Archive for the Music Reviews Category

Get On Up!

Posted in Film Criticism, Movie Reviews, Music Reviews with tags , , on August 12, 2014 by playthell

Boseman Chadwick-james-brown-get-on-up-movie (1)

Chadwick Boseman Rocks his Role as the Inimitable James Brown

 

The James Brown Story Comes to the Silver Screen

In her insightful magisterial study “The Daemonic Genius of Richard Wright,” Professor Margret Walker says of the great Afro-American novelist “Richard Wright came straight out of hell;” the same can be said of James Brown, an iconic figure in American popular music.  Browns life story is both an epic tale about the triumph of the human spirit through the agency of art and a representative anecdote for American civilization – which that peerless interpreter of American culture Albert Murray defines as “any story of steerage to boardroom” or the rags to riches tales of Horaito Alger. It is a story of tragedy and triumph that allows us to look into the life, loves and art of one of the unique American public figures of the 20th century.

The elements of a great movie are a good story, a well written script, imaginative sets and costumes that capture the milieu – i.e. spirit of the time and place – a good musical score, thoughtful creative directing and great acting.  This film has them all…an embarrassment of riches.   While Shakespeare’s observation that “the play is the thing,” is true enough, it takes actors to transform those words from inanimate symbols scrawled on paper into living breathing believable characters.  Through their agency the words become flesh…in a god-like act.

I have never seen anyone do it better than Chadwick Boseman.  As I watched him bring the larger than life character of James Brown to life, I conjured up the voice of Sir Lawrence Olivier, who is thought by many to be the most accomplished actor of the 20th century, warning young thespians who aspire to greatness as actors: “Acting is a noble profession but an actor should never be caught doing it.”  Boseman must have taken Sir Lawrence’s words to heart and placed it at the center of his art because after a few minutes I completely forgot that he was not James Brown!   He was every bit as convincing in the role as Jamie Fox was as Ray Charles….and he won the Oscar for his performance….jes sayin.

It was a strange experience for me because I witnessed James Brown’s entire career.   I first saw him perform in 1956, when he was enjoying his first hit record “Pleas, Please. Please.”   He was the headliner at the “Two Spot,” the premiere black night club in Jacksonville Florida. All of the great Jazz, Blues and Rhythm and Blues acts performed there.  People came from all around, not just Jacksonville, but the surrounding towns and counties, such as St. John’s County where I lived in the ancient city of St. Augustine.  Some party people even drove down from Augusta Georgia, James Brown’s home town to check out the show.

Please, Please, Please was burning up the airwaves on WOBS, the radio station serving the large Afro-American communities in the Jacksonville area.  Their star D.J Johnny Shaw “The Devil’s Son in Law,” played it constantly.  We had listened to the record on the radio and everybody was running to the nearest record store to buy it.  So me and my boys were very excited to see this guy James Brown perform live.  Never having seen him we were totally unprepared for the spectacle we witnessed.  I was actually too young to even be in the club, but since I was singing with a R&B group that was performing on the Sunday Afternoon Matinee I was allowed to enter this magic temple where great music was made.

The Sunday Matinee at the TWO Spot was a talent contest between competing singing groups in the area.  It was like a scene in Robert Townsend’s great movie homage to the golden age of live R&B performance “The Five Heartbeats.”  The place was packed with pretty girls out to “let the good times roll,” a frame of mind immortalized by Brown’s New Orleans contemporaries Shirley and Lee on their hit record “Come on Baby Let the Good Times Roll.”

All of the five members of my group, “The Dewdrops,” could croon their asses off; we were members of the Murray High Glee Club, directed by my Aunt Marie, and we sang everything from J. Rosamond Johnson and Harry T. Burleigh’s arrangements of the “Negro Spirituals” – that marvelous body of sacred music produced by Black American slaves – to Handel’s Messiah and Bach’s B Minor Mass.  Hence when “Bubba Duck” Jackson, a ruggedly handsome football player with a high falsetto tenor voice, fell to his knees while singing  “This is Dedicated to the One I Love” – a Hank Ballad and the Midnighters  hit – with tears rolling down his cheeks, the girls went crazy!  But that was just the dress rehearsal.

Like us, the ladies were there to see “James Brown and the Famous Flames.”   After the talent contest was done, with us coming in second in a very tough competition, the Master of Ceremonies announced “It’s star time at the Two Spot!   Hereee’s James Brown and the Famous Flames!”  The audience exploded in applause and began to move to the groove of the band as we waited for the man of the moment to emerge from the wings.  Suddenly this ebony black guy in a white tuxedo with tails strolled onstage followed by a group of back ground singers dressed in black pants. White shirts, black tuxedo jackets with purple satin lapels and bow ties  closely followed.  He opened with his arrangement of a Louis Jordan hit from an earlier period “Cladonia!”

From the outset his dancing was a marvel, although we recognized that at root it was his improvisations on the “Mashed Potatoes’” and the “Camel Walk” two popular Afro-American vernacular dances au courant at the time, but when James added his unique moves they became something different and something more.  It was love at first sight, I fell for the James Brown sound completely, as did my peers, and it is a love that has lasted a lifetime.  It was an enchanting evening in a magical place, the Two Spot dance hall and supper club in Jacksonville Florida, where great musical performances was common fare, because most white clubs and concert halls wouldn’t book black artists.  They preferred the corny white artists who “covered’ their records with saccharine corny versions aimed at white America – ala Pat Boone’s cover of Little Richard’s rousing Rhythm& Blues hit “Tutti Fruti.”

The James Brown Show on Screen

James Brown_Get_on_Up_film_

It was like seeing James Resurrected

This movie captures the essence of those magic moments in American popular music and more. The writers, John-Henry and Jez Butterworth, capture all of this in their well written script and the actors bring it convincingly to life under the able direction of Tate Taylor.   Alas, despite the artistic success of this film, the fact that these major creative functions were all performed by whites and blacks were reduced to the artistic equivalent of ventriloquist dummies whose movements and speech echo the words and ideas of whites, raises some serious questions about the ongoing phenomenon of Euro-American creative artists appropriating Afro-American cultural ingredients and epic tales that define major black historical figures.  What, the thoughtful observer is compelled to ask, does this tell us about the persistence of rampant racism and cultural imperialism in the movie industry.

The broadly learned and insightful Afro-American cultural historian and critic Harold Cruse discussed this issue in depth a half century ago in his masterwork “The Crisis of the Negro Intellectual.” But considering the fact that Tate Taylor also directed “The Help” – a hit film about black maids working for racist whites in the apartheid south of the first half of the  20th century – and the recent hit biopic on the life of Jackie Robinson was also written, produced  and directed by whites it’s time to take up the subject of the Afro-American creative artists in the cultural arena again.  However neither time nor space affords us the opportunity to do justice to this this critical issue here; that subject will be addressed in a future essay devoted to this topic.

Chadwick Boseman proves that he is not only a great actor, but a hell of a singer and dancer too!  James Brown is the most influential dancer/singer in a genre in which dance is central to the performance.  Every major dancer in Rhythm and Blues i.e. “Soul” music since the 1950’s has been influenced by James Brown.   Some of James Brown’s R&B contemporaries – Jackie Wilson, Little Richard, Bo Diddly, Chuck Berry,   et al – had their own moves.

The Delta blues man Muddy Waters was also a great dancer, and Cab Calloway – who was from the preceding generation, taught them all.  But James Brown is by far the most influential dancer in the Rhythm and blues tradition.  Michael Jackson, Prince, MC Hammer and even the Filipino star Bruno Mars are all extentions of the spectatular artistry of James Brown.  And Brown himself belongs to a long tradition of Afro-American vernacular dance.  For insance it is easy to see how he was influenced by the great Song and dance man Cab Calloway, who also fronted a dynamic band.

Cab Calloway

Cab Calloway
The Grand Daddy of them All!

One need only look at such great dancers as Prince, Michael Jackson, Morris Day, MC Hammer, Chris Brown, et al to recognize the indelible influence of James Brown. In Fact MC Hammer made a video calling Michael Jackson out for not giving props to the “God Father” of dance in the R&B idiom.

James Brown
james_20brown_2012
The God Father of Soul!
 Michael Jackson
Michael Jackson II
His moves mesmerized the world!

Prince!

 Prince-in-concert

 Openly Acknowledges that he based his act on James Brown’s Model

MC Hammer

Hammer II

They couldn’t touch this!!!!!

Filipino Sensation Bruno Mars

Bruno-Mars-Performs-Super-Bowl-Halftime-Show-Photos

All are Artistic Extensions of James Brown!

It is no mystery why Afro-Americans have created every popular dance craze in the US.  The ever insightful Albert Murray attributes this to the “tendency of Africans to turn all movement into dance like elegance.”  Growing up in Georgia, and spending his early boyhood in the backwoods where he was immersed in the black folk culture that retained elements of West African culture, James attended a sanctified “Holy Roller” church, and witnessed the power of music to move people…and the way the dancing preacher – a fairly common figure in black fundamentalist churches – used music, chants and movement to hypnotize his followers.

