Jon Batiste has been a household name since 2015, but he's seemingly just now arriving as an honest-to-goodness star.

By the time he took the stage at a small auditorium at Lincoln Center on June 17, he had been up for a scarily long time — beginning with an early appearance on "The Today Show" that morning. Still, Batiste's natural charisma was undimmed. Almost immediately, the beyond-media-trained musician laid waste to the N95-ed audience — and all it took was a quick shimmy and a gleaming grin.

If all Batiste did at the New York Performing Arts Library was smile and dance and wave, it would have amounted to an Instagrammable moment, at the very least. Instead, the house was in for an uncommonly deep Q&A and performance, to kick off the GRAMMY Museum's "A New York Evening With…" series presented by City National Bank and in partnership with the City of New York Mayor's Office of Media and Entertainment. (It'll run until the end of 2022; click here for more details.) 

Speaking with the GRAMMY Museum's Chief Curator and VP of Curatorial Affairs, Jasen Emmons, Batiste held forth about his childhood, family life, and constant potpourri of creative projects — which spans everything from film to TV to Carnegie Hall to lower-key collaborations. Batiste followed it up with an audience Q&A and then a livewire, seemingly improvisatory set on piano and voice, threading his GRAMMY-winning originals with standards germane to Black America.

*Jon Batiste speaking with the GRAMMY Museum’s Jasen Emmons. Photo: John Lamparski/Getty Images*

Back to all those projects for a second. How, exactly, does Batiste juggle it all? The words "frontburner" and "backburner" came up several times. His American Symphony, coming up at Carnegie was on the backburner for years until it was on the front. A good-intentioned request from an audience member to work in Broadway? "I've never really decided I want to focus on that on the front burner," he replied. "I think it has to be the right project."

Elsewhere in the hour-long talk, Batiste rhapsodized about his hometown of New Orleans ("We also have this incredible family that is musical, and this incredible city that's musical, and everybody plays"), revealed that he sweats over lyrics ("That's the hardest part, in that it takes the most time") and decried the notion of "world music" ("I want to abolish that, actually").

On top of all that, he recalled meeting Stephen Colbert for the first time and described the philosophy he brought to the Pixar film Soul, which he and other blue-chip jazz musicians like Herbie Hancock, Terri Lyne Carrington and Aaron Diehl chipped into. "It was a real labor of love to really make it right, make it feel authentic," Batiste said "We really went for it."

Stars at Batiste's level can be inaccessible, an entertainment module more than an approachable person. Batiste is the opposite. The Q&A radiated love for his family, roots, and future friends; his old piano teacher was even in the audience. And the brief set Batiste performed afterward didn't feel predetermined or prepackaged; it felt like a genuine expression in the moment.

Weaving originals like "We Are" and "Cry" with shopworn tunes like "Sinner Man," "St. James Infirmary Blues" and Bill Withers' "Ain't No Sunshine," Batiste made celestial connections between music's past — which he clearly, deeply understands — and his present. Between tunes, he almost seemed taken aback at what had transpired, like he was observing himself. "I was just playing," he quietly noted at one point. "I like that."

*Jon Batiste performing post-Q&A. Photo: John Lamparski/Getty Images*

The piano-and-a-microphone set — which contained material from his 2022 GRAMMYs-sweeping album We Are provided a window into how talented this guy truly is. But at a certain point, it all came back to that born starpower. Perhaps maintaining it means not being thrown off by an early morning, or the fact he couldn't see anyone's full faces. Maybe it means tapping into a shared energy, no matter what.

"I feel like everyone here, I'd probably like a lot," Batiste said before performing his final song of the night, "We Are." And from the sound of the enraptured crowd at Lincoln Center, the answer was clear: back atcha.

Check below for more details on the "A New York Evening With…" series, and keep checking RecordingAcademy.com for more recaps of these intimate, unforgettable East Coast evenings — courtesy of the GRAMMY Museum.

GRAMMY Museum Announces New York City Program Series, Kicking Off With Jon Batiste & Presented By City National Bank

Jon Batiste walked into the 2022 GRAMMYs with a whopping 11 nominations, making him the most recognized artist of the evening. By the end of the night, he received five GRAMMYs for Best American Roots Performance, Best American Roots Song, Best Score Soundtrack For Visual Media, Best Music Video, and the highly coveted Album Of The Year.

