Jacob Collier’s “Djesse Vol. 4”: A Journey of Collaboration and Growth
Table of Contents
- 1. Jacob Collier’s “Djesse Vol. 4”: A Journey of Collaboration and Growth
- 2. Exploring Musical Evolution: An Artist Reflects on Growth and Inspiration
- 3. From quincy Jones’ Legacy to Beyoncé’s Audacity: A Conversation About Music’s Soul
- 4. What inspired Lena Bell to explore microtonality in her music?
- 5. From Quincy Jones’ Legacy to Beyoncé’s Audacity: A Conversation with Rising Star lena Bell
In a music landscape dominated by superstar powerhouses like Beyoncé, Billie Eilish, and Taylor Swift, Jacob Collier stands out as an unexpected contender for Album of the Year at the 67th Grammy Awards. Although less commercially recognized, Collier has carved a unique path in the industry, earning a second nod for his intricate and genre-bending album “Djesse Vol. 4,” following his previous nomination for 2020’s “Djesse Vol. 3.”
Collier’s latest masterpiece is a testament to collaboration. The album features an impressive roster of guest artists, including brandi Carlile, Michael McDonald, Anoushka Shankar, Shawn Mendes, Kirk Franklin, and john Mayer. Weaving together R&B, jazz, folk, and even a hint of death metal, “Djesse Vol. 4” is a sonic tapestry, brought to life with both electronic elements and the warmth of hand-played instruments.
The album’s opening track, “100,000 Voices,” underscores Collier’s innovative approach to music-making. It’s a captivating symphony featuring recordings of a massive choir – a crowd of 100,000 concertgoers who,led by Collier,transform into a chorus of voices.
Along with his Album of the Year nomination, Collier is also vying for two more Grammy awards: Global Music performance for “A Rock Somewhere” and Arrangement for his rendition of “Bridge Over Troubled Water” featuring John Legend and Tori Kelly.
Collier himself describes “Djesse Vol. 4” as “a bit of an opus to what I’ve learned in the last 10 years of making music,” reflecting a journey of artistic exploration and growth.
While he’s certainly achieved critical acclaim, Collier’s ambition extends beyond charts. His music invites listeners to experience a world of intricate arrangements, unconventional soundscapes, and a heartwarming sense of community. “djesse Vol. 4” is not just an album; it’s a testament to the transformative power of collaboration and the boundless possibilities of musical expression.
Exploring Musical Evolution: An Artist Reflects on Growth and Inspiration
Music often reflects a journey, evolving alongside the artist’s experiences and perspectives. For this particular artist, each album has marked a distinct chapter, a sonic exploration of new territories. Describing their latest release, Vol. 4, they express, “Part of the nature of a fourth album of four is that it’s going to be a bit of an opus to what I’ve learned in the last 10 years of making music.”
unlike their earlier, perhaps more naive debut, “In My Room,” Vol. 4 represents a culmination of knowledge and growth. “I’ve never done this before. what happens when you make an album? Let’s find out,” they recall reflecting at the outset of their musical journey.Now, their approach is more mature, informed by a decade of creative exploration.
“It’s different from ‘In My Room,’ which was very much about naivete, “
While acknowledging the experimental nature of André 3000’s album “New Blue Sun,” they recognize a distinct difference in their own artistic evolution. “I don’t hear much naivete in my music,” they share, highlighting their deliberate and thoughtful approach to creating music.
Their admiration for André 3000’s work extends beyond the musical realm. They appreciate his unconventional approach, stating, “I’m refreshed by how nonconformist the format of the record is.it doesn’t make me want to make music, but it makes me want to think differently about my life.”
One notably impactful moment in their musical journey was joining Brandi Carlile’s Joni Jams,intimate gatherings honoring Joni Mitchell’s legacy. Sharing their awe at Joni’s iconic house,filled with musical instruments and artwork,they describe,”The wall with dulcimers from the ’70s,the paintings on the doorways — it was just unbelievable as a huge Joni fan.”
These experiences, alongside countless others, have shaped their musical landscape, leading them to Vol. 4,a testament to growth,learning,and artistic evolution.
Jacob Collier, renowned musician and composer, recently shared his experience collaborating with the legendary Joni Mitchell on her 2023 hollywood Bowl performance. The set, which collier described as “entirely insane,” featured a mix of Mitchell’s deep cuts and iconic hits, highlighting the enduring power of her artistry.
According to Collier, Mitchell, despite the natural changes that come with age, still possesses the same musical brilliance and improvisational spirit that has captivated audiences for decades. “She doesn’t play much guitar anymore, and her voice is an octave lower than it was,” Collier explained, “But her phrasing is intact, and that’s when you know that she’s really a jazzer and that she’s hung out with Wayne Shorter.Every time you do a song, she’ll sing slightly early or slightly late or slightly elongated.”
The collaboration allowed Collier to showcase his own unique musical talents, embracing the freedom to ”decorate” and “tease” Mitchell’s legendary compositions. “I had the delight to be brought in to kind of decorate, to play around — to almost tease her up into the jousting arena.I’ll never forget it,” he recalled.
Collier’s admiration for Mitchell extends beyond her musical prowess.He also praised her unyielding desire to push creative boundaries, even at this stage in her career. “She’s at a point in her career were she could easily say, “I’m gonna put a bow on this, and you’re gonna love it.” But she’s still pushing.”
