Forget everything you thought you knew about the jazz scene—BadBadNotGood isn’t here to gently tiptoe through your Spotify playlists, they’re here to bust open genres like a piñata at a backyard party, tossing out beats, riffs and a boatload of attitude to every corner of the music world. Mixing hip hop’s swagger, jazz’s spontaneity, and a magician’s flair for surprise, this Canadian band has spent the last decade keeping fans guessing what’s next, led by a crew that feels right at home everywhere from dive clubs to the Grammy stage.
Formed in Toronto in 2010, BadBadNotGood (BBNG) brought together bassist Chester Hansen, drummer Alex Sowinski, and saxophonist Leland Whitty, evolving from their college jam sessions into a world-renowned band. Their collaborative fluidity has earned them Grammy nominations for their production work on projects with artists like Kendrick Lamar and Ghostface Killah, establishing them as one of the most innovative acts bridging jazz and hip hop. The revolving door of creative partners has only added to the group’s richness, making their lineup and output as fresh as their genre mashups.
Third time isn’t just the charm—it’s the experiment, the jam. Chester recalls, “The last record, it was kind of the utility of needing more material to play as we toured since we don’t usually have vocalists. We always try to feed those two creative tools: collaborations and instrumentals—always searching for new singers, rappers, and vocalists, but it’s the balance that keeps it exciting”.
Their iconic “Mid Spiral” release wasn’t a typical album drop. Hansen explains, “We recorded everything as part of just a one-week session, seven or eight days. To release it quickly, we split it into three parts—that way, we could finish one, move on, and create something fans could come back to for a few weeks. The music came together at once, but splitting it let us separate the moods and have a bit more time to finish the last part. It was a fun way to release it, for us and for them”.
Fresh textures aren’t a phase—they’re the band’s cardinal rule. “The last few years, we’ve been playing with a few more musicians on stage, usually six people now. Felix on keyboards, Kaye on trumpet, Juan Carlos on percussion—they all bring their own influences and style. That keeps things exciting and lets us explore new stuff together,” says Hansen, underlining the group’s team-first, ego-last ethos.
Ask about the band’s creative process, and you’ll find zero room for academic stiffness; flow is everything. “This project was pretty flowing. We had everyone together, did a couple rehearsals, but it was really spontaneous—just setting up, deciding which tune, and seeing how it evolved until it felt ready to record. It was all about catching a mood, not sticking to a formula,” Chester says.
Hansen’s signature bass style, lauded by a new generation of imitators, is less about flash and more about old-school authenticity. “I’m just really trying to replicate the sounds of players I love—James Jamerson, Donald Dunn, Nick Mobchen, Pino. I serve the song in the best way I can. Our methods are generally analog, we use tape, vintage gear, flat-wound strings. I think it all feeds into what we do and keeps it honest,” he reveals.
While modern players crowd social media with quick-hit solos and academic exercises, Hansen prefers to keep his focus on collective energy. “There’s a stage for everyone checking out thirty to sixty-second videos online—stuff that’s technically impressive. I can’t really do that… My role doesn’t exist without a song to be a part of! I try to focus on supporting everyone around me, not drawing attention. I like to fit within the structure, not be out front—at least, that’s not my focus,” he candidly shares.
Songwriting for icons like Drake and Kendrick Lamar put BBNG’s behind-the-scenes magic on the charts, but Hansen views it as another aspect of their creative toolkit: “The Drake thing was just me and a friend making a sample, used by a producer, a sort of disjointed process. For Kendrick, it was the band making one to two-minute ideas, sending them around. A friend, who’s a producer, made the track. It’s a nontraditional way of collaborating, for sure,” Hansen offers, revealing the band’s flexibility.
Hip hop sampling isn’t just a job—it’s an adventure. “We’ve always been curious about different approaches and styles, and making samples, especially early on, kept it fresh—a way to stay inspired. A lot of it came through Frank Dukes, who we used to share a studio with. He’s the person I did that Drake thing with, but we’ve done a lot together over the years. It’s a different world than writing a three or four minute song as a band,” Hansen adds.
Hearing their work sampled by other artists never gets old, and the surprises are always rewarding. “It’s cool—people take something we’ve done and do things we never thought of. That’s really special. It’s a way for more people to check out what we do, get exposed to different kinds of music. I think that’s awesome,” Hansen beams—a fan of the fan remixes.
Much of BBNG’s early buzz can be traced back to the sudden internet spreads and cosigns from hip hop tastemakers and stars. “We started out informally, just recording stuff at school for videos. Tyler, the Creator ended up seeing our first video and reposted it. That gave us so much traction and exposure,” says Hansen, crediting the step from college jams to global stages to that pivotal moment.
The band’s Grammy nods were never the plan, and their reactions remain authentic. “Absolutely not. It’s pretty far from being in college, writing music with friends. When we found out we were nominated, it was really surprising and pretty surreal,” says Hansen, humility intact despite the accolades.
Whether playing small clubs or massive festivals, BBNG keeps the vibe personal. “It gets different, playing bigger venues, sometimes outdoor festivals. You’re competing for attention! But we just try to connect with each other on stage, no matter the size of the crowd. Hopefully, that rubs off and people connect with what we’re doing,” Chester reflects.
BBNG’s journey meant abandoning the classroom for the world stage. “I’ve thought about finishing my degree, but at the time it seemed clear—there were too many amazing opportunities. We had a lot of drive, put energy into the project, and got to travel and collaborate with so many people. I don’t regret it—the support from parents made it possible,” Hansen admits, practical about what he traded for his musical path.
YouTube was key in those formative years, offering the band not just a platform but a launching point. “That first video going crazy, then getting invited by Giles Peterson to play a show in London, that was pivotal. We’d barely been playing for months before that. It was a mad dash early on, doing as much as possible, then things just kind of built up,” Hansen recalls.
After fourteen years in the trenches, songwriting, producing, and scoring hits for others, the joy still lies in the studio’s raw discovery. “Performing is great, but there’s something really special about creating songs in the studio, especially with other artists. Creating something from nothing, having people listen and connect with it, that’s the biggest gift for me,” Hansen concludes, a creator at heart, always chasing the new.
Fans won’t have to wait long to experience BadBadNotGood’s electrifying live energy—the band takes the stage at the OLG Stage at Fallsview Casino and Resort in Niagara Falls, ON on Thursday, Oct. 16, 2025, at 8 p.m.. Whether they’re improvising on the fly or building up layers of texture, the group’s unmatched musicianship and passion promise a captivating performance that blends live drums, synthesizers, and programmed beats into one unforgettable night of genre-defying soundscapes.
