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The Evening : Live at APPARATUS
Be A Light
Street Date: September 2, 2022

65TH GRAMMY AWARDS NOMINEE - BEST JAZZ VOCAL ALBUM & BEST IMPROVISED JAZZ SOLO

The Evening : Live at APPARATUS is the new live album from 4x GRAMMY® nominated duo The Baylor Project. This immersive, soul-stirring set was recorded in front of an engaged live audience at APPARATUS — an interdisciplinary design studio in New York City. For three magical nights, the indomitable couple and their exceptional band graced the stage at MUMS, an ephemeral jazz club created within APPARATUS’ gallery. The Evening : Live at APPARATUS displays the transformative power of performance, in a presentation of both style and substance.

The Baylor Project’s outstanding live performances have brought audiences to their feet all over the world. Whether performing at a world-class festival for thousands of concert goers, or for a small attentive audience in a tucked-away club, these married musical partners have been known to put on a show that is both uplifting and transcendent. As the children of pastors, Marcus and Jean saw the sublime, restorative power of music first-hand and this rich life experience comes through in their magnificent live shows, where audience members often leave feeling like family.

Their commanding performance captured the attention of Gabriel Hendifar, the Artistic Director of APPARATUS, whose design practice explores the relationship of lighting, furniture and objects in their environment. Hendifar’s latest collection, titled Act Four, took inspiration from cultural touchpoints of the 1960s and jazz music of the era. He knew he wanted to design a jazz club to celebrate the collection launch during New York Design Week, but he needed the final piece: the musical muse to bring the entire concept together. When Hendifar’s team stumbled upon a video of The Baylor Project’s vibrant “We Swing” he knew he had met his match.

He named the jazz club MUMS, after the thousands of peach-colored chrysanthemums that tastefully adorned the dimly-lit space. Light fixtures that managed to be both retro and contemporary glowed beyond the bandstand, as the light chatter of an excited, well-healed audience filled the room. When Jean Baylor, dressed in a striking mod-era golden sheath dress came to the stage with her smartly dressed counterpart Marcus, followed by their stylish band, it became abundantly clear that this would be a night to remember.

The room immediately warmed to the group which included pianist Terry Brewer, saxophonist Keith Loftis, trumpeter Darren Barrett, trombonist Mark Williams, and bassist Yasushi Nakamura. Marcus immediately set the mood on The Evening : Live at Apparatus with his inviting call to worship on “Our Love Is Here To Stay,” before Brewer shines on a solo piano feature, titled “Lord Keep Me Day By Day” which launches into their fan favorite reimagination of the hymn “Great Is Thy Faithfulness”. The beautiful arrangement showcases Keith Loftis on a fiery soprano saxophone solo.

Marcus is featured on the drum solo interlude “Call of the Drum”, which, over nearly four minutes, chronicles his vast musical journey from playing in his father’s church in St. Louis to his experiences playing with jazz icons Yellowjackets and Kenny Garrett. This moves into “Tell Me a Story”, a lyrical remake of Herbie Hancock’s “Tell Me a Bedtime Story”. On “Tenderly” Jean takes her time with the warm embrace of this old standard, before stepping into “We Swing (The Cypher)”. Having first appeared on Generations and named one of the Top Tracks of 2021 by NPR Music, Jean sings the parts previously sung by Jazzmeia Horn and Dianne Reeves on this exciting rendition as she whips the crowd into a frenzy. The energy transfers to the slower pace of “Love Makes Me Sing”, as the delighted audience sings along.

The pace changes on the contemplative and powerful “2020”, which is a bluesy prayer sung in the spirit of the Negro Spritual. A somber reflection on modern racial oppression, the energy in the room is palpable throughout this striking highlight. The set concludes with the affirming sendoff “Only Believe”. “Laugh and Move On” is the tasty bonus track, and features some notable three-part harmony with the horn section.