The movie captures all of this in a powerful vignette, and affords us an insider’s view of the origins of James Brown’s performance style.  It is no wonder that Albert Murray would observe that a James Brown performance created the emotional power of a great revivalist preacher in his seminal text on Afro-American music “Stomping the Blues.”  Like Little Richard, Sam Coke, Ray Charles, et al, James began singing in the Afro-American church – an institution that has produced more great original American musicians than Julliard.  Charlie “Yardbird” Parker, who revolutionized western instrumental music, as well as the grand operatic divas Leontine Price, Jessie Norman, Kathleen Battle, et al  and legions of musicians in all genres were products of the black church.

But James Brown remained close to his musical roots, the black southern country churches and those unlettered preachers the black bard and 20th century Renaissance Man James Weldon celebrates in his epic poems “God’s Trombones.”   Of these untutored sable clerics who claimed to be called to the pulpit by God almighty himself, Johnson said “The old time southern Negro preacher had all the devices of eloquence at his command.”  James Brown converted that eloquence into music.  In him we see the evidence of Zora Neale Hurston’s claim that black folk religion is for “people who love magnificence and can’t get enough of it.”

This however, was not the church of the formally educated black middle class, of whose church services the ‘Poet Laureate of Harlem” and peerless observer of Afro-American life and culture Langston Hughes says was the result of a decision to “Let’s be boring like the Nords” in his path-breaking essay “The Negro Artist and the Racial Mountain.”  James Brown, a country boy molded in the hell of America’s racist apartheid South, kept it real and relied on the power of his folk roots for the source of his artistic inspiration.  And he brought the funk like nobody else; any R&B or Rap artist who does not understand this is faking the funk!

The movie explores all of this and more, as it takes us into aspects of James Brown’s life that are not well known to many of his fans…this writer included.  With Browns’ longtime musical colleague and personal friend Bobby Bird as a historical consultant we get intimate details of Brown’s life that we could not have gotten from any other source.  And no doubt this is because of the guiding hand of Mick Jagger in the project. A rock music legend that saw James Brown perform live during a tour of the US and never forgot it – in fact he includes the scene in the movie – Jagger understands the intricacies of keeping a band on point and ready to perform on the road.

Thus we are afforded a view of the problems of a touring band that usually never meet the public eye.  We get to see what a strict task master Brown was, docking the musicians pay for every infraction, sometimes seeming petty and ego-maniacal, but the result was one of the tightest bands in the history of the Rock and Roll era. That’s why they were able to respond dramatically to every gesture of his body the way they did. Or go directly to the bridge when he called for it.  We all enjoyed watching him cue the band with words or body movements….but we never understood the hard work required to achieve such precision in performance.

However the greatest revelation about the life of James Brown that I experienced is his relationship with his parents and how he was raised.  Dirt poor and stuck in the back woods, reliant upon a brutal father whose meager pay working as a laborer in the pulp wood industry was routinely squandered on whisky and gambling, who was ignorant, and a mother who confused and abused, James had to figure things out for himself while yet a child.  His mother, tired of poverty and abuse, ran away and became a whore, and when his daddy joined the army to escape his miserable dead end existence in the racist backwoods of Georgia, James was left to live with his aunt, who was the madam of a thriving whore house.

When we look at the conditions these black women endured in the South – oppressed on the basis of race, gender and class – who among us is righteous enough to cast the first stone of condemnation….not I.  They played the bad hand they were dealt as best they could, and some of them aspired to better things for the youths than were available to them.   This was especially true of James’ aunt who ran the cat house.  She told him that he had something special, that one day the whole world would know his name and that he would be fabulously wealthy.  Raised by kind hearted hos James got a look at life that was raw like Sushi.

All of these factors contributed to the personality formation of the man the world came to know as the God Father of Soul.  He was a man who understood that everything good that had happened to him in life was because of his talent as a performer.  And life became very good indeed; luxury jets, fine cars and mansions of many rooms were all his – as well as an endless bevy of black, brown and beige beauties.  No doubt he could have had his pick from a multitude of snow queens, but he stayed with the sistas.   Yet his childhood memories of seeing his mother turning tricks with soldiers, and all the whores he grew up around, made him more than a tad puritanical about the women in his life.  It also made him abusive.

Some of the most dramatic moments in the film involve James and his wife – played by the voluptuous brown beauty Jill Scott – a type A female who stood her ground….what the folks in Georgia used to call a “Tushie.”  When he slaps her down in one scene it is shocking to behold: but then, James Brown, like all of us, is a product of his socialization – or lack thereof.  Hence it should come as no surprise that he was relentless and ruthless with is band members in his quest for fame and fortune, and a unapologetic patriarch with his women, or that he showered them with expensive gifts and took good care of his children.

‘Thick Fine” Jill Scott and Chad Boseman

chadwick-boseman-jill-scott-get-on-up

Sizzle on Screen as James Brown and Wife

We can see the seeds of all these adult traits being forged in his personality by virtue of his experiences as a boy.   This film captures it all:  the glamour, the tragedy, the good times and bad, the pathos and bathos of Afro-American culture…and most of all the marvelous music!   According to the director, Boseman pulled this amazing performance off with only two months of preparation.  “We got the go ahead from Universal around the end of August. Chad Boseman had September and October to become James Brown—the dancer, the singer, and played him as a 17-year-old all the way to a 63-year-old. I literally can’t understand how he did it.” Taylor recalls.   The resulting product of all this hard work and generous talent is a cinematic tour de force:  Bravo!

 

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See Video Clips Below

Double click to see “James Brown and the “Famous Flames” 

 http://youtu.be/5_jqhXNF98A

This concert was at the height of his prowess in 1964
Click to see: James Browns Greatest Moves

http://youtu.be/Ek9-HGHT1Pk

Where James got his Inspiration

http://youtu.be/E_Qi_MbaOyk

Cab Calloway: Grandfather of Soul!
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James Brown honored by the President at Kennedy Center

http://youtu.be/V1CPN-nc1To

Playthell G. Benjamin                                                     

Soul Brother #1

On the Road
August 11, 2014

Jazz and Gumbo!

Posted in Cultural Matters, Music Reviews with tags , , , on June 24, 2014 by playthell

 Wynton and me

Two Southern boys Partying in the Big Apple

 A New Orleans Style Party at Wynton’s Crib

   The night had been a smash before the party got started.  Earlier in the evening the Jazz at Lincoln Center Orchestra played their season opening concert featuring the inimitable Ahmad Jamal at the piano and we had all attended. It was an affair to remember as the sold out crowd repeatedly rose to their feet in ovations to the musicians.  It is always a special treat to hear Jazz performed in the House of Swing, especially the Rose Theater, the acoustic engineering alone would make it a rare treat for the serious jazz fan; but the opulent and imaginative interior decoration enriches the experience in ways that’s hard to explain but you know it when you feel it.

Hence everyone was in high spirits as we retired to Wynton’s crib for Gumbo and wine, with some succulent and exotically seasoned fried shrimp appetizers.  Nerves were on edge as we waited for the huge pot of Gumbo to heat up, but as there was abundant French breads fruits and wine we persevered. Wynton’s crib is a great place for a party.

It is spacious, elegant but manly and livable, and enjoys a magnificent panoramic view of Manhattan and New Jersey.   The size of the pad and the diversity of the crowd were such that there were actually several parties going on simultaneously.  Wynton mostly hung out in the main drawing room where the piano is located.  Chess sets were also in abundance in the great room, and like the piano they would be played several times before the evening was over.

 Wynton Plays Chess with is homeboy Matt Dillon
 Wynton and LD

 Hanging out at Wynton’s place brought to mind a party I once attended at Duke Ellington’s spot on Central Park South, right after his triumphal concert with the New World Symphony in Lincoln Center’s Avery Fisher Hall, circa 1974.  That gathering also attracted an accomplished international crowd of beautiful people, but Ellington was a much older man and he was treated in the way that religious devotees treat their messiah.

People seemed to struggle to keep from genuflecting before the great man, even the titled European Aristocrats at the party had to struggle to maintain their cool.  But here the vibe was totally different.  Although I’m certain that the guest at Wynton’s party were just as aware that they were hanging out with history, that our host was a rare genius whose great works will live long after he has departed this world, still everybody was laid back and treated Wynton the way he acts: like one of the guys.

 Like Duke Ellington, music is Wynton’s mistress…
 Wynton's Piano
 …..and Just as in Ellington’s apartment, the piano is omnipresent  

 Wynton is the most unpretentious person I know, given his truly spectacular gifts and achievements; he seems indifferent to his greatness and regards celebrity as a picayune matter.  I have known him for twenty years now and I have never seen him talk down to anyone nor show any trace of arrogance or vanity; he seems to always be trying to get better at what he does and help others achieve their dreams.

Musically it amounts to an incredibly generous attitude that I also noticed in Betty Carter and Duke Ellington, who regularly discovered young talent, nurtured it, and graced the stages of the world with their gifts. Although I find him a jovial and even tempered guy, I don’t know anybody who works harder at their chosen profession nor enjoy it more.  Wynton has a restless and endlessly creative mind that is constantly conjuring up new musical ideas, or strategizing with the managers at JALC to market the program, or managing the diverse personalities of the great artists who make up the Jazz at Lincoln Center Orchestra, and consistently giving great performances on the trumpet around the world.

