14 February 2011

What They're Saying About Esperanza Spaulding

Peter Hum:
Cyber-vandalism aside, it has to be a good thing that with Spalding's victory, more people outside the jazz bubble are receiving one more gentle poke in the ribs that jazz is out there and that it matters.
Patrick Jarenwattananon:
There's a theme here. Among many of her fans, the biggest takeaway of her win was that "real," comprehensive musicianship was being rewarded over commercial success (at least among the choices given). Indeed, plenty of the underpinnings of Spalding's music — risk-taking, improvisation, instrumental mastery — are severely underserved in the pop mainstream.
Nate Chinen:
With hindsight, the calculus behind her win seems deceptively clear, though the Recording Academy doesn’t divulge vote tallies. Drake and Mr. Bieber — both Canadians, both accessing a current of R&B — may have split one segment of the voting body. The other two nominees, Florence & the Machine and Mumford & Sons — both English, both slightly throwback in their appeal — may have split another. More important, though, was the marvel of Ms. Spalding’s effervescent prowess as a musician and a singer. Virtuosity has always played well with Grammy voters, and so has the comforting vision of a bright young artist upholding established ideals of quality.
Howard Mandel:
It's hard not to gloat about talent winning out. Of course, Bieber is crying all the way to the bank. On the other hand, Spalding may have a longer and more interesting career. Here's hoping...
Andrew Durkin:
I don't know Spalding's music very well, and I don't know Bieber's music at all. (Lucky for me, my six year old doesn't know Bieber's music either.) Plus, it's silly to pretend that the Grammys are a true barometer of musical value. But even from a distance, this was a pleasant turn of events, and it should make us all smile a little bit.
I agree wholeheartedly

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