When Kirk Whalum released The Gospel According to Jazz, Chapter 1 on October 13, 1998, he wasn’t simply launching a new album. He was coming full circle. Raised in Memphis in a family of ministers and musicians, Whalum grew up surrounded by the sound of hymns and harmony. His father and grandfather were pastors, and the church was the center of his earliest musical experiences. That spiritual and cultural foundation shaped his tone, phrasing, and the emotional honesty that have always set him apart.

Recorded live at the Roy Acuff Theater in Nashville, Chapter 1 blends the freedom of jazz improvisation with the spirit of Sunday morning. Whalum’s saxophone leads like a seasoned preacher moved by both conviction and creativity. The setting gave him room to express the connection he’d always felt between faith and artistry — not through lyrics, but through sound, phrasing, and feel.

“I wanted to create something that captured both the groove and the gratitude I grew up with,” Whalum said in interviews surrounding the album’s release.

A highlight of the session is his collaboration with George Duke, whose keyboards brought warmth and a deep sense of dialogue to the project. Duke’s solo on “Blessed Assurance” is a moment of shared inspiration — two master musicians conversing in melody and space. Their interplay is what makes Chapter 1 special: a union of groove, reverence, and improvisation that transcends category.

Whalum has described The Gospel According to Jazz as the album he was “called” to make — the moment he stopped keeping his faith and his music in separate lanes. That decision sparked a remarkable four-part series that unfolded over the next two decades, each chapter expanding on the first’s vision of jazz as a form of gratitude, uplift, and communion. Chapter 1 remains the purest statement — a recording that honors both where Whalum came from and the message he’s carried ever since.

The post The Gospel According to Jazz, Chapter 1 – Kirk Whalum’s Spirit in Sound appeared first on ContemporaryJazz.com.

The 56th NAACP Image Awards have announced their nominees, and the Outstanding Jazz Album category is packed with incredible talent. These nominations highlight the artistry and impact of contemporary jazz musicians, showcasing a range of styles and influences.

Here are the nominees:

• Creole Orchestra – Etienne Charles
  Etienne Charles continues his journey of blending jazz with Caribbean influences, this time leading a big band. Creole Orchestra is a lot of fun to listen to, especially with its unexpected cover of  Bell Biv DeVoe’s “Poison.” Etienne is profuse with his gratitude on Instagram.
• Epic Cool – Kirk Whalum
  Kirk Whalum continues to be a contemporary jazz saxophone icon with the smooth Epic Cool.
• Javon & Nikki Go to the Movies – Javon Jackson and Nikki Giovanni
  This second collaboration between saxophonist Javon Jackson and poet Nikki Giovanni is a mix of spoken word and jazz, with original compositions, standards and more.
• On Their Shoulders: An Organ Tribute – Matthew Whitaker
  Piano and organ virtuoso Matthew Whitaker pays homage to the greats with this organ-driven tribute, displaying  gospel, jazz, and soul influences. On Instagram, Matthew was excited: “It is such an honor to be nominated for “Outstanding Jazz Album”, especially for an album paying tribute to the organ masters: Dr. Lonnie Smith, Twinkie Clark, Jimmy Smith, Joey Defrancesco, and Charles Earland!”
• Portrait – Samara Joy
  Portrait showcases Samara Joy’s beyond-her-years voice and her ability to channel the spirit of jazz legends. This recording includes an original Samara Joy composition, written with her pianist, Luther Allison.

The NAACP Image Awards continue to shine a light on musicians who push the boundaries of jazz while honoring its rich heritage. The winners will be revealed on February 22, live on BET.

Which album are you rooting for? Let us know in the comments below!

The post Outstanding Jazz Album Nominees – NAACP Image Awards appeared first on ContemporaryJazz.com.

Simple Pleasures was a bestseller thanks to the massive success of the single “Don’t Worry Be Happy” According to McFerrin on the Questlove Supreme podcast, he has not performed that song live since November 1988. “I wanted the audience to know me as an improviser. I didn’t want to be falling back on that tune all the time or have them expect that.” He did admit that he will sometimes hint at it in the middle of a piece and he might do it for kids.

Rounding out the Top Ten of the Contemporary Jazz chart:

1. 1. Bobby McFerrin, Simple Pleasures
2. 2. George Howard, Reflections
3. 3. Basia, Time and Tide
4. 4. Rippingtons featuring Russ Freeman, Kilamanjaro
5. 5. David Benoit, Every Step of the Way
6. 6. Kirk Whalum, And You Know That!
7. 7. Dianne Reeves, Dianne Reeves
8. 8. Gamalon, Gamalon
9. 9. Tim Heintz, Searching the Heart
10. 10. Steve Kindler & Teja Bell, Dolphin Smiles

Debuting on the week’s chart at #21 was the first album from the husband and wife duo of Tuck & Patti with Tears of Joy. According to the Tuck & Patti website and Twitter account, Bobby McFerrin calls them “the best duo on the planet!” And they’re still together, which is really awesome.

John Patitucci led the Top Jazz Albums chart with his debut self-titled recording, released on GRP. He had a strong start with the album produced by his Electric Band boss Chick Corea and featuring bandmate Dave Weckl. Also enhancing John’s compositions were mighty Michael Brecker, Peter Eskine, Vinnie Colaiuta, John Beasley, and David Witham.

The post Top Contemporary Jazz Albums – June 25, 1988 appeared first on ContemporaryJazz.com.