The setlist performed at APPARATUS pulls from The Baylor Project’s previous releases including their 2017 debut The Journey, which debuted in the top ten on the Billboard Jazz Chart and went on to garner two GRAMMY® nominations (for Best Jazz Vocal Album and Best Traditional R&B Performance for their song “Laugh And Move On”). Generations, which was released last June, gained them a fourth GRAMMY® nod (in 2020, their pandemic-era anthem “Sit On Down” was nominated) and won the NAACP Image Award for Best Jazz Vocal Album topping the Jazzweek Radio chart. Both albums have received worldwide commercial and critical acclaim. Jean and Marcus are thrilled to add a live album to their growing discography.

“We create moments that feel like mirages,” says Hendifar, describing the experiences he creates to celebrate the launch of a new collection. “They are here for a moment in time, and then they’re gone. We invite you to step into a dream and part of the magic is that it’s only going to happen once – the dream disappears.” Fortunately, The Evening : Live at APPARATUS preserves a taste of that magical weekend, and invites us all to revel in it.

Generations
Be A Light
Street Date: June 18, 2021

64TH GRAMMY AWARDS NOMINEE - BEST JAZZ VOCAL ALBUM

Generations is the highly-anticipated new album by 3X GRAMMY® -nominated duo The Baylor Project. Released during Black Music Month and on the eve of Juneteenth, June 18th, 2021, this soulful sonic story quilt celebrates the universality of the human condition, viewed through the lens of the Black experience. Married musical partners Marcus and Jean Baylor welcome listeners to their proverbial kitchen table, as they pass on stories of family and faith, and love and legacy over the course of nine original compositions, and two covers.

Anchored by Jean’s crystal-clear vocals, and Marcus’ commanding mastery on the drums, Generations features an overabundance of first-call collaborators including special guests Kenny Garrett, Dianne Reeves, Jazzmeia Horn, Jamison Ross, and Sullivan Fortner, as well as a rock-solid band featuring pianists Shedrick Mitchell and Terry Brewer, bassists Dezron Douglas, Ben Williams, D.J. Ginyard, Richie Goods guitarists Rayfield “Ray Ray”Holloman and Marvin Sewell, saxophonists Keith Loftis and Korey Riker, trumpeters Freddie Hendrix and Christopher Michael Stevens, trombonists Mark Williams and Aaron “Goody” Goode, percussionists Pablo Batista and Aaron Draper and harpist Brandee Younger. A pristine string section augments three of the albums’ tracks, delivering lush string arrangements by Geoffrey Keezer and Darin Atwater.

Storytelling has always been central to the Baylor Project’s creative output, and they have shown a particular adeptness at making their personal stories universally felt. They accomplish this and then some on Generations, which shares poignant stories of the Black experience, influenced by their own unique perspective. In his liner notes for Generations, noted cultural critic Andre Kimo Stone Guess introduces the age-old traditions of quilt making in Black families, and how when these tri-layer textiles are passed down from one generation to the next, their stories go with it. Generations is just like this, he says, but instead of sewing squares, Marcus and Jean poured their heart and soul into a meaningful audio capsule that celebrates love, family, community and faith.

The Baylor Project notably rose to prominence in 2017 when they released their debut album The Journey. A smashing international success, it debuted at #1 and #8 on the iTunes and Billboard Jazz charts respectively, garnered world-wide acclaim from top-tier media, and went on to receive two GRAMMY® nominations (for Best Jazz Vocal Album and Best Traditional R&B Performance for their song “Laugh And Move On”). “The Journey was an introduction to the Baylor Project and established that foundation of our sound,” explains Marcus. “Generations is an extension of that sound and goes way deeper into our story, life and culture.”

While the majority of Generations was recorded prior to 2020, the coronavirus pandemic kept the project from reaching completion. However, the Baylors continued to work on new music. In April 2020, they released “Sit On Down”, a pandemic-era anthem that went on to snag them their third GRAMMY® nod. They also took this downtime to refocus, and to really re-familiarize themselves with who the Baylor Project really is. By the time Generations was a wrap, Marcus and Jean had created their most fully realized and extraordinary project to date.

Musically, Generations pulls from Marcus and Jean’s varied backgrounds rooted in the church, and steeped in soul, jazz, gospel and blues. Album opener “Strivin’”, featuring special guest and Marcus’ former bandleader, saxophonist Kenny Garrett, is an invigorating boogaloo bounce that immediately sets the mood with it’s Aretha Franklin and Ray Charles leanings. The interlude that follows instantly transports listeners into the Baylor’s living room, as family members of all ages reminisce on love and life. This endearing introduction gives way to the shuffling high point “Happy To Be With You”, which emits an after-church, celebratory air.

