Terence Blanchard

Terence Blanchard cultivated an expansive body of work through his distinctive trumpet tone—warm in timbre yet capable of sharp intensity—paired with a refined sensitivity to intricate chordal textures. He sustained a dual focus on post-bop jazz endeavors and dynamic film scores composed for director Spike Lee. Emerging during the 1980s alongside fellow New Orleans trumpeter Wynton Marsalis, he absorbed the stylistic approaches of Freddie Hubbard, Woody Shaw, and Miles Davis. After serving as a member of Art Blakey's Jazz Messengers, he shared leadership of a quintet with Donald Harrison and issued early leader dates such as 1993's Simply Stated. Visibility increased through his ongoing collaboration with Lee, for whom he supplied music to pictures including Mo' Better Blues and Malcolm X. The year 2008 marked his initial Grammy victory as a bandleader, awarded for the large-ensemble recording A Tale of God's Will (A Requiem for Katrina). Subsequent honors arrived in the form of two Academy Award nominations for the scores to Lee's BlacKkKlansman and Da 5 Bloods. Parallel to his screen projects, Blanchard broadened his scope by writing operas, among them Fire Shut Up My Bones, while probing expansive and harmonically layered territory within post-bop and fusion on releases such as 2013's Magnetic, 2015's Breathless, and 2021's Absence with Turtle Island Quartet. In 2022 he applied that accumulated range to the soundtrack for The Woman King.

Born in New Orleans, Louisiana, in 1962, Terence Oliver Blanchard was the sole child of Wilhelmina and Joseph Oliver Blanchard. His father, an insurance-company manager who performed opera, initiated piano instruction when the boy turned five. By age eight Blanchard had shifted to trumpet and soon joined childhood friend Wynton Marsalis at summer band camps. As a teenager he attended classes at the New Orleans Center for Creative Arts under Roger Dickerson and Ellis Marsalis. Following graduation he pursued studies with Paul Jeffrey and Bill Fielder at Rutgers University in New Jersey, a time that also included tours with Lionel Hampton's orchestra. Blanchard entered Art Blakey's Jazz Messengers in 1982, assuming the trumpet position vacated by Wynton Marsalis, who had endorsed him for the role. He remained with Blakey for several years, advancing to musical director before departing in 1986. Throughout the decade he co-directed a refined quintet with New Orleans saxophonist Donald Harrison, patterned after Miles Davis' late-1960s ensembles. The pair documented several Concord, Columbia, and Evidence albums, among them 1983's New York Second Line, 1984's Discernment, and 1988's Black Pearl.

During the 1990s Blanchard established himself as a leader on Columbia, delivering 1992's Terence Blanchard and 1993's Simply Stated. These recordings integrated New Orleans jazz and bop foundations with an increasingly personal and forward-looking compositional outlook. Additional projects such as 1994's minor-key The Billie Holiday Songbook, 1996's The Heart Speaks alongside singer/composer Ivan Lins, and 1999's orchestral Jazz in Film illustrated his widening stylistic reach. In the same era he forged a sustained partnership with Spike Lee, first contributing performances to soundtracks for Mo' Better Blues and Do the Right Thing before composing original music for Jungle Fever, Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and the HBO Katrina documentary When the Levees Broke.

In autumn 2000 Blanchard assumed the artistic directorship of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. While maintaining an active schedule of live appearances and touring, he continued releasing recordings, including 2000's Wandering Moon, 2001's Let's Get Lost, and 2003's Bounce. Herbie Hancock produced 2005's Flow, which earned two Grammy nominations. That same year Blanchard participated in pianist McCoy Tyner's ensemble, which received the Grammy for Best Jazz Instrumental Album for Illuminations. He himself claimed the Grammy for Best Large Jazz Ensemble Album for 2007's A Tale of God's Will (A Requiem for Katrina). By April 2007 the Monk Institute unveiled its Commitment to New Orleans program, relocating operations to Loyola University's campus under Blanchard's guidance.

He signed with Concord Jazz in 2009 and issued Choices, captured at the Ogden Museum of Art in his hometown, later that summer. Two years afterward he saluted the Afro-Cuban innovations of Dizzy Gillespie and Chano Pozo by collaborating with Latin jazz percussionist Poncho Sanchez on the studio album Chano y Dizzy! In 2012 he returned to film scoring with director George Lucas' WWII drama Red Tails. Music-industry figure Don Was then brought him back to Blue Note Records, where 2013's Magnetic introduced a new quintet featuring guests Ron Carter plus labelmates Lionel Loueke and Ravi Coltrane. Also in 2013 Blanchard premiered his first opera, Champion, co-commissioned by Opera Theatre of Saint Louis and Jazz St. Louis and drawn from the life of welterweight boxer Emile Griffith.

His second Blue Note outing, 2015's Breathless, merged electric fusion and R&B elements with support from the E-Collective and guest vocalist PJ Morton. He next supplied the score for Taylor Hackford's 2017 film The Comedian, joined on the recording by pianist Kenny Barron, tenor saxophonist Ravi Coltrane, alto saxophonist Khari Allen Lee, bassist David Pulphus, and drummer Carl Allen. Named a USA Fellow in 2018, Blanchard composed the music for Spike Lee's BlacKkKlansman, which garnered him a Grammy, and released the live album Live with the E-Collective. Further film work encompassed the 2019 Harriet Tubman biopic Harriet and another Lee project, Da 5 Bloods, in 2020, together with One Night in Miami and the initial season of HBO's Perry Mason. In 2021 he reconvened the E-Collective for the Grammy-nominated Absence, a Wayne Shorter tribute that incorporated the Turtle Island Quartet. That year his second opera, Fire Shut Up in My Bones—drawn from Charles M. Blow's memoir—became the first work by a Black composer presented at New York's Metropolitan Opera. The following year he scored Gina Prince-Bythewood's historical action film The Woman King, starring Viola Davis. The soundtrack blended classical orchestration with West African traditions and enlisted the Vox Noire vocal group, the Royal Scottish National Orchestra, and vocalist Dianne Reeves.