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<$1.31.2007$>
Lush Life: A PBS Special by Director Robert Levi
| I've been a fan of jazz music for as long as I can remember and as such, I have idolized certain iconic jazz figures; not the least of which is Edward Kennedy Ellington - the Duke. How could I not revere the leader of one of the hardest swinging big bands of all times and the composer of the classic "Take the 'A' Train"? Well, imagine my surprise when I discovered that Billy Strayhorn, not Duke Ellington, composed A Train and many other classic works heretofore credited to the Duke. Some credit Strayhorn with having written as much as forty percent of the Ellington Orchestra's material from 1939 through 1967.  Lush Life; a riveting documentary by filmmaker Robert Levi, depicting the life and career of Billy 'Swee'Pea' Strayhorn, revealed this and many other fascinating details about this unsung hero of the Harlem Renaissance.Levi, who first produced the documentary, "Ellington: Reminiscing in Tempo" said: "I realized how I, too, had been focused on the legend of Duke Ellington and had taken Billy Strayhorn's contributions during their 29-year collaboration for granted." "I wanted to set the record straight"; he added. This PBS special, scheduled to air in most cities on February 6, tells a compelling story of a man who dared to overcome poverty, racism, homophobia, and the burdens of musical genius by his collaborations with one of the giants of the twentieth century. Director Levi wants "viewers to experience one of the most significant collaborations in the history of the arts..." Through performances by featured artists like songstress Dianne Reeves, tenor man, Joe Lavano, and singer/composer Elvis Costello; countless on camera interviews by many of Strayhorn's and Ellington's family members and contemporaries, including Quincy Jones, Billy Taylor and Clark Terry; and an amazing collection of still photographs and vintage footage, I believe I got it. The experience Levi had in mind is inescapable. The collaboration between Duke Ellington and Billy Strayhorn was more than a partnership. Strayhorn was an extension of Ellington's muse as though he could hear what Ellington was hearing in his own head.  I am fortunate enough to own a copy of the documentary, so I was able to repeat the 'experience' at least a dozen times. What began to happen as I watched the piece a second time and then a third and so on, was that I began to have ah-ha moments; moments of, this reminds me of this and sounds a bit like that. One such ah-ha moment occurred while listening to accounts of the discrimination Strayhorn faced because of his expressed sexuality. His name was repeatedly omitted from credits or press releases for fear of backlash by a homophobic public. It prompted me to revisit the stories of James Baldwin and Bayard Rustin. It's interesting to note that, each of these outstanding Black men were openly homosexual; predating any Gay Rights movement. Activist, Bayard Rustin, who is credited with organizing the 1963 "March on Washington", where Dr. Martin Luther King, Jr. delivered his historic, "I Have a Dream" speech, is little known because it is believed his sexuality always drew negative attention to the movement. Brilliant author, James Baldwin who dealt openly with, among other things, the subject of homosexuality in his autobiographical "Go tell it on the Mountain" found his sexuality controversial. Oddly enough, the story also reminded me of one of my favorite fictional stories - the Phantom of the Opera. The theme of the Phantom saga is centered on plagiarism. The composer's original opera is 'stolen' by an unscrupulous publisher out to take credit and profit from the unknown composer's labor. Some of the interviewees believe that the relationship between Duke Ellington and Billy Strayhorn benefited the latter significantly enough to warrant Ellington's taking liberties with credit given and payment dispersed. I find the fact that Billy Strayhorn never received a royalty on "Take the A Train", known to be his original composition, unimaginable and unconscionable. The result for this viewer is discovering a new pivotal character in the Ellington era while revisiting a more complex Ellington. I have a new jazz hero in Billy 'Swee' Pea' Strayhorn; a brilliant composer, master arranger, poignant lyricist and virtuoso pianist. He wrote the words and music to the classic Lush Life at the age of sixteen - an amazing feat by any standard. Lush Life remains a classic and one of the most difficult songs in the jazz catalogue. Frank Sinatra attempted to record Lush Life but found it too difficult. He remained a Strayhorn fan, even to the point of trying, unsuccessfully, to 'steal' him away from Ellington. Strayhorn's personal story is also a classic. He was born in poverty in 1915 in Dayton, Ohio. The fourth of ten children, when he