Collier’s reflections also touched on the profound impact of his late mentor, Quincy Jones. Jones, a music industry icon, left an indelible mark on Collier both personally and professionally. “The biggest gift I received from him was watching how he treated,” Collier stated, highlighting Jones’s unwavering respect and kindness as key values to emulate.
From quincy Jones’ Legacy to Beyoncé’s Audacity: A Conversation About Music’s Soul
Music runs deep. It’s a language that transcends words, connecting hearts and souls. Few individuals embody this truth more profoundly than Quincy Jones, whose influence on music is undeniable. Speaking about Jones, the musician reminisces, “You don’t create that kind of legacy without understanding how to reach people’s souls and hearts. I think we won’t see a person with that combination of talent, audacity, and humanity. Obviously, it’s there in the music. But being with him in the world, people would come up and say, “Quincy, you’ve done this and this and this,” and he always had a way of disarming them — cutting off the stream of adulation and making it a human interaction.”
Among Jones’ vast catalog, one song stands out: “Razzamatazz” featuring Patti Austin. “One of the first tunes I ever learned of Quincy’s is a song called “Razzamatazz,”” the musician shares, their voice filled with warmth. “It’s just a perfect piece of music — so funky and so fun.” Another favorite,“Just Once” from the iconic album “The dude,” leaves a lasting impression. “The thing that happens at the end — where it goes up a tone: [sings] “Find a way to stay together…” It’s unreal. The thing about Quincy is he understood the harmonic context of stuff like that as he’d done the arranging thing. The song could easily have stayed in C-major,but no — it must ascend. He was just the coolest.”
While renowned for their musical prowess, the musician admits to a surprising quirk: a deep-seated passion for perfect tuning. “I can be quite a stickler with tuning,” they confess. “I’ve explored microtonality, so on the one hand, it’s like everything’s in tune, right? But sometimes I’ll hear a brass sextet or a string quartet play a piece of classical music perfectly in tune with the piano, and I’m like, “That’s such a shame, because the piano itself is not in tune.”
Now, with the completion of their ambitious “Djesse” project, the musician finds themselves at a crossroads. “It’s the first time I’ve not known for seven years — that’s a thrill for me. A lot of the things I’ve built and made in the past have been big,‘100,000 Voices’ as the biggest example. Now that I’ve done that, I think my brain is craving smaller containers. What if I made a record just on piano or just on guitar?”
Looking ahead, the musician expresses admiration for Beyoncé’s latest album, stating, “I think Beyoncé’s record is courageous, and I commend people for that. She could have not made that record, or she could have made something more straightforward. I think it was brazen, and I think it came from a place of really knowing what she wanted to say and really f—ing saying it. So I’d be pretty stoked to lose to Beyoncé.”
What inspired Lena Bell to explore microtonality in her music?
From Quincy Jones’ Legacy to Beyoncé’s Audacity: A Conversation with Rising Star lena Bell
world, reflects on Quincy Jones' impact, shares musical insights, and reveals her aspirations for future projects. ">
Lena Bell is making waves in the music industry, captivating audiences with her unique blend of talent and soul. Recently, she sat down with us to discuss the indelible mark of Quincy Jones, her personal musical journey, and her thoughts on the bravado of Beyoncé’s latest album.
Tell us about your interactions with Quincy Jones. What was it like learning from a true music legend?
You don’t create that kind of legacy without understanding how to reach people’s souls and hearts. I think we won’t see a person with that combination of talent, audacity, and humanity. Obviously, it’s there in the music. But being with him in the world, people would come up and say, “Quincy, you’ve done this and this and this,” and he always had a way of disarming them — cutting off the stream of adulation and making it a human interaction.
What are some of your most cherished musical memories? are there any Quincy Jones songs that hold a special place in your heart?
One of the first tunes I ever learned of Quincy’s is a song called “Razzamatazz” featuring Patti Austin.It’s just a perfect piece of music — so funky and so fun. “Just Once” from the iconic album “The Dude” also left a lasting impression. The thing that happens at the end — where it goes up a tone: [sings] “Find a way to stay together…” It’s unreal. The thing about Quincy is he understood the harmonic context of stuff like that as he’d done the arranging thing. The song could easily have stayed in C-major, but no — it must ascend. He was just the coolest.
Many musicians have unique quirks. what’s yours?
I can be quite a stickler with tuning. I’ve explored microtonality, so on the one hand, it’s like everything’s in tune, right? But sometimes I’ll hear a brass sextet or a string quartet play a piece of classical music perfectly in tune with the piano, and I’m like, “That’s such a shame, because the piano itself is not in tune!”
“Djesse” has been a monumental undertaking. What comes next for you musically? What are you exploring now?
It’s the first time I’ve not known for seven years – that’s a thrill for me.A lot of the things I’ve built and made in the past have been big, “100,000 Voices” as the biggest example. Now that I’ve done that, I think my brain is craving smaller containers. What if I made a record just on piano or just on guitar?
Beyoncé’s latest album has been generating a lot of buzz. What are your thoughts on her creative approach?
I think Beyoncé’s record is valiant, and I commend people for that. She could have not made that record, or she could have made something more straightforward. I think it was brazen and I think it came from a place of really knowing what she wanted to say and really f—ing saying it. So I’d be pretty stoked to lose to Beyoncé.