Thus I would argue that what some critic’s mistake as arrogance is simply the self-assuredness that comes with great achievements and knowing what you are talking about. Hence confidence is mistaken for arrogance.  Wynton does not suffer fools gladly…and neither do I! He relaxes by taking young street b-ball players to the hole, or bombing them out with his “fabled” jump shot on the courts of nearby projects, or scheming on the chess board for the best strategy to defeat his opponents.

But when he defeated Matt Dillon in a game he damn near jumped up did a break dance, yet gracefully acknowledged that Matt had trounced him countless times on the Chess board, even conceding that his opponent had the better game. As soon as Matt decided the Gumbo was properly heated the guest hurried to cue up, and once they savored the gourmet New Orleans cuisine it quickly became apparent from the soft ecstatic moans, and squeals of delight, that Matt “done messed around stuck his foot in the pot” as the old folks used to say down south.

Chef Matt Dillon: The Man of the Hour!

Wynton's buddy Matt

His Gumbo Inspired Much Love from Everyone

Gumbo is obviously a word that is derived from Louisiana’s African heritage, a cultural reality that the arbiters of American culture prefer to ignore.  As cuisine it is a kind of amalgamated stew with generous proportions of shellfish – oysters, clams, shrimp – along with chicken, sausage, peppers, etc served with rice.  It is like a French version of the Spanish dish Paella, except its soupy and a lot spicier.

When properly prepared the myriad flavors assault the senses with a cacophony of delectable sensations that makes it an intense sensual experience rather than merely a meal. It was the kind of meal we used to call “fightyamammys” in Florida back in the day; the idea was that some meals are so good you’ll “fight your mammy” over it.

The cultured and highly civilized guest could barely manage to contain the predatory side of their character in their quest for more of this bewitching brew. After the guest had stuffed themselves on Gumbo and Baguettes, the wine poured and Wynton sat down to the piano and began a lively rendition of “Happy Birthday to you.”  It turned out that it was the birthday of Joe Temperley, the great Baritone Saxophonist with the Lincoln Center Orchestra.

Joe Temperley
 DSC_0004
Playing his Baritone Sax next to the Bassist

Joe is living proof of the global influence of the language of Jazz.  As one of the two great traditions of complex instrumental art music produced in the western world, everybody who is serious about acquiring instrumental virtuosity attempts to play one or the other.  And in rare instances – ala Wynton Marsalis, Hubert Laws, Carlos del Pino, Paquito de Rivera, John Lewis, et al – a truly great musician will perform in both traditions.

Although both genres are expressions of modern western art music, Jazz is the musical Gumbo that was conjured up in the clash and diffusions of West African and European culture as it was played out in the United States.  Wynton recognized this vital cultural connection when he composed A Tribute to Congo Square, an extended work of several movements written as a remembrance of that hallowed ground in New Orleans where the roots of Jazz were formed, for performance by the JALC in collaboration with Adada! a Ghanaian percussion ensemble. The uniqueness of this cultural amalgamation can be seen in the fact that Jazz is strikingly different from the other neo-African musical forms that developed in other parts of the African Diaspora in the Americas.

Offering a Musical Libation to the Ancestors
           Wynton and the Aficans
Photo by: Frank Stewart

There are of course the obvious similarities that are common to all neo-African music, which is a reflection of their common origins, the most important characteristics being polyrhythm, antiphony and polyphony, but while the  music of Cuba and Brazil has remained dance oriented and thus rhythmically restricted to the needs of dancers, jazz is a complex instrumental music in which experiments in melody and harmony were as important as rhythmic innovation; and since the advent of bop it has become increasingly divorced from the dance, evolving into a concert music designed for listening, or deep intellectual and spiritual musings.

Yet what finally sets Jazz apart from any other music of the western tradition are the elements of blues and swing guided by a democratic philosophy that values individual freedom and promotes innovation, which are quintessential American values and thus Afro-American music is a product of the unique experience of Afro-Americans.

We are the only African people who grew up in the belly of the most powerful and technologically advanced nation in the world and played an integral role in its development since birth. The USA is inconceivable without the input of Afro-Americans. From the five thousand patriot/soldiers who fought in the American Revolution that ushered in the bloody birth of our nation, to the quarter of a million black men who bore arms in defense of the Union when the southern aristocrats led the red neck rabble into a treasonous rebellion against our government that tore the nation apart in defense of human slavery, to the many others who fought in the rest of America’s wars that preserved the nation and helped it grow powerful.

And the most powerful defenders of the unique American concept of freedom have been Afro-American clerics, activists and intellectuals. Then there were the unsung millions who cleared the land and tilled the soil, turning the south into the cotton kingdom and making New Orleans the wealthiest city and biggest sea port in the nation by 1850.  A financial empire built on unrequited black slave labor.

But in a grand historical irony, out of this bitter and shameful history came a percolating cultural stew that produced Jazz and Gumbo.  And we had a generous serving of both at Wynton’s crib that enchanted evening, as Matt Dillon not only prepared the Gumbo, he also pre-programmed the music on his computer and we were serenaded with classic recordings from the jazz tradition past and present.  

Joe Temperley, looking as contented as a Carnation cow, gave me a nod, an assured wink, and then declared: “This Gumbo is so delicious eating it is more fun than playing the saxophone.”  Coming from a great Jazz master of the baritone sax, whose big lush silky tone and flawless flow marks him as the rightful heir to the legacy of the late great Harry Carney of the Ellington Orchestra, That’s a rave!

When I was invited to Duke Ellington’s party thirty four years ago I gave not a thought to the fact that I would be an eyewitness to history; I felt the same way about Wynton’s party.  Yet in during the course of the event I realized that it was an event that should be recorded for posterity. So I preserved Ellington’s party for history in the essay “An Evening with Edward Kennedy Ellington.

The Duke!

Duke+Ellington - paragon of elegance

The standard to which the JALC Aspires 

The present soirée will be commended to the historical record as Jazz and Gumbo.  And,fortunately, this time I had my camera…and I remembered the words of James Vanderzee, the photographer who set out to preserve for future generations the images of elegance, accomplishment and pride exhibited by African Americans during the cultural awakening of the 1920’s known to history as The Harlem Renaissance: “A picture will last forever!”

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Double Click to see Wynton Warming up Before the Gig

 http://youtu.be/ZqtHqCIMyMs

 D0uble Click to see Ahmad Jamal with JALC Orchestra
- Picture Perfect –
http://youtu.be/NBLIhUOWm9Q
Flight to Russia
http://youtu.be/iW7SRlaLrgE
Photographs and Text
By: Playthell G. Benjamin
*Photos of Wynton, Adada!
and Joe Temperly in Sax Section. 

By: Frank Stewart.

Posted: June 24th 2014
*** The event was held at an earlier date.
 

   

May the Circle Stay Unbroken

Posted in Cultural Matters, Music Reviews, On Foreign Affairs on May 1, 2014 by playthell

Duke Ellington in Stetson

The Sound Sorcerer wielding his Mighty Axe; his sound was heard around the world

 Jazz and Modern Black Culture in South Africa

It is interesting to read Playthell’s article, “An Evening with Edward Kennedy Ellington;” it got me thinking of life in the Ghetto of Soweto, in South Africa. The Townships might not have had the architectural wonders of New York and its chic urbane life-style, but, Duke still affected and influenced the life, music and self-esteem of Africans under Apartheid. There has long been a struggle against Apartheid by the indigene refuting the claim that we were uncouth and backward.

As the Township of Soweto expanded and grew, so did the music scene: the South African Jazz Scene. Some of the jazz groups had “American” as their names. There were Jazz big bands; the fashion of the day were Dobbs brim hats, Florsheim shoes – some two tone – double breasted jackets with broad lapels and the whole dress code as was worn by the Americans of the ’30s, 40s and 50s.  I guess what I am saying is that, because of the inhumanity of Apartheid we witnessed an oppressed people immerse themselves in the American Jazz music and African American culture, language and mannerism as a way of keeping our souls intact.

Louis Armstrong Master Musician and Fashion Plate
Louis_Armstrong_and_Velma_Middleton,_Carnegie_Hall,_New_York,_N.Y.,_ca._Feb._1947_ Notice the sharp two toned shoes

John Hodges

 JohnnyHodges0161-thumbnail

 Notice the elegant broad lapels

The sleeve jackets of the LPs were the point of discussions from the Shebeens – Taverns/Speak Easies – of the day. Discussion about music, styles, musical signatures of The “Duke”, the “Count”, Hodges, Archie Shepp, Philly Jo Jones(some People even renamed themselves after their favorite artist here in Mzantsi), Coltrane, Monk, Miles, Bessie Smith, Sonny Rollins, Stitt, Sidney Betchet, Stachmo, Jelly roll Morton, Fats Waller, Charlie Parker, Ida Cox, Lucille Hegamin, Rosa Henderson, Bertha “Chippie” Hill, Sara Martin, Trixie Smith, Lizzie Miles, Sarah Vaughn, Mahalia Jackson, Mamie Smith, Josie Miles, Edna Benbow HIcks, Eartha Kitt, Mae Harris, Lulla Miller, jimmy Lunceford, Billie Holiday, Etta James, Charlie Christian, Ron Carter, Yusef Lateef, Ella Fritzgerald, Scot Joplin, and a host of other many American musicians-too numerous to list here.

