Terence Blanchard
WHEN TERENCE BLANCHARD’S OPERA, “Fire Shut Up in My Bones,” opened the 2021-22 season of New York’s Metropolitan Opera this past fall, it was the first time in the Met’s 138-year history that a Black composer’s work would be presented by the famed opera house. It was one more stunning turn in a long line of accolades that have been bestowed upon the New Orleans musician, including six Grammys and two Oscar nominations. Perhaps, not surprisingly, Blanchard is the product of a musical family. His father loved opera and sang at recitals and in the family’s church. His mother taught music. His early recollections of Christmas were of his parents caroling all over the city of New Orleans. But his rise to storied jazz trumpeter, musician behind countless film scores, and in the last decade an opera composer, took a circuitous route for the boy who started piano lessons at the age of five. “I was plunking along on the keyboard at my grandparent’s when my parents thought I should probably take some lessons,” recounts Blanchard. “I was doing fine, but my whole world changed when Alvin Alcorn came to my elementary school to perform at our assembly. I was hooked on the sound... he was a trumpeter.” For a time, Blanchard studied both instruments, getting music theory and ear training from his piano teacher, Louise Winchester. He learned about minor and major scales and credits her with much of his quick ascent into the professional ranks of musicians. By 15, he was 16
I n side N ew Orl ean s
by Leslie Cardé
studying with noted pianist Roger Dickerson, who taught him composition, shortly before he entered NOCCA for his junior and senior year. “In my senior year, I applied to a number of colleges, among them USC,” remembers Blanchard. “But, when I found out that Bill Fielder, classic trumpeter, was teaching at Rutgers, that cinched the deal. And, also, Ellis Marsalis thought it would be a good option.” A good option, indeed. At Rutgers, he met Paul Jeffrey, saxophonist extraordinaire, who was teaching there, and played with Thelonious Monk. One night, Jeffrey took Terence to a gig with Lionel Hampton, and told him to “bring your horn.” The rest, as they say, is history. “Lionel asked me to play a blues number with the piano player,” recounts Blanchard. “Afterwards, he told me he’d call me with some gigs. The next thing you know, I was on the road with the band.” Blanchard was then 18. After college, Blanchard was playing at well-known New York City jazz clubs, while writing his own material. But, when Spike Lee came calling to use a song of Blanchard’s in his upcoming flick, “Mo’ Better Blues”, it would be a turning point in Blanchard’s life. Not only did his song become a part of that film, but Lee asked that he write a string arrangement for the movie, as well—and then asked that he conduct it. “After that, I remember Spike told me I had a future in the business,” says Blanchard. “Lee commissioned him>>
photo: CEDRIC ANGELES
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