In this episode of GRAMMY Rewind, watch Batiste take the stage to accept the award for Album Of The Year for his sixth studio album, We Are

Batiste began his praises by acknowledging God: "I just put my head down and work on the craft every day. I love music, he said. "I've been playing since I was a little boy. It's more than entertainment for me — it's a spiritual practice." He also thanked the "many people that went into making this album," including his grandfather, nephew, father, and executive producer, Ryan Lynn.

"This [award] is for real artists, real musicians. Let's just keep going. Be you! That's it. I love you even if I don't know you," Batiste cheered.

Press play on the video above to hear Jon Batiste's complete acceptance speech and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Watch: Jon Batiste Delivers A Heartfelt Performance Of “Ain’t No Sunshine” & “Lean On Me” | 2024 GRAMMYs Performance

The inaugural GRAMMY Hall Of Fame Gala is just ahead — and now, we know which musicians will grace the stage. Andra Day, Ravyn Lenae, Shinedown, and the War and Treaty will perform at the Recording Academy and GRAMMY Museum's gala, with more performers to be announced at a later date.

The Gala will take place on May 21, 2024, at the Novo Theater in Downtown Los Angeles and will be hosted by veteran CBS broadcast journalist Anthony Mason. The annual Gala will also honor a label, with the first being Atlantic Records.

Tickets go on sale to the general public on Saturday, April 27, 2024 at 12 p.m. PT at this link. More information about the GRAMMY Hall Of Fame Gala is available here.

The inaugural Hall Of Fame Gala will honor the 2024 GRAMMY Hall Of Fame inducted recordings on its 50th Anniversary, including De La Soul's 3 Feet High And Rising, Guns N' Roses' Appetite For Destruction, Buena Vista Social Club's Buena Vista Social Club, and Lauryn Hill's The Miseducation Of Lauryn Hill, as well as recordings by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The Gala will also pay tribute to iconic record label Atlantic Records, which is celebrating its 75th anniversary, and has over 38 recordings already inducted into the GRAMMY Hall Of Fame. 

"We're honored that the Recording Academy and GRAMMY Museum have chosen Atlantic to be the first label celebrated at what promises to be an exciting annual event," said Atlantic Music Group Chairman & CEO Julie Greenwald and Atlantic Records Chairman & CEO Craig Kallman. "The GRAMMY Hall Of Fame includes many of the most groundbreaking recordings in our company's 75-year history, and it will be great to hear some of our outstanding current artists bring their unique voices to these timeless songs."

"We are thrilled to be able to recognize Atlantic Records' incomparable contribution to recorded music, including numerous Hall Of Fame inducted recordings, as our first Hall Of Fame Gala label honoree. We're looking forward to celebrating them along with this year's inducted recordings during an unforgettable evening of performances by some of today's most talented artists," says Michael Sticka, President/CEO of the GRAMMY Museum.

The evening will include a red carpet and VIP reception on the Ray Charles Terrace at the GRAMMY Museum followed by a one-of-a-kind concert at the Novo Theater. This year's show will be produced by longtime Executive Producer of the GRAMMY Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile. Musical Direction by globally renowned producer and keyboardist Greg Phillinganes. The Gala is presented by City National Bank.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final 

ratification by the Recording Academy's National Board of Trustees.

With 10 new titles, the Hall currently totals 1,152 inducted recordings in the GRAMMY Hall Of Fame. Recipients will receive an official certificate from the Recording Academy and GRAMMY Museum.

The full list of past inducted recordings can be viewed here. For sponsorship opportunities, reach out to halloffame@grammymuseum.org. And keep checking GRAMMY.com for more info about the GRAMMY Hall of Fame gala, and beyond!

Shinedown Open Up About Upcoming Album Planet Zero, 20 Years Of Road Warriordom & Why Rock Is A Tonic Against Global Toxicity

Henry Mancini had a gift for melodies of an ethereal, almost supernatural beauty.  