was eight years old his mother moved the family to Pittsburgh, Pennsylvania to join his father who had gotten a job there as a gas-maker and wire puller. The Strayhorn's lived in a two bedroom shack with no electricity. Billy was always small and somewhat frail and it was, at one point, not certain if he would survive severe childhood illnesses. In spite of adversity, Billy's mother, Lillian, armed with only a mother's vision for her child encouraged Billy to learn to play piano. In 1936 his father enrolled him in the Pittsburgh Musical Institute. The rest, as the saying goes, is history. As long as people like Robert Levi are willing to dedicate their resources to setting the record straight, the truth about the Billy Strayhorn's of history will be uncovered. Check out the PBS special, Lush Life. Visit www.PBS.org and enter Billy Strayhorn. Discover for yourself how this icon quietly influenced a generation with his passion for great music and his genius spirit. Article also published in Dallas Weekly |
<$1.16.2007$>
Duke, Whalum, Butler and Tisdale on 21st Century Jazz
| When I hear the name Duke, two vivid pictures come to mind. One is a conk-haired, debonair brother out of the 40's, seated at the helm of a nine-foot concert grand piano swinging a world-class big band like Bonds swings a bat - hard. The other is a brother who took the music scene by storm decades later, sporting a world-class fro and brandishing his weapon of choice - the Dukey Stick. Just as comfortable behind a nine-foot concert grand, George Duke, like his predecessor Duke Ellington, has left an indelible mark on the world of music.  Also like Ellington in his day, the George Duke biography reads like an encyclopedia of late 20th Century music; including but certainly not limited to jazz, fusion, funk, R&B, and pop. His list of associations is not just impressive; it's mind boggling. See for yourself on www.georgeduke.com. Between these two giants, the Duke name will likely span the better part of a century of popular western music. In a recent e-mail exchange with Duke, he made clear his concern about the future of Jazz music and what appears to be an increasing absence of afro-centricity in the music he loves. Duke observes over the last several years a leaning toward a more European textured jazz and diminishing elements of blues, gospel or what Duke calls "the Ancient Source." He says: "I'm referring to a long succession of musical feelings and ideas dating back to Africa... something is missing! I have to look hard to find that free expression of emotion..." Finally he says in what will surely become a classic Duke quote; "Jazz musicians are spontaneous composers versed in the art of theme and variations, counterpoint wizards, rhythmic voodoo doctors, melodic swans, harmonic oceans, creating what has yet to be created, constantly searching, assimilating and birthing a new music child." I found myself excited by the possibilities of what answers these questions might bring so I thought I would reach out to a few 21st Century artisans for further insight on this fascinating subject matter. It also provided an opportunity to discuss other issues and to get an update on their own current projects. I spoke with brilliant Memphis sax man, Kirk Whalum; Cape Town born, Grammy Nominee, Jonathan Butler and bass man Waymon Tisdale; the self-appointed "Ambassador of Old School and Keeping it Real." What would have ordinarily been three standard industry-career interviews will in this context be a closer look at the questions Duke posed. Kirk, a soft-spoken brother with a noticeably gentle spirit, attacked the issue with fervor. "Jazz like any other art form is so much bigger than we give it credit for," Whalum proclaimed." "Jazz is huge!"  I asked where he thought 21st Century jazz was headed and without skipping a beat Kirk offered; "Where hip-hop and jazz meet is where the future is, the music of young creative minds."I went on line to check out one example he gave; Soweto Kinch. I got it! (Check it out for yourself at www.sowetokinch.com.) I questioned premier guitarist/vocalist Jonathan Butler about Duke's observation about the European, technique oriented jazz artist. Butler declared, "Technique isn't everything. It's the choice of notes; the composition... that's why Miles (Davis) was great or Ellington.  Butler went on to say "You can go to school to learn but when you hit the streets you have to learn a different language. I can tell when someone went to Berklee and those who learned from the streets.""What's inside the music is where we learn," Butler said. Daring electric bass soloist Wayman Tisdale offered, "My quest is not to learn fancy licks or chops." He sites advice offered to him by one of his mentors, bassist Marcus Miller; "Come up with a tone unlike anyone else's." Tisdale, who feels his newest release "Way Up", showcases his "best playing so far," says "We're coming back around to real music."  