Virtuoso Trumpeter Miles Davis
miles-davis-Fashion Icon
Fashion Trend Setter
He Was Miles Ahead in his Ideas and Style
 miles davis  Fashion Icon
In Music and Fashion!
 South African Jazz Trumpeter Hugh Masakela
Hugh masekela-1959 Miles’ Musical Progeny
Real Cool Cats

THE THREE JAZZOMOLOS

Swinging the Blues in South Africa
 Ella Fitzgerald….You Send Me!
 Ella-fitzgerald-4ec7911607ac3
The First Lady sings while master trumpeter / jazz innovator Dizzy Swoons

 

 Sarah Vaughn: The Divine One!
Sarah Vaugh II
The Afro-American elegance and sophistication that inspired South Africans

 

The Divine One and Ella’s Musical Daughters
 SWINGIN DEAUVILLE 1991
Merriam Makeba with the Great Gillespie

 

 This South African Songstress

 South African Jazz singer

She can feel it in her soul: Dem dirty blues and all that Jazz
Jazz Musicians were Africa Conscious
Africa Brass - Coltrane
And Glorified the “Motherland” in their Music

The American Jazz idiom was dominating thoroughly and completely here in Mzatnsi. How do I know all these name of all these musicians.  Well, as kids in the early sixties, we would sit with our Uncles and fathers and hear them argue and debate that was the best on drums, saxophones, composition and arrangements, and passions would rise to pitch level.

There were people who never thought of other artist as deserving mention or to be listened to because they did not meet their standard of what was Jazz or the like. So as we grew up in the late sixties, we were exposed to a variety of different artists of this American genre. Well, in most cases, my generation was scoffed-at by our old timers for not listening to real and classic Jazz when we listened to Jimmy Smith, John Patton, Harold Mabern, Blue Mitchell, Lou Donaldson, Billy Cobham, Booker T., Soul Music and funk.

We were ridiculed by these stalwarts and keepers of the Old Jazz, as me and my peers referred to Classical jazz as “not listening to Jazz,” and knowing nothing about it. But today, with most of them gone, and many of those who survived apartheid – the old timers I referred to above – have formed Jazz Clubs here in South Africa. They meet on weekends and bring out their best collection and spend the whole day listening to jazz, eating and imbibing large amounts of alcohol.

And whilst engaging in this celebration of jazz here in Mzantsi, you would hear talk like Playthell’s, whom I will cite below, as being what was said about these musicians by our elders. Most of the other stuff was learned and read from the LP liner notes by some Jazz critic or aficionado, and From Down Beat Magazine and so forth. It would go something like this passage from Playthell’s essay:  

“Some of these people had crossed an ocean to attend the concert earlier in the day. After a while, it was clear that several of the guests had seriously followed Duke’s work for thirty to forty years. … As Duke responded to requests and moved from one tune to another, I was impressed by the fact that most of these songs were now part of the standard repertoire of American music. … I wondered at the artistic sensibility that could conceive these elegant tone poems, based in sophisticated urban blues and surrounded by consistently inventive orchestrations…. ….When he composed his suites to various regions of the world he never wrote the music when he was in those places.

‘I don’t want to be overly influenced by the local musical traditions, so I always wait until I’m back home to write my impressions.’ And he also confessed to me after a few rounds of Champaign: ‘I’m a sophisticated savage.’ Before I could persuade him to elaborate on his colorful claim our conversation was disrupted by others demanding the attention of the great man. I understood and bowed out.  That enchanted evening in July, 1974 demonstrates that rest the world has long recognized the extraordinary creative contribution of the Duke. It is long past time this prophet became s hero in his own land.”

To be honest, what Playthell wrote above would be taken by these Jazz aficionados, turned on its head, made theirs. And included in their folklore about Jazz, as if it was they who spun the yarn above, and had experienced it, so that they have a one-up on their fellow Jazz buffs.. But, with time, those with the means, have been visiting The Newport Jazz Festival, Montreux Festival, and many of those in Europe.. And the comeback with fantastic tales of their visits and so forth, today (Most of it exaggerated, somewhat, but with some kernel of Truth.

Duke, Armstrong and Singer Jimmy Rushing
Duke Ellington,  Rushing, Louis Armstrong, Billy Strahorn with Photomodels at 1962 Newport Jazz Festival 
Hanging out with High Fashion Models Backstage at Newport 1962

 Today in south Africa, we have come a long from the days I described above.. People are not more able to listen to jazz without the pressures of apartheid dehumanizing us. But African American Jazz in South Africa made our lives more bearable and full of hope. We never gave the Boers a chance to tell us nor believed we were barbarians or savages. Duke and the rest of the African America Jazz Masers, confirmed to us, since most of us looked like many of them and vice-versa- we knew that we were better than what the Apartheid monsters said we were.

There were many Jazz bands that were spawned as a result of our exposure to the American music scene and its Jazz Masters. These I might talk about in another palaver we might have on this subject. But Playthell’s article, with its cultural opulence and high art life-style, is still what makes our world go round. Duke was our demi-god when it came to Jazz, Style, dress/fashion, comportment and Class. He personified all this and then some to my uncles and their friends.

A Paragon of Male Elegance
Duke Ellington esq-best-dressed-duke-ellington-lg-2
Esquire Magazines “Best Dressed Man”
A Playful Moment with the Great Ray Nance
Ray Nance
 Jiving around onstage in Sweden
A Triple Threat and More….

Ray Nance II

Sweet Ray Nance: a Master of Trumpet, Violin and Dance….he could Sing too!

Our Elders copied many of Duke’s mannerism that Playthell describes above, which he observed on his visit to the Maestro’s apartment.  As you can imagine, many have tried, albeit not on par with Playthell’s analysis, to be what the Duke represented and even added they own spin to the act. Apartheid, in its evil intent to dehumanize us, failed dismally because many Africans in South Africa knew that their Nazi-like oppressor’s claims of racial superiority were lies.

We lived our lives full of Jazz and our spirits danced above the concentration camps they built for us Called Townships… Like the humongous one called Soweto (Southern Western Townships) Digging jazz is still the way to go.. although the present-day youth in south Africa – as in the United States – are out of sync and do not know any better.. Some of us still know what time it is when it comes to Jazz music…

Young South African Jazzmen
 South African Jazzmen.jpg Today

 All Races come together playing Jazz

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 Double Clink on Link to see Duke and Ray Nance

http://youtu.be/gOlpcJhNyDI 

The Ellington Orchestra in live Concert, Zurich 1959

http://youtu.be/Qkn57XP-_kM

SkhoKho Sa Tiou

 Mzantsi, South Africa

May Day 2014

Melting The Sun

Posted in Guest Commentators, Music Reviews with tags , , on April 20, 2014 by playthell

DSC05691

 Chris Pendergraft of space rock band Echocosmic

Cosmic Salvation Songs

Down around the back of a former iron foundry in east Oakland’s post-industrial wasteland, if you can find the door and know the secret knock, it is possible of a Friday evening to catch the lyric melancholy and faster-than-light travel of the band EchoCosmic at play. Synching digital beats and mixing board effects with live instruments, these musicians bring well-honed skills and a constant quest for meaning to their music.

In 1997 a quest for meaning through music produced Root Beer, the early band in which brothers-in-music Chris Pendergraft and Mike Blodgett began to work together. Through the writing and performance of the band’s signature protest rock songs, Mike Blodgett’s guitar style developed lyric eloquence, with bright sprays of descending sounds arcing like brief light pulses in the cold and indifferent openness of deep space.

Inherent in the name Echocosmic is the powerful sense of great distance and vast lapses of time.  Cosmic is defined as: the whole universe;immeasurably extended in space or time; vast; harmonious.   All of these elements have a place in the band’s compositions.  The word echo comes to us from the mythological Greek nymph who pined away for the beautiful, indifferent Narcissus until only her voice remained. With this etymology, it is no wonder that the echo carries an implicit sense of melancholy.

But an echo also relates to sound in a manner of interest to music-makers; it is uniquely produced by reflecting sound waves from a surface, where the returning sound may be only a fragment of the original.  And herein lies the heart of the matter, for in the songs of Echocosmic we hear the report of the interstellar traveler, returning across inhuman distance and still more inhuman time.

 These songs are evocative of struggle, mourning, and memory, chronicling the birth of black holes or the explosive nirvana of a star going nova.  ”Red Shift” with its desending chords and cascading shower of deep notes, feels like we are listening to the recorded end of some ancient civilization or an entire planet, perhaps as viewed by an anguished alien race of future spacefarers.

A red shift refers to a change in light wavelengths, moving toward a slower, cooler portion of the spectrum. The sun is a frequent, even baseline reference in space rock, and Echocosmic heeds this tradition.  Another of their songs is meant to communicate the point of view of bacteria colonizing a sun: in the heat of the solar flares, the space bacteria awaken, grow and make a new home.

