Amiri Baraka, playwright, poet, activist, and author of Blues People, died on Thursday 9th January in Newark, New Jersey. He was 79 years old. May he Rest in Peace.
See the following report: Amiri Baraka Dies
Amiri Baraka, playwright, poet, activist, and author of Blues People, died on Thursday 9th January in Newark, New Jersey. He was 79 years old. May he Rest in Peace.
See the following report: Amiri Baraka Dies
As advertised by the Center for Black Music Research.
South Shore Opera Company of Chicago presents
Saturday, October 19, 2013 at 6:00 p.m.
South Shore Cultural Center
7059 South Shore Drive, Chicago
Tickets: $100 • $50 • $35
The $100 ticket includes a post-opera celebration including dinner. Please call 773-723-4627 for availability.
Purchase online at SouthShoreOpera.org.
William Grant Still’s Troubled Island chronicles revolution, the birth of a Black nation, and a charismatic leader’s epic fall from grace.
Troubled Island grapples with love and lust, trust and betrayal, set against the backdrop of Haiti’s historic battle for freedom. Jean-Jacques Dessalines, the opera’s central figure, shook the world, defeating Napoleon’s forces in the Caribbean, forging a new nation, and inspiring slaves across the globe. The libretto by Langston Hughes gives voice to all people fighting injustice.
mural of Jean-Jacques Dessalines in Port-au-Prince, Haiti
Still’s music exhibits a mature and original voice, projecting an easy virtuosity. His style combines the intensity and grandeur of late Romantic opera with the piquancy and dynamism of traditional African-American music.
Our not-to-be-missed single performance makes use of the composer’s own piano version, representing his authentic statement of the opera’s musical essence.
To celebrate South Shore Opera’s fifth anniversary, the internationally acclaimed conductor Leslie Dunner has been engaged to lead the singers in this masterwork deserving a place in the standard repertoire. Maestro Dunner leads an all-star cast.
The following article was written by Jared MacCallister and published in the New York Daily News, Sept. 14, 2013.
Those who think Caribbean immigrants are newcomers to New York really need to think again. The 79-year-old Antigua and Barbuda Progressive Society shatters that untruth.
The Manhattan-based organization will have its history and decades-long dedication to Caribbean culture and Harlem, and some of its artifacts, touted in “A Lighthouse in New York: Opening Reception; Panel Discussion,” a free exhibition at the Schomburg Center for Research in Black Culture, 515 Malcolm X Blvd. (at W. 135th St.), from 6 p.m to 9 p.m., in Manhattan, on Sept. 27.
“Everything is going very, very well,” society spokeswoman Mona Wyre Manigo said of the exhibition, which reflects the trials and tribulations of Caribbean peoples — here and abroad — over the organization’s first 50 years of exsistence. “It’s going to be an exciting moment for Antigua and Barbuda. I’ve looked at the documents and every time I think about it, I get chills.”
For example, said Manigo, there are documents about an urgent meeting calling “all Caribbean people in Harlem” to support a letter to Britain, demanding that the head of colonial Antigua be removed from office for mistreating island residents. Antigua and Barbuda gained independence from Britain in 1981.
The donated materials also contain historic correspondence from institutions and individuals, such as Antigua Trades and Labour Union President V.C. Bird, before he became Antigua and Barbuda’s first prime minister.
Donated in 2011, the historic records provide a detailed glimpse into migration to New York and the life and pursuits of new arrvials. The records will later be available for researchers.
In 1934, James Roberts and 22 other Antiguan immigrants started the Antigua Progressive Society, which was incorporated the following year with the goals of promoting their culture, aiding members and their families in times of sickness and death, aiding their Caribbean homeland and encouraging “educational excellence” among youth.
The Antigua and Barbuda Progressive Society was created through a 2010 bylaw change designed to incorporate Barbudian New Yorkers who were served by the now-defunct Barbuda Benevolent Society of America. The Barbuda group was established in 1915 and lasted 62 years.
Today, Antigua and Barbuda Progressive Society members continue to work hard at maintining cultural — and many civic — commitments under a board of directors, including President M. Roz. Olatunji. The group meets monthly at society headquarters, the Antigua and Barbuda House on W. 122nd St. in Harlem.
In addition to aiding Antiguan and Barbudian nationals, the children in the Harlem and other projects, the group fulfills its civic responsibility by participating in the Mount Morris Park Community Improvement Association, Central Harlem’s Community Board 10 and the 28th Precinct Community Council.
In October, the society will commemorate its birthday with a 79th Anniversary Celebration and Awards Banquet, “Honoring Our Past and Embracing Our Future.” The event will be held Oct. 19 in the faculty dining hall of the City College Of New York, 160 Covent Ave., from 7 p.m. to 11 p.m. Donation is $75 and proceeds will aid the organization’s building renovation fund.