He stressed the importance of his music being fun, funky and said he prefers his bass out front and "in your face." Interestingly, while Tisdale cites George Duke, Stanley Clarke and Marcus Miller as some of his biggest influences, he adds to that list Confunkshun, Lakeside and the Gap Band. He said with those bands, "When you heard a trumpet, you saw a trumpet." That's Tisdale keeping it real. While we're on the subject of keeping it real, when I asked Kirk Whalum to describe the Babyface Songbook project he said his intent was to make a "real record." When I pressed further for what he meant by "real record" he explained that he and producer Matt Pierson set out to record with real instruments with live musicians playing together in the same studio at the same time. If you know anything at all about sequencing and Pro Tools or generally recording in the digital domain, you'll understand just how profound a concept Kirk and Matt shared. In the first few moments of the first track "Exhale (Shoop Shoop)" it's immediately evident that it's the Whalum sound that will define the entire project. It's not the production or the arrangements; they are purposefully kept "out of the way." It's Kirk's perfectly soulful, bluesy interpretations of the popular Babyface melodies that make this an important collection of 21st Century jazz tracks. The Whalum sound is more like a voice than a horn. Luther Vandross once told Whalum; "I don't like saxophone"... "I like you... you play like I sing." To hear Jonathan Butler sing you may have to remind yourself from time to time that he's also playing the great guitar accompaniment you're hearing. It, of course, is reminiscent of the George Benson experience. You won't be surprised to know that Benson is one of Butler's biggest influences. Butler, a self-proclaimed "guitar junky" tells a great George Benson story. Jonathan said he began collecting guitars at a fairly young age and early on he bought, what is still one of his favorites; a George Benson signature model Gibson guitar - a GB-10. However, Butler like another of his guitar heroes, Jimi Hendrix is a lefty and the GB-10 is not offered in a left hand configuration. Years later Butler had the opportunity to meet Benson and didn't miss the chance to tell him about the vintage GB-10 in his collection. As Butler proudly tells it, years after the chance meeting; George Benson sent a GB-10 to Jonathan as a Christmas present - it was a lefty. I did ask Kirk, Jonathan and Wayman about their equipment of choice and while Wayman advised me; "It's not the equipment, it's the player," I found them each quite specific about their gear. Each player stressed the importance of the sound or voice; which is in keeping with Duke's observations regarding the soulfulness or bluesiness of the music. They also agreed in separate interviews that their preferred sonic environment is one that represents them accurately and honestly without unnecessary signal processing – no studio tricks please! I was curious to know from Jonathan Butler, what if a musician reached a certain point on a given continuum then ceased to experiment and explore. He says, "God is creative, you have to evolve all the time. Jimi Hendrix and the Gypsies evolved. We are artists and we have to keep growing." Butler went further to explain that although he was influenced by Benson, Earl Klugh, Stevie Wonder, Herbie Hancock, and a host of South African jazz musicians; there was a point at which that all began to "peel away and he was left with Jonathan." He says, "It's a process of every musician." There is one more corner of this question that intrigued me and that is the spiritual element of the music to come. While Duke cites the influence of gospel as vital to the music he loves, the most obvious examples to me are that of Kirk Whalum and Wayman Tisdale who are both sons of ministers and speak comfortably about that influence on their art. Whalum is readying his next release; "The Gospel According to Jazz Pt. III." Jonathan Butler is noticeably ecstatic about his upcoming "Praise Album" - it's his second gospel record and he says that's "where I am right now." One listen to Tisdale's "Sunday's Best" on his chart topping "Way Up" CD and you'll know that the "Ambassador of Funk and Keeping it Real" has an influence way up in a higher place. I might also say that if you wonder why you're feeling something deep in your soul when listening to "Sunday's Best," it's because you're being triple teamed. Label mate Kirk Whalum's tenor is taking you straight to church; right up to the altar to have hands laid on; and upon first hearing you may experience goose pimples when label mate Jonathan Butler adds vocals that can only come from one place - the Ancient Source. Welcome to the 21st Century! Article also published in Black Men's Magazine (Apr/May 2007) and Dallas Weekly |