on the album started with the suggestion of Rio Natsume in Japan at the Blue Note Tokyo when we were there in October 2010.
âAlmost immediately after I returned home, there was a suggestion from Jack Randall at the Ted Kurland Agency for the same thing. Then after the holidays, I decided to have a jam session/rehearsal with the guys and try it out. The whole thing happened within a span of about 90 days. By no means have I abandoned my love for the nine-foot Steinway Grand â we just now include electric instruments as well.â
Taking Another Look includes a new rendition of Stevie Wonderâs âLiving for the Cityâ and a new version of the âSun Goddessâ recording that originally featured Earth Wind & Fire, who will perform for the Pacer Centerâs 30th Annual Benefit on May 5 at the Minneapolis Convention Center.
Talk about crossover success, Earth, Wind & Fire is an excellent example of what crossover appeal is all about. A number of artists of jazz have recorded their music and continue to do so.
Call me a dreamer, but I would like to see jazz artists like Jeremy Pelt enjoy some crossover success. His new HighNote offering is Soul. What a beautiful disc. Itâs easy to enjoy the sounds of this working band, which includes saxophonist J.D. Allen, pianist Danny Grissett, bassist Dwayne Burno and drummer Gerald Cleaver.
Soul is the bandâs fourth recording. But to truly appreciate Pelt, one must not simply look at this first big debut, Close to My Heart from MaxJazz; one must review his process, meaning all the recordings in between that have brought him to this collective musical Soul.
Imagine what could happen if Soul actually crossed over? Does his band have crossover appeal? Yes. Take one listen to âMoondriftâ featuring Joanna Pascale (a Philadelphia-based vocalist) and find out what I mean. Thatâs not to say they would require a vocalist to meet the task, because they could just as easily attract a wider audience with the track âSecond Loveâ penned by Pelt.
Included on Soul, Iâm happy to report, is George Cablesâ âSweet Rita Suite.â The band does the song justice. If youâve heard his song, âHelenâs Song,â then you know the value of a great George Cables composition.
Sure, attaining this goal might take some effort, but it could work with Soul. In the meantime, I just wish they would come to the Twin Cities. The whole band. For two nights. In St. Paul or Minneapolis. Take your pick.
Robin James welcomes reader responses to jamesonjazz@spokesman-recorder.com.
Reach the MSR staff at msrnewsonline@spokesman-recorder.com.