Read more: NYDailyNews
The following, which pays homage to steelpan great Earl Rodney, was written by Zahra Gordon and published in The Trinidad Guardian Newspaper, June 25th, 2013.
At the peak of his solo career, musician and arranger Earl Rodney was travelling frequently between the UK, the US and Trinidad performing at various events. Since 2008, he’s been based in Trinidad and has remained largely out of the public eye.
According to Rodney, travelling was rough and a well-deserved break was needed. The 75-year-old Point Fortin-native has spent a lot of time working on his garden, finishing his home, and generally relaxing.
This does not mean, however, that he’s given up music. During an interview with the T&T Guardian last week at his home in Point Fortin, Rodney said he is still learning.
“I keep playing all the time. I’m improving. Everyday I go on my pan and find out things I didn’t know before. It’s like you’ve never seen the pan before. I haven’t reached a bottleneck yet. It’s like out there (pointing to the sky), there’s no end.”
A few more “outings” are turning up for Rodney this year, however. During Carnival he performed at a Trinbago Unified Calpysonians Organisation (TUCO) event and in May was featured in the Point Jazz concert as part of Borough Day celebrations. Last weekend he was also the featured artist at the birdsong Benefit Concert held at the National Academy for the Performing Arts (NAPA). Working with birdsong, Rodney has been introduced to young musicians whom he can envision future work with. Making a connection with real musicians, who have both talent and dedication is a rare occasion, according to Rodney.
Although Rodney said he’s able to bridge generational gaps, he doesn’t see himself fitting in with today’s local music industry.
“All over the world there’s a downgrade in music. You go to England you’ll hear the same complaints. In between there’s some good ones that could last a few years,” he said. “But these people who are into the Carnival thing, I wonder if they can remember the Road March or the Soca Monarch from last year. I hate to say that and I wish I didn’t have to say it. People used to sit down to write and arrange music for people to dance. It’s a different time and these people are enjoying their time, but for me, the music isn’t going anywhere.”
Rodney may best be known for his winning Panorama arrangements for Solo Harmonites and his work on iconic calypso music. As a member of the Troubadours he arranged seven albums for the Mighty Sparrow. He has also arranged and played with Lord Kitchener, Arrow, Black Stalin, Valentino, Lord Melody and Explainer, to name a few. Although Rodney has worked extensively in calypso, he admitted that his favourite genre is Latin.
“Almost everything I do has a little Latin in it,” he said. Rodney shared that while growing up in Point Fortin, it was Latin music that filled nightclubs.
Rodney is also remembered for his 1972 recording Friends and Countrymen. He has recorded two other solo albums: Steelband Music (1999) and Pure Original Music (2002). Rodney said he has all intentions of recording another album and developing new methods to record live steelband music, which can often be difficult.
“We need a good way to capture pan and I don’t know how come we haven’t come up with one yet,” he said.
His formula for longevity and the large body of work come from an undescribable source, he said.
“For me it’s not a labour really because most of my compositions just come to me. Sometimes I do sit down and manufacture something, but other times it just comes from nowhere. I’ll be watching TV and just hear music in my head. These things are magical. Music for me is a natural thing.”
Earl Rodney was co-founder of Tropical Harmony Steelband and a former member of the T&T National Steelband. He was also a bass player in the band Dutchy Brothers during the 1960s and 70s. As arranger for Solo Harmonites, the band won four Panorama titles.For the original post:
Pelham Goddard, the man behind this fortnightly special, has been responsible for some of the biggest soca hits of the last four decades. He has been the musical genie behind the late Maestro, Calypso Rose, SuperBlue, David Rudder and Chris “Tambu” Herbert.
Musician, arranger, producer, Goddard began his career at a very early age, since the days of the combos, graduating into the studio as the keyboardist for all the big name artistes of the era. He played everything, be it calypso or local pop ballads and was eventually also part of the creation of a new hybrid calypso genre, made by Lord Shorty, the late Ras Shorty I.
In 1975 a small group of musicians which comprised of drums, bass, guitar, saxophone and Goddard on keyboards formed a band and called it Sensational Roots. The band was based at KH studios in Sea Lots where it did most of the studio’s products on its label, on the Kalinda label. The quickly hailed as the country’s top studio band and was hired the do a project with the Wild Fire singing group, embarking on a whistlestop tour, traversing the entire nation, with star guests like Mavis John. Roots also worked with celebrated playwright Derek Walcott on one of his productions at The Little Carib Theatre in Woodbrook.
In 1976, when the studio upgraded to 16-track facility, New York-based Trini entrepreneur Rawlston “Charlie” Charles signed Goddard and Roots to record the calypso Savage with Maestro. The single was a mega hit. That year, Roots also was also a hit for Labour Day Carnival. After producing Kitchener’s Christmas hit Drink A Rum, Charles decided to sponsor Roots as a road band. Now known as Charlie’s Roots, the aggregation set about promoting the new wave sound of soca.