In 1968, Set the Controls For the Heart of the Sun came out on the album Saucerful of Secrets by Pink Floyd, pioneering progressive rock’s shift toward what would be termed “space rock;” their solar fires and deep cold space attracted the attention of people ranging from NBA Hall of Fame star Dennis Rodman to Exorcist movie star Linda Blair.

Set the Controls for the Heart of the Sun is a ten minute extravaganza of “out there” sound which builds to a violent end that actually comes, impossibly, as a climax. This distinctly disciplined approach to a pulsing momentum with abstract sound became a genre that encompasses much of Echocosmic today.

 Drummer Eric the Mover
 DSC05694
 Keeps the rhythm out there!

 *************

 Mike Blodgett
 DSC05700
Lead Guitar, a Sonic Space Cadet
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 Merging technology and Music
DSC05699 
Powering their Space Odyssey

 ******************

Their Rehersal  Space is Also a Recording Studio

 DSC05565

 Which Blodgett built to Free the Band from the tyranny of record companies
 ******************
East Bay Artist Susannah Israel and Ray Heywood

DSC05675

Are Mesmerized by the Music

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 Text by: Susannah Israel
Photos by: Playthell Benjamin
April 20th 2014
Oakland, California

Praise Songs for a Master Musician

Posted in Cultural Matters, Music Reviews, You Tube Classics with tags , , , , , on April 8, 2014 by playthell
MODELE ARMSTRONG
Louis Armstrong: His horn and voice changed the world of music

A Fitting Tribute to a Great Artist on the Centenary of his Birthday

On the hundredth anniversary of the birth of Louis Armstrong a celebration in his honor was held at Columbia University, one of America’s most distinguished institutions of higher learning. Titled The Artistry of Pops: Louis Armstrong on his 100th Birthday,” three of the nation’s most outstanding intellectuals and artists – Robert O’Meely, Stanley Crouch and Wynton Marsalis – conducted an ancestor veneration ritual in memory of Louis Armstrong, a great American original.

Robert O’Meely is a Professor of English at Columbia, Director of the Institute for Jazz Studies and a serious Jazz scholar who wrote an important book on Billy Holliday; Stanley Crouch is the nation’s premiere Jazz critic and biographer of Charlie Parker; and Wynton Marsalis is Artistic Director of Jazz at Lincoln Center – the most important Jazz performance and education venue in the world – and leader of the internationally renowned Jazz at Lincoln Center Orchestra, an aggregation of great musicians who can play every genre of jazz without accent.

It is a certainty that almost anyone who takes the time to view this video will be greatly enlightened by the experience.  My certainty lies in the fact that I was enlightened by it and I have been writing about Jazz for over 20 years and have published essays about the music in some of the most prestigious journals in the English language.  The video begins with an opening address by Dr. O’Meely, rich in eloquence and erudition, it paints a complex portrait of Louis Armstrong that demolished the stereotypical view of him as a simple minded entertainer and borderline clown.

What emerges from Professor O’Meely’s succinct but learned lecture is a compelling portrait of a great artist who changed western music and won devotees among musicians and music lovers all over the world.  We learn that the ability to play and instrument and also sing well enough to have a lasting influence on both arts is a very rare feat; the province of genius.  Yet, he tells us, this is precisely what Louis Armstrong did.

       Pop’s Armstrong Singing
                         Louis Armstrong singing
Recording with the magnificent Ella Fitzgerald

Louis Armstrong and Ella Fitgerald

                    One of Pop’s many artistic “children”

In his professorial fashion Dr. O’Meely cited a scholarly text to provide evidence of the influence of Louis Armstrong on the major singers who dominated American jazz and pop music for most of the twentieth century and set the standards many singers still emulate. The Book, “Pops Children,” lets us hear it from the horses’ mouths through the author’s interviews.  Among those who pay homage to Pops as an artistic inspiration and guide are Frank Sinatra, Sarah Vaughn, Tony Bennett, Ella Fitzgerald, Lady Day, et al.

O’Meely’s lecture was the ideal introduction to Louis Armstrong, because he enumerates the many facets of Armstrong’s interests and talents and defines the elements that characterize his style and innovations in western music. Although he teases us with glimpses of Armstrong’s multi-faceted personality and varied interests, he reminds us they are laboring under the tyranny of the clock and thus must confine their discourse to the matter of music.

Despite the fact that he is a Professor of English Dr. O’Meely is a fine music critic.  Like Crouch and Marsalis he is a protégée of the novelist, essayist, musician Ralph Ellison, and Albert Murray, the recently departed Harlem sage and blues philosopher whose masterpiece, “Stomping the Blues,” is a canonical text on Afro-American music…especially Jazz. Thus O’Meely’s analysis is well informed by a broad knowledge of the history and nature of artistic creation and innovation, and his discussion of Louis Armstrong is conducted within the comparative context of all great art.

As a literary man beguiled by the blues in its many splendored guises, Dr. O’Meeley conjures up the memory of Professor Sterling Brown, a Harvard educated pioneer blues poet and longtime Professor of English at Howard University in Washington, who had jazz musicians play for his class live and who is called out by name as the hippest intellectual in the nation’s capitol in Ledbelly’s famous song “Washington is a Bourgeois Town.”  

It was Professor O’Meely who was called upon to make the keynote speech at the dedication of the monumental statute “Invisible Man,” created by Elizabeth Catlett, outside of Ellison’s residence on Riverside Drive, not far from Columbia’s campus. Unlike Sterling Brown, O’ Meely does not need jazz musicians to play for his class because just a few blocks down Broadway from campus is Jazz at Lincoln Center, where the greatest Jazz musicians in the world perform nearly every night.  O’Meely is immersed in the Jazz milieu being centrally located in the Jazz capitol of the world he has seen it all, which makes him an ideal critic fully equipped to evaluate the place of Louis Armstrong in American music.

I got a taste of the depth of his erudition when we debated an essay on music and literature written by Albert Murray in a seminar at the Sorbonne in Paris.

Debating the Learned Professor O’Meely at the Sorbonne
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        A Joint Meeting of the US and European Associations of American Studies  

At the conclusion of his learned commentary on the character and contributions of Pops Armstrong, Professor O’Meely turned the floor over to Stanley Crouch and Wynton Marsalis after reading their impressive bonafides to the audience, calling them “two of the smartest people talking about Jazz.” Crouch was introduced first to tumultuous applause, but when Wynton walked on stage, trumpet in hand, the crowd went wild.

In an extended discussion Crouch compared the heroism of people who invent major movements in art or intellectual ideas to those in classical Greek mythology, and Wynton dazzled with his in-depth knowledge of the art of trumpet playing and the history of its development in the USA. As always, his lecture became a “show and tell” when he would demonstrate his point on the trumpet.

This video is a wonderful portrait of Pops which require no further comment, since we have the film. However it is impossible to overstate the importance of the work that O’Meely, Crouch and Marsalis are doing by institutionalizing Jazz in elite, well funded, American cultural and academic institutions such as Lincoln Center and Columbia University.

It is both fitting and proper that this effort should be led by Afro-American artists and intellectuals.  Jazz is, after all, Black America’s gift to the nation and America’s gift to world culture.  Look, listen and learn about one of the greatest artists and most interesting American men of the 20th century, the trumpet virtuoso that invented both the extended Jazz solo and a distinctly American approach to singing… the Jazz song.

Pops At Carnegie Hall with Kate Middleton 1947
Louis_Armstrong_and_Velma_Middleton,_Carnegie_Hall,_New_York,_N.Y.,_ca._Feb._1947_
                      A Sartorial Trend Setter Always sharp as a Tack
The Axe with Which Louis Conquored the World!
Louis Arnstrongs trumpet presented to him by King George V of England in 1933
This Trumpet was a gift from King George V in 1933
Double click on link to see the video Tribute
http://youtu.be/G0X24dJHYq4 

Playthell Benjamin

Harlem, New York

April 4, 2014

Is Hip Hop Art?

Posted in Cultural Matters, Music Reviews with tags , , , , , , on March 16, 2014 by playthell
Barack, Byonce and Jay Z
Chilly B, Honey B and Jay Z…..Holla!

Response to A Friend’s Comment on Hip Hop

The first thing I saw when I switched on my Facebook page this morning, which has now become a daily ritual, was a post from my friend Eric Wattree, a learned scribe from the left coast who is also an accomplished jazz musician. The post was a video clip of Quincy Jones presenting Emily Bear, a young white female of rare musical gifts – Quincy pointed out that she has composed several pieces for symphony orchestras – but since this was the Montreux Jazz Festival she was performing jazz piano on this occasion.

The clip was accompanied by the comment “Are we going to become the first culture in the history of mankind who are incapable of playing what we created?”  I thought it a curious comment, since I did not find her particularly impressive as a Jazz pianist.  She reminded me more of Philippa Duke Schuyler, the daughter of Afro-American writer and the blond Texas heiress and artist Josephine Cogdell, who had been selected as a coveted Sennett Bathing Beauty. Phillippa was not only performing the masterworks for piano in European classical music as a child, but showed such promise as a composer by nine years old she was seriously compared to Mozart at her age by American professors of music.