Gears shift on the reflective reimagining of “Loves Makes Me Sing”, made famous by R&B songwriter and singer Michael Wykoff in 1980. On this contemporary update, Jean’s crystalline vocals find support in a lush string arrangement by Geoffrey Keezer. Wayne Shorter’s “Infant Eyes,” featuring original lyrics by Jean, comes next, followed by one of the album centerpieces. That would be “2020”, a prayer sang in the form of a blues that takes a page from the Negro Spitirual in spirit. The pulse of the beat leads into the heart of Jean’s wrenching cry, which draws parallels between the racial oppression of yesterday, with the all too prevalent injustices seen today. That same pulsating beat culminates in a fiery drum solo by Marcus that encapsulates the song in its entirety.

A major highlight of Generations is the upbeat vocal summit in session on “We Swing (The Cypher)”. Jean is the intergenerational bridge between Dianne Reeves and Jazzmeia Horn, a couple of powerhouse jazz vocalists representing two different generations in this celebration of resilience and love. The lush “Becoming” takes inspiration from the majestic balladry of Shirley Horn, and lyrically nods to Michelle Obama’s inspiring biography “Becoming”. “[“Becoming”] really connects the story of Generations by highlighting our individual and collective process of growth through seasons of life,” says Jean.

“Black Boy” is a somber and telling drama shaped by the age-old realities of racism in current society. Haunting and beautiful, this sweeping composition is also adorned by strings, this time arranged by Darin Atwater. This song asks questions nobody can answer – but yet, even in its heaviness, undeterred faith remains strong. The R&B/soul infused “Walk On By” comes next, followed by the Thelonious Monk-inspired “Do You Remember This?” This reminiscence of earlier times features Jean and Sullivan Fortner in angular vocal-piano interplay before easing into a hard-swinging common time break.

Generations comes full circle toward the end, as it brings listeners back to the Baylor Project’s Gospel roots with the help of the multifaceted Jamison Ross on vocals. Coming from a similar upbringing in the Black church like Marcus and Jean, Jamison, the grandson of a pastor, is the perfect vessel to convey a wise parting message that faith is the answer through the darkness. This is further reinforced with the last track “The Benediction”, which closes the album with an electrifying message of purpose delivered by their brother, Apostle Larry J. Baylor.

On Generations, The Baylor Project has created a masterful musical exploration that is both timely and timeless. “We hope every listener enjoys this celebration and comes away with a renewed desire to honor those who came before us while positively impacting the next generation,” says The Baylors.

The Baylor Project is proud to be nominated alongside Chloe X Halle, Ledisi, YEBBA and Mykal Kilgore.

"Sit On Down"

63rd GRAMMY AWARDS NOMINEE - BEST TRADITIONAL R&B PERFORMANCE

“Sit On Down” is the soulful pandemic-era anthem by The Baylor Project.

The Baylor Project conceived, composed and recorded “Sit On Down” during the first COVID-19 lockdown, making it a song perfectly suited for our time. Originally, #SitOnDown was a viral challenge, started by the married duo at home. Known for their fly-on-the-wall, humorous live videos on Facebook, Marcus and Jean went live with their many fans one evening while making a dinner, and humorously implored their viewers in song to just stay home and #SitOnDown. Not long after, fans, friends and colleagues from all over the world started sharing their own versions of #SitOnDown, which inspired the Baylors to cut the track. One of the challenges in particular that stood out came from a friend and fellow musician/producer, Ondre J. Pivec, who was quarantined in Prague during a tour with Gregory Porter. With Pivec on board as co-producer, The Baylor Project added Rayford “Ray Ray Holloman (Robert Randolph) on guitar and Wayne Moore (Beck) on bass. They recorded “Sit On Down” in their home studio, and even completed a remote photo shoot with their iPhone in true quarantine-format. Proceeds from the first round of sales and related merchandise were donated to Jazz Bridge, a Philadelphia based non-profit organization that supports jazz and blues musicians during times of crisis.