All Of It — Christian McBride's Big Band Returns With “Without Further Ado, Vol. 1”

Podcast: All Of It (WNYC)
Host: Alison Stewart
Guest: Christian McBride
Date: August 27, 2025

Episode Overview

This episode of "All Of It" dives into the creation and context of Christian McBride's new big band album, “Without Further Ado, Vol. 1.” The Grammy-winning bassist, composer, and bandleader joins Alison Stewart for an in-depth listening party featuring unreleased tracks and behind-the-scenes stories. The conversation spans artistic collaboration, the legacy and logistics of big bands, arranging music for different ensembles, and McBride's deep connections to his musical peers.

Key Discussion Points & Insights

1. Genesis of the Album and Its Standout Collaborations

• McBride’s latest project features his big band and notable guests including Samara Joy, Dianne Reeves, Jeffrey Osborne, and members of The Police (Sting and Andy Summers).
• The idea for covering The Police's “Murder by Numbers” came about while McBride and Sting were planning another song; a serendipitous conversation led to the inclusion of Andy Summers and reimagining the track for big band.
  Quote:
  • “Next thing I know, within 20 minutes, I’m on an email chain with Sting and Andy Summers. So I’m like, this is surreal.” — Christian McBride (02:45)

2. Reimagining The Police's "Murder by Numbers"

• McBride updated the arrangement based on a live bootleg version from The Police's 2008 reunion tour.
• The transformation of the song considers Sting’s evolved vocal range and places the tune squarely in a big band context.

3. Big Band Dynamics: Size, Structure, and Democracy

• McBride’s big band comprises 16 or 17 musicians, recorded at Power Station in Midtown Manhattan.
• He likens the band’s internal decision-making to a democracy: he hires section leaders and entrusts them with selecting and guiding their sections.
  Quote:
  • “I’ve always felt that a big band is a perfect example of what a democracy actually is, because there’s someone who is the leader. That is me. But... you hire people who you trust, and you have them put the team in place.” — Christian McBride (04:44)
• Section leaders manage phrasing decisions; ultimate responsibility flows from the band members up to McBride.

4. Why Big Band?

• McBride expresses deep love for big band composition and orchestration, even referencing influences like Duke Ellington, Quincy Jones, Maria Schneider, Steven Feifke, and John Clayton.
• He notes that touring with such a large group is financially prohibitive, so projects like this album let him indulge his passion for the format.

5. Performing in a Big Band vs. Small Ensembles

• Playing with a big band is “like driving a sports car versus an 18-wheeler,” requiring a different focus and sense of balance.
• Emphasis on the rhythm section as the ensemble’s “engine.”
  Quote:
  • “In any big band, I think in any band, period, no matter the size, it’s all about the bass and drums. That’s the heartbeat, that’s the engine, that’s the central nervous system.” — Christian McBride (06:52)

6. Curating Collaborations: The NJPAC Connection

• McBride has served as artistic advisor for New Jersey Performing Arts Center (NJPAC) since 2012; his big band often acts as house band for their events.
• Over the years, he has amassed many big band arrangements for various guest vocalists at NJPAC galas and festivals—a driving force behind the album’s repertoire.
• Vocalists from past performances include Al Jarreau, Leslie Odom Jr., Cynthia Erivo, Fantasia, Jose James, and more.

7. Spotlight on Album Tracks and Guests

a. Samara Joy (“Old Folks”)

• At just 25, Samara Joy delivers a soulful rendition of a song about age, prompting McBride to call her "an old soul."
• Joy’s discovery came during her win at the 2019 Sarah Vaughan International Vocal Competition at age 19. Quote:
  • “She’s 25 going on 80 in that voice of hers.” — Alison Stewart (09:41)
  • “She specifically loves singing jazz, which you don’t hear from a lot of people at 25.” — Christian McBride (11:09)

b. Jeffrey Osborne (“Back in Love Again”)

• McBride shares the story of first meeting Osborne via George Duke and fanboying over his longtime idol.
• The rendition is a funky, danceable highlight, met with enthusiasm in the WNYC control room. Quote:
  • “As you can see, entire control room’s dancing.” — Alison Stewart (14:26)

c. Dianne Reeves (“Will You Still Love Me Tomorrow”)

• Inspired by Reeves’s 1990s arrangement (originally crafted by Russell Ferrante), McBride expanded and softened it for big band using instruments like flute, clarinet, and muted trumpet for extra emotional resonance. Quote:
  • “There’s another emotion you can tap into when you have those kind of instruments doing an arrangement like that...” — Christian McBride (17:39)

8. Funk, Jazz, and Musical Lineage

• McBride describes funk as “a child of jazz,” tracing its roots to the crossover of jazz, jump blues, rock and roll, and R&B, ultimately shaped by artists like Louis Jordan, Ray Charles, and James Brown.

9. Live Performances and Community Work

• Upcoming appearances:
  • Blue Note (Sept 2–7): Week of duets with pianist Brad Mehldau.
    • Transitioning from big band to duo performance: “There’s not really much adjusting that I need to do. The adjusting you really have to do is when you’re playing with people you’re not used to.” (18:48)
  • Montclair Jazz Festival (Sept 13): Organized with his wife, Melissa Walker, through Jazz House Kids in Montclair, NJ.
    • Features performers like Luisito Quintero, Jasmia Horn, Lakecia Benjamin, and McBride’s own group, Ursa Major.

10. Looking Ahead: Volume 2

• Volume 2 of “Without Further Ado” is already complete; McBride teases its roster but keeps details under wraps.
  Quote:
  • “That’s what that means… It’s actually Volume two is already done, but I’m not gonna tell you who’s on it.” — Christian McBride (20:23)

Notable Quotes & Memorable Moments

• Surreal Collaboration:
  “Next thing I know, within 20 minutes, I’m on an email chain with Sting and Andy Summers. So I’m like, this is surreal.” — Christian McBride (02:45)
• On Big Band Leadership:
  “I’ve always felt that a big band is a perfect example of what a democracy actually is...” — Christian McBride (04:44)
• On Section Leaders:
  “You hire people who you trust, and you have them put the team in place... I just hired the section leaders.” — Christian McBride (04:44)
• On Funk’s Lineage:
  “Funk is a child of jazz.” — Christian McBride (14:44)
• Samara Joy’s Artistry:
  “She’s 25 going on 80 in that voice of hers.” — Alison Stewart (09:41)

Important Segments & Timestamps

• The Police cover origin & email exchange: 02:10–03:05
• Big Band democracy & section leadership: 04:44–05:50
• Passion for big band arranging: 05:52–06:42
• Big band vs small ensemble performance mindset: 06:52–07:38
• Discussion of album collaborations & NJPAC influence: 08:07–09:36
• Samara Joy's emergence and approach: 09:41–12:18
• Jeffrey Osborne backstory & performance: 12:24–14:36
• Funk as jazz’s offspring: 14:44–15:47
• Dianne Reeves collaboration arrangement: 16:01–17:39
• Live appearances (Blue Note, Montclair Jazz Festival): 18:24–20:15
• Confirmation of Volume 2: 20:15–20:27

Conclusion

This episode offers a vibrant deep-dive into both the mechanics and the magic of big band jazz, with Christian McBride providing candid insights into collaboration, arranging, and the genre’s living lineage. For fans of jazz (and curious newcomers), the episode demonstrates how traditions evolve while honoring their roots—and how every chart tells a bigger story.