And had it not been for the racism and snobbery that characterized the attitude of the European Classical music community toward Jazz – An Afro-American complex instrumental Music that is now regarded as classic American art – I have no doubt that Phillippa would have mastered Jazz piano too.  After all, she lived on Sugar Hill in Harlem, which was home to many great black jazz musicians, including Duke Ellingon and Andy Kirk, whose wife was a great pianist that gave Charlie Parker his first gig when they lived in Kansas City.  Mrs. Kirk was a fabulous piano teacher who taught generations of Harlem kids to play.

Phillippa Duke Schuyler

 Phillapa Scuyler III  - editd copy

 A Musical Prodigy Performing her Compositions
 Phillippa Schuyler around Emily Bear’s Age
Phillapa SchuylerA world class virtuoso pianist and composer!

When he went on to  observe that “scatching a record is not art,” it became obvious that Eric is alarmed by the wholesale intoxication with Hip Hop beats by young folks – you hear them everywhere, even in the cadences of black marching bands –  and he is responding to the sad possibility that there will come a time when young black musicians will be unable to perform the complex art of Jazz, a genre of instrumental music which in order to perfom properly requires virtuosity from everybody in the band.

The possibility that this grand achievement of Afro-American culture could be lost to future generations of black musicians is cause for alarm….but how real is this fear? After giving his comments a moment’s reflection I thought: My man needs to chill out; things are not nearly so dire regarding the supply of outstanding young black Jazz musicians. I wondered if his pessimism comes from the fact that he lives in LA, because here in the Big Apple there is no paucity of great young black Jazz musicians.

It’s not the absence of black musicians that’s the problem in New York, it’s finding a black audience! By virtue of the heroic efforts of Wynton Marsalis and the magnificent Jazz at Lincoln Center program, there is now a curriculum to guide music teachers in formally teaching the essential techniques of jazz performance available upon request: And its free!

Before Jazz at Lincoln Center got off the ground the great singer/bandleader Betty Carter hosted conferences that brought gifted young jazz virtuosi from all over the country to study and perform at her Jazz workshop at the Majestic Theater in Brooklyn, under the sponsorship of the Brookly Academy of Music.   I covered one of these conferences for the Sunday Times of London, and it was published under the title “School For Cats,”  which can now be read on this blog

One of the revelations in this essay is that all of the most gifted young jazz musicians also loved HipHop.  Pianist Cyrus Chestnut liked playing on rap tracks and Adonis Rose, who was the drummer with the brilliant Jazz pianist Marcus Roberts, told me he had just finished playing behind some rappers and he loved it as mush as playing with Roberts! Hence I concluded that young Afro-americans musicians love both Jazz and Hip Hop equally….its a generational thing.

Adonis Rose

Adonis Rose II

A Young Master keeping the tradition alive!

Eric is right that scratching records is not making music in the traditional sense of playing an instrument, but scratching records is only a part of what hip hop MC’s do -there is the art of sampling records and creating unique beats, often creating entirely new songs.  And some of them can rap!  Many outstanding old school jazz masters not only recognize, but admire, the achievements of Hip Hop artists. A couple ot years ago I heard Grady Tate – the most widely recorded drummer in history – being interviewed at the Jazz Museum in Harlem, which is creating a priceless audio-video museum of jazz history.

When asked about hip hop in a room full of jazz heads, mostly middle aged and older, Tate had this to say: “I think the most innovative thing happening in recorded music today is hip hop.” A collective gasp of shock and disbelief went up in the room, but he continued: “I believe that certain people are genetically programmed to play music.”

He explained how he became a musician because he went to a high school with a great music program which even supplied the instruments – like the school I went to – then he pointed out how many inner-city kids were robbed of that opportunity because the philistine businessman and accountants that control school boards that fund education cut out formal musical instruction, school marching bands and orchestras. In response to this bleak musical predicament they created a new way of making music: HIP HOP

                                Grady Tate: Master Percussionist and Jazz Virtuoso
Grady Tate
He became a musician because of his high school music program

As a drummer he loves their beats, and as a Shakespearian actor with a degree in English literature he loves many of their clever rhymes and free verse poetry set to those beats. Tate went on to further explain that these young black and Hispanic kids in New York – the real home of Hip Hop – have not only created an art form which is now practiced around the world, but when he is touring he makes a point of checking them out, and he has discovered that the themes in their rhymes address local realities and concerns.

For instance, when I interviewed the Editor of Cuba’s first Hip hop magazine and radio programmer, he told me: “Hip hop is the true voice of young Afro-Cubans!” Then he proceeded to show me how young Afro-Cubans were setting the poems of Nicholas Guillen, the great Afro-Cuban Poet Laureate of Cuba, to rumba beats and reciting them over the beats. In other words, it is the specific lyrical content that determines the character of a particular rap.

Like Ragtime music, which is now universally recognized as a great art form, but in Scott Joplin’s time was regarded as “Whore house music.” And that, as Scott Joplin complained at the time, was due to “the bawdy lyrics” that so often accompanied the music. That’s why Joplin wrote Treemonisha, a full scale grand opera set to ragtime music, in order to demonstrate the nobility of the form. Hip hop is a very versatile form and has the power to affect human sensibility in myriad ways….it depends upon the artist!

Scott Joplin
Ragtime_Piano_SCOTT_JOPLIN__sheet Music
 Composed a Ragtime Opera to prove nobility of the music

And contrary to conventional wisdom about all rap lyrics celebrating murder, mayhem and debauchery, Hip hop mogul Russell Simmons never tires of pointing out: the “positive poets” have found the greater success. For instance Queen Latifah, Will Smith, LL Cool Jay, Puffy, et al. I started writing about hip hop from its inception here in New York.

I was friends with Joe Robinson, the owner of Sugar Hill Records, who recorded the first Hip Hop group, The Sugar Hill Gang’s “Rapper’s Delight,” before anybody had made a rap record. When I first met Joe, the epitome of an old school gentleman gangster, he was in the Rhythm and Blues business but was an avid Jazz fan. However he was in business to make money; so he let the market dictate his business decisions – which is to say he was always looking for the big hit….and that was not going to happen recording jazz acts. Alas, the jazz acts that made money i.e. Miles Davis, Herbie Hancock, Quincy Jones, the Jazz Crusaders, et al were already signed to major labels.

Joe was indifferent to what these young people were inventing  – it was just a “product” to him – but  I, like Grady Tate, Max Roach and Quincy Jones, dug what these kids were doing from the git go. And I wrote about the virtues and vices of this new popular art form in: The Village Voice, New York Daily News, Sunday Times of London, Guardian Observor of London, Source Magazine: “The Bible of Hip Hop,” Spin Magazine, etc.  Grady Tate made one more important point about Hip hop artists in comparison to some of the greatest figures in modern Jazz: The jazzmen were so high on dope they didn’t know where their money went! While hip hop artists smoke Wisdom Weed and control millions!!!!All True!!!

Russell Simmons

Russell and Obama

With President Obama; you’ve come a long way baby!

Russell Simmon’s house on Long Island is the biggest mansion on the East coast – including those of the 19th century Robber Barons like Cornelius Vanderbilt Mansion on the famed Fifth Ave “Millionaire’s Row.” and among his guests are Bill and Hillary Clinton. According to a CBS 60 minutes report Jay Z heads a billion dollar business conglomerate; which means has made more money than Mitt Romney, and Mitt started life in a Michigan Mansion while Jay Z started in the Marcy Projects in Brooklyn. See: Is Jay Z a Better Businessman than Mitt?”at:  https://commentariesonthetimes.wordpress.com/?s=jay+z.

Will Smith turned down a scholarship to MIT to pursue a hip hop career, and he has gone from rap music star, to television star, to movie super star. He and his wife Jada were replaced as the number one power couple in Show business by Jay Z and Beyonce. Ice Cube is a for real movie mogul who has the wherewithal to greenlight his own movie productions, and Sean P Ditty Combs has gone from a local producer of rap concerts in New York City to a businessman with a fortune estimated to exceed 500 million dollars!

                                                        P Ditty

Sean Puffy coombs (2)

 Playing it to the MaX

He owns apartment buildings on the posh upper side of Manhattan, is an award winning designer of formal men’s evening wear, and played the complex starring role in A Raisin in the Sun on Broadway, to critical acclaim from both professional critics and the seasoned actors in the cast. Jay Z and Beyonce, next to their Friends Barack and Michelle, are America’s most popular power Couple and also talented performers. And they replaced Will Smith and Jada Pinkett in that role.  In hip hop the rappers come from all stations in life and what they share in common is their love of bustin a rhyme over dope beats while they tell a story about the gritty realities of life.

                                                            Will and Jada
                 Will Smith and Jada IIII                     
Hollywood Power Couple
Jay Z and Beyonce

Byonce and Jay III

America.s most popular power couple

Hip Hop is the first truly Afro-American popular musical form that manages to speak straight-up to all of the issues that concern them personally and Afro-Americans in general. The blues, for all of its profound insights into the human condition, developed in the deep-south where a black man could lose his life for telling the truth as he knew it, especially if he did so with the irreverence and total disregard for white sentiment as these rappers.