On Charles’ CR label, in 1977, Roots produced two songs for Maestro–Calypso Music and Play Me. The band also did More Tempo and Action Is Tight for Calypso Rose, and she won the Road March title, a first for Goddard.
After the Carnival ’77, Roots returned to New York and purchased all the instruments and equipment to start Charlie’s Roots, officially launched in July 1977. Ironically, simultaneously, on the same night of the launch, a new mas band was launched by a talented artist who would change the face of T&T mas forever–his name was Peter Minshall. Minshall and Charlie’s Roots remained joined at the hip for the next 15 years.
In 1978, Calypso Rose repeated the Road March with Goddard’s arrangement of Come Leh we Jam. What happened next was a slew of Road March victories for Goddard, producing hit after hit for Blue Boy (SuperBlue), Penguin, Rudder and Tambu. To this day no one has matched Goddard and Roots record of 12 Road Marches and most popular songs. Included among these hits are Soca Baptist, Rebecca, Ethel, No No We Aint going home, Free up, Bahia Girl, The Hammer, This party is it, Permission to mash up the place, and Bacchanal Lady.
In 1985, Goddard and Roots introduced Caribbean Night, on a Thursday night, at Atlantis Club in West Mall, later renamed Upper Level Club. This programme that grew into something very massive as the aggregation showcased all the music of the Caribbean.
The second coming Caribbean Night has quickly become a regular fixture at The Mas Camp. Blessed with a wealth of superb musicians, Goddard and Roots are guaranteed please crowds at any kind of event.
The band comprises of a 12 piece orchestra and can be contacted for bookings at 738 6940/628 1823, or by e-mail at firstname.lastname@example.org.
For the original report go to http://www.guardian.co.tt/entertainment/2013-06-05/roots-jam-3canal-caribbean-night
Posted in Bibliolore, May 31, 2013
Before the 1950s, all railroad tracks in the U.S. were laid and maintained by hand labor. In the segregated South, this work was mainly done by black men.
The section crews responsible for maintaining the tracks were sometimes known as gandy dancers, probably because of the coordinated rhythmic movements required for repositioning tracks that had become misaligned. They synchronized their movements with call-and-response singing of improvised couplets and stock refrains.
For the original post: Gandy dancers | Bibliolore.
The following appeared in Bibliolore, Feb. 24, 2011.
Ever since the publication of his African Music in Ghana (Evanston: Northwestern University Press, 1963), Joseph Hanson Kwabena Nketia (b.1921) has been reknowned among ethnomusicologists. His distinguished career has included many fine publications on music in Africa and its diaspora. The first volume of his collected papers, Ethnomusicology and African music: Modes of inquiry and interpretation, was issued by Afram Publications in 2005.
Nketia’s extensive background in musicology gave him the tools to revolutionize the analysis of African drumming, and since the 1980s he has produced landmark articles on more general aspects of ethnomusicological theory. He is also a composer—he studied with Henry Cowell in the late 1950s—who has written works for both Western and African instruments.
For original post: J.H.K. Nketia, Ghanaian ethnomusicologist | Bibliolore.
The following review of Lara Putman’s Radical Moves was written by John Cline and published in the Los Angeles Review of Books, June 2, 2013.
IN 1987, THE EMINENT ETHNOMUSICOLOGIST Richard K. Spottswood compiled an LP for Arhoolie Records titled Where Was Butler? It was subtitled “A Calypso Documentary from Trinidad,” and features many of the stars of the island’s music scene from the 1930s, including Attila the Hun and Growling Tiger. While this record has never been re-released on CD, nor is it available on iTunes, its 16 tracks constitute one of the most fascinating calypso collections ever produced. Long before Public Enemy’s Chuck D proclaimed his oft-repeated maxim that hip-hop is the “black CNN,” calypsonians from Trinidad were narrating the struggles experienced by the island’s oil field workers, led by one Tubal Uriah “Buzz” Butler. In addition to being a labor leader, the Grenada-born Butler was also a Spiritual Baptist preacher, a faith practice then outlawed in Trinidad due to anxieties provoked by its Pentecostal-like emphasis on shouting and physical “possession” by the Holy Spirit.
You Tube – “Where was Butler”, Raymond Quevedo -Atilla The Hun.
Butler is a major figure in Lara Putnam’s Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age, his life illustrating the core thesis of her book. In her conclusion, Putnam states that:
black-internationalist and anti-colonial movements that would shake the twentieth century were rooted in the experiences of ordinary men and women — not only the cosmopolitan streets of Harlem and Paris but also in the banana ports and dance halls of the tropical circum-Caribbean.