His prolific discography — albums of jazzy orchestral pop, dozens of film and television soundtracks — established him as a cultural icon and transformed the role that melody and song played in the art of movie narrative. Once you encounter a Henry Mancini tune, it’s almost impossible not to start humming it.

A composer, arranger, conductor and pianist of tireless discipline, Mancini won a staggering 20 GRAMMY Awards and was nominated 72 times. All of his wins — including the first-ever golden gramophone for Album Of The Year at the inaugural 1959 GRAMMYs — will be on display at the GRAMMY Museum to honor his centennial birthday, April 16. 

To mark what would be his centennial birthday, Mancini's children will travel to Abruzzo, Italy — where Mancini’s parents migrated from. And on June 23, the Hollywood Bowl Orchestra will present a program of his music with a gallery of guest stars including singer Monica Mancini, the maestro’s daughter. Out June 21, The Henry Mancini 100th Sessions – Henry Has Company will feature a new recording of "Peter Gunn" conducted by Quincy Jones and featuring John Williams, Herbie Hancock and Arturo Sandoval.

Although Mancini died in 1994 at age 70, his compositions remain timeless and ever-relevant. Read on for 10 essential Henry Mancini compositions to cherish and rediscover.  

"Peter Gunn" (1958)

In 1958, Mancini was looking for work and used his old Universal studio pass to enter the lot and visit the barber shop. It was outside the store that he met writer/director Blake Edwards and got the chance to write the music for a new television show about private detective Peter Gunn. 

Seeped in West Coast Jazz, Mancini’s main theme sounds brash and exciting to this day – its propulsive beat and wailing brass section evoking an aura of cool suspense. The "Peter Gunn" assignment cemented his reputation as a cutting-edge composer, and the accompanying album (The Music From Peter Gunn) won GRAMMYs in the Album Of The Year and Best Arrangement categories.

"Mr. Lucky" (1959)

Half of the "Peter Gunn" fan mail was addressed to Mancini. As a result, CBS offered Blake Edwards a second television show, as long as the composer was part of the package. Edwards created "Mr. Lucky," a stylish series about the owner of a floating casino off the California coast. 

1959 was an exhausting year for Mancini, as he was scoring two shows at the same time on a weekly basis. Still, his music flowed with elegance and ease. The "Mr. Lucky" ambiance allowed him to explore Latin rhythms, and the strings on his wonderful main theme shimmer with a hint of yearning. It won GRAMMY Awards in 1960 for Best Arrangement and Best Performance by an Orchestra.

"Lujon" (1961)

As part of his contract with RCA Victor, Mancini was committed to recording a number of albums featuring original compositions in the same velvety jazz-pop idiom from his television work. "Lujon" is the standout track from Mr. Lucky Goes Latin, a collection of Latin-themed miniatures that luxuriate in a mood of plush languor.

 Inspired by the complex harmonics of French composer Maurice Ravel, "Lujon" steers safely away from lounge exotica thanks to the refined qualities of the melody and arrangement.

"Moon River" (1961)

Performed on a harmonica, the main melody of "Moon River" is nostalgic to the bone, but also life affirming. A majestic string section makes the music swoon, like gliding on air. And the harmonies in the vocal chorus add gravitas — a touch of humanity. 

It took Mancini half an hour to write "Moon River," but the Breakfast at Tiffany’s anthem made him a global superstar. Among the many artists who covered the song, pop crooner Andy Williams turned it into his personal anthem. Mancini won an Academy Award for Best Original Song, and GRAMMY Awards for Record Of The Year, Song Record Of The Year and Best Arrangement. The album soundtrack earned two additional gramophones.

Theme from Hatari! (1962)

After two failed attempts with different composers, legendary director Howard Hawks invited Mancini to write the score for Hatari! — the wildly episodic but oddly endearing safari film he had shot in Tanganyika with John Wayne. Mancini jumped at the opportunity, and Hawks gave him a few boxes from the trip that contained African percussive instruments, a thumb piano and a tape of Masai tribal chants. Two chords from that chant, together with a slightly detuned upright piano formed the basis for the movie’s main theme. 

Mancini’s sparse arrangement and melancholy melody conspired to create one of the most gorgeous themes in the history of film.