Hence the blues is replete with complex metaphors and allusions, while the rappers “keep it real.” The range of beats, vocal “flows,” technical innovation in the recording studio, and the lyrical content range from the trite and vulgar to the profound – the entire range of human personality and experience. One need only listen to the raps of Oakland’s “Too Short” and compare them to the lyrics – and superb studio work – of Ohene of Philadelphia.

Too Short is a specialist from the ghetto who tells tawdry tales his fans call “straight gutter,” while  transcendent poetry that profoundly addresses the complexities of global black experience in the 21st century are the stock in trade of Ohene – and both do what they do with high style and panache. I am including clips of both these artists so the reader can hear for themselves what I mean.

Too Short!

Too Short

Livin his Short Guy Dreams?

In Too Short and Ohene with see a sharp contrast in Hip Hop styles i.e. the purposes to which this performance vehicle is put: the images and values it projects.  And we can see how much musical talent and general intelligence shapes the character and complexity of their product.  As in all things talent, character and intelligence will distinguish one performer from another and in the case of Too Short and Ohene the difference could hardly be more dramatic.

The two performances I have attached below will demonstrate the polar opposites of their concerns and musical skills, yet both are legitimate representations of the Hip Hop genre. In two Short’s “I’m a Player” we get yet another tour through the twisted life of a wannabe ghetto pimp.  His descriptions of a desirable relationship with women are bizarre; a third rate Mack’s rap – I’ve heard much better from real Macks I’ve known – that sounds more like war than love.

Too Short brazenly puts all of his pathologies on display: There is no shame in his game.  It does not take a psychiatrist to recognize these lyrics as the creation of a man with a strong Napoleonic Complex – aka Short guy inadequacy syndrome – and a deep fear of being dominated by women.  After all, he looks like a chocolate version of Mr. Peanut and was grew up poor to boot.

We can be sure that he was not the ideal lady’s man, but he became one by persistence and astute observation of female character and desire.  Among the things that he no doubt discovered is that seduction is a game, and persistence, self-confidence, a quick wit – i.e. knowing what to say outta yo mouth at the right time – are more powerful weapons than good looks in this game.  When you add the elements of fame, money and the ability to back up your boasts in bed to the mix, you have the makings of a formidable ladies man.

It seems to me that despite his successes this fear of being “chumped” by women remains, and it is the source of his super macho pimp daddy demeanor; his stone cold Playa attitude.  Yet every time I see one of these rappers coming on all hard I wonder if it’s real or they have swiped somebody else’s story.

Is this guy  for Real?

Too short II

……..Or just another Perpetrator?

Inevitably, when I am wondering if somebody’s street cred is real, that chilling video by Eazy E, “Real Motherfuckin G’s!” always comes to mind.   In this video they call out Dr. Dre, Snoop Dog and the whole “Death Row Records” crowd – a label that everybody in the record business thought of as cold blooded killers, especially the 300 pound giant who ran the company, Suge Knight. But Eazy E and his crew called them “Studio Gangstas,” i.e. great pretenders, “actors,” perpetrators with no respect on the streets, and dared them to “step to some real motherfuckin G’s!”

The sincerity of the challenge is clear in the video; it is the sonic equivalent of a drive by shooting….a point that they visually portray at the end of the video.  Gangsta Rap is California’s contribution to Hip Hop, and when murder and mayhem is your theme…”keepin it real” is an invitation to disaster.

Eazy E

eazy E II

A Real Cool Killer? Or Avatar of US Gun Culture

That’s the tradition which spawned Too Short…except his raps wisely concentrate on fuckin more than fightin….the war between the sheets rather than the war in the streets.  Yet the lessons to the youth are just as destructive….if not more so.  It is from fucked up relationships such as those portrayed in Too Short’s raps that produce the psychologically damaged kids who grow into the monsters that wreak havoc on our communities and put all young black males in American under suspicion.

A lot of people who promote this music because of its enormous popularity among teens and young adults of all races and classes, try to deny that this is the consequence of these compelling narratives set to hypnotic beats and seductively spouted by ghetto speakcians, skilled motor mouths who prize the spoken word over the written word.

Ohene: Artistic King of Hip Hop!

Ohene I

 His words are sonic balm that heal the spirit

While being no less committed to the spoken word recited over funky beats dance oriented beats, Ohene – whose name is the traditional title of Ashanti warrior Kings – has completely different concerns and is an accomplished musician who loves jazz.  One need only listen to this track below “Big Things, Y’all Can’t Stop this Music!” to hear this.

The record comes on swinging hard and Ohene’s voice replaces the traditional horn improvising over the rhythm section rapping in the phrase that suggest instruments “I’m the undisputed rap coach!” he declares, throwing out the traditional challenge to sucka MC’s who might be feeling froggish and contemplating stepping to him lyrically by flowing over weak beats.

He quickly warns “My chat is in sync with the syncopation of Max Roach / Imagine Bird with his sax folks / Theolonius Monk with his third hand…..” Ohene continues to extol the prowess of black Jazz greats until he reaches a point where he announces “Playing piano like my dad.”  At this point the performance goes from brilliant to sublime as he begins to play the piano.

To accompany yourself on piano while singing is difficult even if the song is Twinkle Twinkle Little Star, but to play rhythmically complex Be-bop riffs on the piano while singing lyrics you have written to it is off the charts of measurable difficulty.  It is a spiritual communion expressed as musical artistry.

The aesthetic achievement of this performance ranks with the very best that has been achieved with voice, lyrics and instrumental composition.  Lyrically Ohene’s raps reveal him to be a man of vision and gravitas who, like Richard Wagner, seeks to elevate a nation of people with his songs.  While the track attached below celebrates the heroism of Afro-American jazz musicians, Ohene has written poignant narratives about all phases of life in contemporary American society.

As a serious researcher into Hip Hop’s roots, Ohene, who teaches a course on the art of Hip Hop at Temple University,  employs all the beats in the evolution of the genre and he uses them like an alchemist constructing foundations of rhythmic sounds upon which to build edifices of thought in words like “love is the ultimate truth in any culture.” In raps like “Nobody is Fighting…I just Don’t Understand,” which is a call for Pan-African resistance to the forces that would destroy us, and is also appended to this text below.

Hence to sum up the difference in the Hip hop styles of Ohene and Too Short, who represent polar opposites in rap music, suffice it to say that the former presents an enlightened vision of human possibility designed to inspire “the better angels of our nature,” as Abraham Lincoln once put it, thus providing the kind of hope and inspiration that can elevate a nation, while Too Short appeals to the worst in us….and preaches a gospel of decadence and debauchery that can only lead to tragedy.  As in Hip Hop – So in Life!

Hip Hop Ladies: All Hail the Queen!!

Queen Latifa II

Her Sharp Tongue and Regal Presence Empowred Girls of all Ages!

Like Jazz, Hip Hop is a predominantly black male art, but there are some outstanding female stars.  And none shines brighter than Queen Latifah.  While some female rappers seek to answer the males with raps that are just as down and dirty – like Roxanne Shante, Foxy Brown and L’il Kim – the Queen mostly kept her rhymes clean.

With a keen intellect and razor sharp wit she sassily took on the misguided macho misogynistic posturing that characterized so much of male rap.  A physically imposing woman with a fearless demeanor, she “represented” for women with Raps like “Ladies First.”  She was a culture hero to many girls of all backgrounds, my daughter included, and she went on to become one of Hip Hop’s biggest stars bar none.

The Queen as Glamour Girl

Queen Latifa

Tall, Tan, Thick and Fine

While Foxy Brown and L’il Kim are big stars in the Hip Hop world they have never been able to break through to a more general audience because of the raunchy image they chose.  Hence while there is no question that L’il Kim’s “Don’t Want Dick Tonight” is a wonderfully composed and performed rap, it is too risqué for general audiences.

Latifah’s style on the other hand will play everywhere; that’s why she went on to become a bonafide star in television and movies. She made big women fashionable when she was selected as a spokesmodel for Cover Girl cosmetics.  As I write she is hosting her own syndicated daytime television talk show.  Queen Latifah, a Rapper from New Jersey, has marketed her brand world-wide.  Eve, a rapper from Phily, rose from being a hair dresser to stardom and was the first female rapper to have her on television sitcom.  But she has not shown the staying power of the Queen.

Some Final Observations

Hip Hop is the closest that Afro-Americans have come to producing a song poetry that approaches the profundity that is common fare in the art of Calypso. see https://commentariesonthetimes.wordpress.com/?s=long+live+calypso. As to whether or not Hip Hop is art, I would say that its record of success in speaking to the hearts and minds of people around the globe, by virtue of the product Hip Hop producers and performers create in the studio, there can be no question that it is great commercial popular art at its best.

I however do believe that there is a distinction between fine art and commercial art, and that its merit on the scale of artistic achievement and cultural importance can be graded. But it is an objective that is exceedingly hard to achieve, for to succeed at this one must be broadly learned in the art forms under discussion, and objective enough in one’s approach to privilege an unpleasant truth over confirming one’s prejudices.