Radical Moves thus implicitly offers a corrective to conventional histories of African Diaspora. Paul Gilroy’s 1993 The Black Atlantic: Modernity and Double Consciousness stressed the international character of the literature and politics of African-descended peoples in the 20th century, and focused his attention on major figures like W.E.B. Du Bois and Richard Wright. In the ensuing years, scholars like Brent Hayes Edwards and Minkah Makalani have expanded on Gilroy’s “Black Atlantic,” focusing on metropolitan centers like New York, Paris, and London, filling in the details with somewhat lesser known individuals and organizations. These authors, like Gilroy, prefer to write about individuals with international profiles and concrete political movements, from Claude McKay to the African Blood Brotherhood in Harlem and from George Padmore to the International African Service Bureau in London. In Radical Moves, however, Putnam chooses to focus instead on “the forgotten editors of port-town newspapers and the many thousands of men and women who read their pages and debated the merits in rum shops and butcher store queues.” Within the historiography of the African Diaspora, this is a shift akin to that between the union-centric studies of the “Wisconsin School” of labor history and the opening up to the quotidian of E.P. Thompson’s The Making of the English Working Class.
For the full original report: Los Angeles Review of Books – Calypso and Caribbean Migration: Lara Putman’s “Radical Moves”
The following article was written by Janine Charles-Farry and published in The Trinidad Guardian Newspaper, May19, 2013.
Music lovers across T&T can look forward to May 25, for the launch of Imbizo Moyenne, the new album from Moyenne, touted as one of the best Caribbean jazz bands to come along in many years.
The band, led by Chantal Esdelle, will be giving a concert performance of music from the album at the Little Carib Theatre on the corner of Roberts Street and White Street, Woodbrook.
In fact, the Zulu South African phrase Imbizo Moyenne was the inspiration for the band’s name. In an interview with the T&T Guardian, Esdelle reminisced on the spiritual inspiration behind the band’s choice of name: “I was given the phrase by Thabo Letsattle, a friend of mine at college.
“I had asked him how I could describe a piece I had written that symbolised people coming together in response to the call of a shaman. The piece Imbizo Moyenne has gone through several changes since then and is the title track of our new album.
“I took the word Moyenne to mean that call, our call, to create and perform music.”
This call to music has led the band to perform in the category of Caribbean jazz, which incorporates influences across several genres including calypso, son cubano (a style of music that originated in Cuba), reggae and zouk.
The band was formed in 1998 after Esdelle returned to Trinidad from attending the Berklee College of Music in Boston where she studied jazz composition.
In Moyenne, Esdelle plays keyboards and is the vocalist as well as a composer.
The journey began with Glenford “Kevin” Sobers, an accomplished panman, arranger for the steelband New Age Trendsetters and pan ramajay solo winner.
“I had just returned home from Berklee and my long-time friend Kevin Sobers had just come home as well from performing for an extended period in Japan. We did our first two gigs as a duet.”
Next came Donald “Junior” Noel, percussionist and master drummer of the Northwest Laventille Cultural Movement. In 2003, Moyenne’s resident bassist Douglas Redon, long-time and recognised member of Phase II Pan Groove and resident arranger for Woodbrook Modernaires, joined the group followed by Darren Sheppard, leader of the band Fusion and the Darren Sheppard Project, who has been the drummer since 2009.
The new album, Imbizo Moyenne, was recorded as part of The Ethnic Jazz Club’s Sound Connection project, which is connected with the Empresa de Grabaciones y Ediciones Musicales (EGREM)—Spanish for Enterprise of Recordings and Musical Editions.
The EGREM is one of Cuba’s oldest recording labels and is also responsible for the MUSICUBA project, which is the leading recognised Cuban artistic representation agency for artists, technicians and performers.
Through the Sound Connection project, a three-man sound engineering team was contracted to record and master three musical groups of which Moyenne was one.
“A seven-year relationship with Alexis Vazquez’ team in Cuba proved to be a platform on which an easy sibling-like relationship materialised between me and the audio engineers from MUSICUBA-EGREM,” said Esdelle.
“Fito, Luis and Reinier did not just come and work for me, they worked with me on the project. Victor Donowa and his team from Audio Works went all out to make sure we had the equipment we needed.”
In the vein of collaboration and the exportation of artistic services, the MUSICUBA project in collaboration with the Ethnic Jazz Club, assisted with the recording of this latest album by Moyenne. They incorporated their knowledge of sound recording and engineering and their experience in live recording engineering for the leading bands in Cuba.
Esdelle said, “Moyenne was magnificent. The process of preparing for our recording during Sound Connection made me notice, yet again, that these musicians value their relationship with me.
“Kevin, Junior, Dougie, and Darren, showed up, in every sense of the word, for rehearsals, for the recordings and with their compositions. Playing with them is always a joy and a blessing.”
For original article: Moyenne