Welcome to the New York Times podcast, you're, I don't go outside of music news and criticism,

I am your host, John Caramonica.

You may have noticed that we did not get to the year in jazz cast at the end of 2020 for a variety of reasons,

but that does not mean that pop cast does not ride with jazz.

It does not mean that only that we are briefly delayed in talking about a lot of the interesting things

that have been going on last year and in recent years in jazz and in jazz adjacent and jazz-minded spaces.

So this week we are going to talk about some exciting records that came out on Blue Note, International Anthem,

some hip hop that is very, very jazz-minded.

We are going to talk about how the academy can ossify things that should not be ossified.

We are going to talk about how growing up or studying or learning your trade out in certain scenes

is really the most vital way of gaining knowledge and also reproducing it and innovating upon it

to have these conversations, Gio Roussinello's going to call in, Gio as you know, writes about jazz

for the New York Times. We are also going to talk to Marcus J. Moore, Marcus writes about music for

the times, the nation, a bunch of places. We're going to talk about some big picture things that are

happening in the world of jazz. Welcome to the jazz cast, Gio and Marcus.

Hey, thanks for having me. Appreciate it. Of course.

What's going on? Gio, happy to have you. We opened with a little bit of that

Emmanuel Wilkins record. Gio, let's start with you. This was your number one album of 2020.

I know we are post hierarchy, but that still means something. Talk to me a little bit about

what spoke to you so intensely about this record. Talking about this record is also kind of

talking about a little scene of Juilliard grads and otherwise like young musicians who are

hyper literate in the tradition who are coming up or in their early to mid 20s in New York City

...