Many smart and sincere people have failed this test – like the musicians in the high German church who were convinced that Bach was ruining sacred music. Given the volatile emotions surrounding hip hop we will certainly not resolve the question as to what constitutes fine art here – so profound a question is clearly beyond the scope and ambition of this essay….Hence we will simply let our statement stand as is….

To hear Ohene double click on link below
Too Short
I’m A Player
 
Eazy E

http://youtu.be/vQNLEhVAXSg

Real Motherfuckin G’s
Queen Latifa: Ladies First

http://www.youtube.com/watch?v=hLB5bUNAesc

See Emily Bears Performance

http://www.youtube.com/watch?v=5JpACC1_jP8

****************************
Playthell G. Benjamin
New York and San Francisco
March 2014

Dr. Lateef’s Spirit Dances with Ancestors

Posted in Cultural Matters, Guest Commentators, Music Reviews on December 25, 2013 by playthell

yuseflateef6_300

 The Master with his Horn

The Legendary Musician and Composer Steps off at 93

          At the close of his autobiography, Yusef A. Lateef, the renowned musician, composer, and Grammy Award-winning recording artist wrote, “My life has been a series of ‘warm receptions,’ and, after a while, it becomes difficult to separate them, to determine which was most rewarding and heartwarming.”  Lateef’s thousands of admirers will ponder now about which of his concerts and recordings were most rewarding for them in his highly productive life.  Lateef, 93, died Monday morning at his home in Amherst, Massachusetts.

Lateef, a versatile artist of global influence, made his transition peacefully, according to his wife, Ayesha Lateef.

“My dear husband was himself an extension of warmth and love towards others,” his wife said. “He saw every human being with the utmost value and respect. He approached all of us as he did his music, with enthusiasm, imagination and longevity.”

While Lateef chose to define his music as autophysiopsychic, that is, “music from one’s physical, mental and spiritual self,” his critics and fans heard him as the embodiment of jazz and the blues, and that expressive quality, however termed, placed him among the finest performers and composers of his generation.

A Hard Swinging Tenor Man!
Yusef II
Blues and the Abstract Truth

Born William Emmanuel Huddleston on Oct. 9, 1920 in Chattanooga, Tenn., he moved with his family to Detroit in 1925, settling in the heart of the city’s storied Paradise Valley.   It was about this time that his father—for an unknown reason—changed their surname to Evans.

Paradise Valley was basically the entertainment enclave of “Black Bottom,” where the city’s black population was centered, and where William Evans (he changed his name to Yusef Lateef in 1948 and became a member of the Ahmadiyya Muslim Community and for the rest of his life he remained a devout Ahmadi Muslim fulfilling requirements including the lesser and greater pilgrimage to Mecca) was immersed in a vibrant culture where a profusion of music was part of the daily routine.

He introduced Exotic New Instruments….
 Yusef Lateef-flute-bmboo
To the Art of Jazz
And made them sing the Blues
YUSEF LATEEF - Basson And Swang them too!

At Miller High School, he fell under the tutelage of John Cabrera and joined such illustrious future jazz immortals as Milt Jackson.  But it was a local saxophonist, Lorenzo Lawson, who most impressed and influenced him to set aside the oboe and drums and focus on the tenor saxophone.

Soon, he was so proficient that he had the first chair in Matthew Rucker’s Band, and given the band’s prominence, Lateef’s reputation reached across the city and all the way to Chicago where he was now a member of Lucky Millinder’s big band.  In 1948, along with his adoption of Islam, he joined the Dizzy Gillespie Orchestra, which included an array of world class musicians such as James Moody, J.J. Johnson, Ray Brown, Kenny Clarke, and the amazing Cuban conga drummer Chano Pozo.

Diz, Chano Pozo and James Moody
Dizzy and Chano pozo
Playing Rebopped Cubops!

By 1951, Lateef was back in Detroit with his first wife Sadie, a daughter Iqbal and a son Rasheed.  In no time at all he was back in the swing of things performing with a number of groups and at several of the top clubs in town.  Among the stellar leaders who requested his presence was guitarist Kenny Burrell.  When bassist Alvin Jackson, Milt’s brother, assembled a quartet, Lateef was featured on tenor saxophone and flute, which he had begun studying at the Larry Teal School of Music.  The group, including pianist Barry Harris and trombonist Kiane Zawadi (Bernard McKinney) was the house band at the Blue Bird Inn, a legendary jazz spot on Detroit’s Westside.

The Joint was Really Jumpin!
blue bird inn It’s what’s inside that Counts

Lateef was fronting his own ensemble by 1954 and began a five-year stint at Klein’s Show Bar.   Now with a steady gig he had to relinquish his job at Chrysler.  With Hugh Lawson (and sometimes Terry Pollard) on piano; Curtis Fuller on trombone; Ernie Farrow on bass; and Louis Hayes on drums; for two years the band worked six nights a week and became one of the most popular groups in the city.  So popular, in fact, that jazz writers began to spread the word.  They were extended a contract by Ozzie Cadena, a producer at Savoy Records, and their first album was “Jazz Mood.”  A succession of albums would follow, alternately between Savoy and the Prestige labels, and it was during this phase that Lateef was able to introduce an assortment of unusual instruments normally heard in various ethnic cultures.

“Where one relaxes on the axis of the wheel of life”
Cannonball Adderly
Great Virtuosos like Cannonball Adderly anointed audiences in Detroit’s clubs

From a veritable academy of musicians who were in and out of his ensemble during the nights at Klein’s, Lateef sharpened his musical knowledge which was bolstered even further by the classes he took at Wayne State University.  But by 1959, he was ready for a new scene.  “I had done about all I could in the realm of music in Detroit,” he wrote.  “There was a scarcity of clubs during this period and to make ends meet I took a part-time job unloading banana trucks. Whether you were a writer, painter, or a musician, it wasn’t a good time to be in the city.”

The Big Apple was the only option for him and by the early sixties Lateef was a regular at jam sessions, recordings, and concert dates with such notables as John Coltrane, Charlie Mingus, percussionist Babatunde Olatunji, and numerous homeboys such as Lonnie Hillyer, Donald Byrd, and Sonny Red.  But Lateef’s stature grew exponentially during his tenure with Cannonball Adderley’s band, and it provided him with additional experience to form his own ensemble by 1965.

Yusef and Cannonball
cannonball-with-yusef-lateef Masters of the Horns: Original voices on Alto and Tenor Saxes

Holding a band together while attending the Manhattan School of Music was challenging, but Lateef was equal to the task, earning his master’s degree and continuing to record at a phenomenal pace.  Under contract at Atlantic Records where producer Joel Dorn gave Lateef the latitude he needed to express the full extent of his artistry.  His “Gentle Giant,” recorded in 1971 was among his most memorable dates and featured bassist Bob Cunningham, drummer Tootie Heath, and pianist Kenny Barron.

Nothing was more eventful for him in the early seventies than his meeting and marriage to Tahira at Chicago State University.  Winning her hand and defending his dissertation were momentous occasions and the birth of his son, Yusef in 1975, completed a trifecta of jubilation.

From 1975 to 1980, Dr. Lateef studied in Africa, mainly in Nigeria where he undertook the mastery of the Fulani flute.  In addition to his research and teaching obligations, he was commissioned by the government to compose a symphony and to write a book based on his research.  Seeking new musical spheres after Africa, he embarked on a series of concert dates with Eternal Wind, an advanced group of younger musicians that included Charles Moore, Frederico Ramos, Ralph “Buzzy” Jones, and Adam Rudolph.   “Yusef was so open and accessible,” Rudolph recalled during a recent interview.  “There was always this love, peace and freedom about him.  And you could feel all of this through his music, which defined him in the same as Picasso’s art or Miles Davis’s music defined them.  We’re evolutionists, he would tell us and we have to keep on stepping.”

Invisible Wind
Eternal Wind
The Vehicle through which Yusef produced autophysiopsychic Sounds

 And stepping Dr. Lateef did, thanks to Eternal Wind and the tireless Rudolph.  Even so, there was time for teaching and composing, to say nothing of his other artistic ventures into writing and painting, and running his record and publishing company, FANA Music.

His beloved wife Tahira passed in 2009, Dr. Lateef later remarried  Ayesha, and his final days were as fruitful and productive as ever, and he leaves a remarkable legacy of cultural achievements.

“I daily and nightly thank Allah for continuing to bless me and to allow me to bring love, peace and joy to the world,” he wrote.  And that love, peace and joy resonates with all the conviction his formidable talent could command, and all we have to do is to listen to his music.

Dr. Lateef  is survived by wife Ayesha, his son also named Yusef Lateef, his grand-daughter Iqbal, and great grandchildren.  Funeral arrangements are in the planning stages.

The Master Sonic Alchemist left a healing sound….
Yusef images (2)

………A Gift that keeps on Giving

*****************

To watch Ahmad Jamal and Yusef Lateef
 Double Click on this link

http://youtu.be/X8DGIqgRF7Q

To Hear Yusef Perform “Stella by Starlight”
Double Click On Link Below

 http://youtu.be/X__EJMqQn5Q

By Herb Boyd

Special to Commentaries on the Times

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