"Days of Wine and Roses" (1962)

Throughout the decades, Mancini provided musical accompaniment to Blake Edwards’ filmography, which switched from slapstick comedy to stark melodrama. There is a perverse beauty to the theme of Days of Wine and Roses — a movie about a couple of lifelong alcoholics — as the lush choral arrangement seems to glorify the innocence of better times. 

It won an Academy Award for Best Original Song — Mancini’s second Oscar in a row — and three GRAMMYs: Record Of The Year, Song Of The Year and Best Background Arrangement.

"The Pink Panther Theme" (1963)

Directed by Edwards and starring Peter Sellers as part of an ensemble cast, the original Pink Panther was a frothy caper comedy that had none of the manic touches of comedic genius that Sellers would exhibit in subsequent entries of the franchise. It was Mancini’s ineffable main theme that carried the movie through.

Jazzy and mischievous, Mancini wrote the melody with the light-as-a-feather playing of tenor saxophonist Plas Johnson in mind. It won GRAMMYs in three categories: Best Instrumental Arrangement, Best Instrumental Compositions (Other Than Jazz), and Best Instrumental Performance – Non-Jazz.

Charade (1963)

Mancini’s gift for cosmopolitan tunes and jazzy arrangements found the perfect vehicle in the score for Stanley Donen’s Charade — a droll Hitchcockian thriller shot in Paris and starring Cary Grant and Audrey Hepburn. 

The main theme is a waltz in A minor, and opens with pulsating percussion. When the central melody appears, it evokes a melancholy reflection and a certain thirst for the kind of globetrotting adventure that the film delivers in spades. It was Johnny Mercer’s favorite Mancini melody, and he wrote exquisite lyrics for it. 

The best version probably belongs to jazz singer Johnny Hartman, who released it as the opening track of his 1964 album I Just Dropped By To Say Hello.

Two For The Road (1967)

Friends and family remember Mancini as a humble craftsman who ignored the trappings of fame and focused on the discipline of work. In 1967, after Audrey Hepburn cabled to ask him about writing the music for the Stanley Donen film Two For The Road, Mancini agreed, but was taken aback when the director rejected his initial theme. Leaving his ego aside, he returned to the drawing board and delivered a lovely new melody – and a spiraling piano pattern seeped in old fashioned tenderness.

"Theme from The Molly Maguires" (1970)

Even though Mancini enjoyed most accolades during the ‘60s, his protean level of inspiration never wavered. In 1970, he was brought in to rescue the soundtrack of Martin Ritt’s gritty secret societies drama The Molly Maguires, about Irish-American miners rebelling against their mistreatment in 19th century Pennsylvania. 

The main theme makes time stand still: a sparse arrangement that begins with a solitary harp, until a recorder ushers in a haunting, Irish-inspired melody. The score reflected a more restrained Mancini, but was still intensely emotional.

Jeff Goldblum's Musical Influences: How Frank Sinatra, "Moon River" & More Jazz Greats Inspired The Actor-Turned-Musician

Ever since Autumn Rowe won a GRAMMY in 2022, it's been her biggest motivation. That's why the musical multi-hyphenate keeps the award nestled in her writing room — to keep her creative juices flowing.

"It reminds me that anything is possible," she says in the latest episode of Where Do You Keep Your GRAMMY?

Rowe won her first-ever career GRAMMY in 2022 with an Album Of The Year award for Jon Batiste's We Are. "It was very stressful," she recalls with a laugh.

"Right before they announced Album Of The Year, the pressure started getting to me," Rowe explains. "Album Of The Year is the biggest possible award you can win. So, I'm like, 'We didn't win any of these [categories], how are we going to win the biggest award?"

The win also taught her one unforgettable, valuable lesson: "We matter. The music matters. Everything matters. We just have to create it. If there isn't space for it, we have to make space for it. Don't wait for something to open."

Rowe says she grew up "super dirt poor" and never even had the opportunity to watch the awards ceremony on television. "To be a GRAMMY winner means it is possible for everyone," she declares.

Press play on the video above to learn more about the backstory of Autumn Rowe's Album Of The Year award, and remember to check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

Where Do You Keep Your GRAMMY?: Christopher "Tricky" Stewart Recalls Winning Song Of The Year For Beyoncé's "Single Ladies"