As Good Black News continues to celebrate African-American Music Appreciation Month, today we bring you a playlist reflecting our current times. In GBN contributor Marlon West‘s words:
“We are all in the midst of the largest demonstration for civil rights in history. People all over the globe have taken to the streets. 2020 has also brought new songs of protest by many artists including YG‘s “FTP,” Che Lingo‘s “My Block,” Tre Songz’ “2020 Riots: How Many Times” and others.
This playlist features those tracks, plus several hip-hop classics such as Kendrick Lamar‘s 2015 protest anthem “Alright,” Beyoncé’s “Formation,” Kendrick and Bey’s collaboration “Freedom,” “U.N.I.T.Y.” by Queen Latifah, “Fight The Power” by Public Enemy alongside several civil rights anthems from the 1960s and 70s (Donny Hathaway‘s “Someday We’ll All Be Free,” Sam Cooke‘s “A Change is Gonna Come,” Marvin Gaye‘s “What’s Going On”).
Please enjoy. Stay safe and sane out there, you all.”
We talk about how African Americans invented rock and roll. We talk about the great musicians Scott Joplin and W.C. Handy, the giant of ragtime and the “Father of the Blues.” Before rock and roll was a gleam in Chuck Berry’s mother’s eye, Jazz was the great American music form, a creation of Black artists.
And of course, rap and R&B rule the Billboard charts in the 21st century. And a century before Lil Nas X reimagined country music, the genre was born with the help of the banjo, a descendent of the West African lute brought to America by Africans who were enslaved, and with inspiration from early forms of Black music, such as spirituals and “field tunes.”
But there’s one more great American musical tradition, one where the contributions of Black people is sometimes forgotten, often under-appreciated. Maybe it shouldn’t surprise us that African Americans are often ignored when the discussion turns to the history of the Broadwaymusical, when Broadway itself is known as the “Great White Way.”
Broadway has never been an easy world for an outsider to break in, even when that outsider is White, wealthy, and part of the New York establishment. Mounting a Broadway show costs a small fortune, and there’s no cheap or easy way to distribute it. It’s a medium for people with powerful connections or large assets.
But African-American artists have made a tremendous impact, primarily as writers and performers, but also as creators of source material for Broadway shows and music. I don’t profess to be a historian of Broadway or African-American music, but I will do my best to take you on a fan’s journey through the long, storied history of African Americans and Broadway.
Savion Glover in “Bring In ‘Da Noise, Bring in ‘Da Funk”
To limit the scope a bit, this playlist is focused on Broadway shows only, ignoring the contributions made to Hollywood musicals, Off-Broadway, regional theater and West End theater in London. And even though I could add another hundred amazing cuts (thanks to Hamilton, Dreamgirls, Jelly’s Last Jam, etc.), I’ve limited the playlist to one crucial number from each show… with two notable exceptions (and for good reason).
These liner notes contain a short intro for every cut, but you don’t need them to enjoy the music. So without further ado, curtains up on the historic African-American tradition on Broadway, aka the Great Black Way.
Personal note: This playlist is dedicated to Good Black News’ Lori Lakin Hutcherson (who suggested and inspired it, and who has always inspired me), and musicologist Chris Molanphy, whoseSlate columns on music and podcast Hit Parade feed the hungry amateur music historian in me.
“I’m Just Wild About Harry” (1921)
Even though Shuffle Along was not the first Broadway musical featuring a Black cast in a Broadway theater (that distinction belongs to In Dahomey in 1903), it was the first Broadway musical written, composed and performed entirely by Black artists. Previous to the opening of Shuffle Along, there hadn’t been a successful “Black musical” on Broadway in 12 years, which made it particularly hard to mount the production. (Not to mention the fact that just a couple of decades before, African-Americans were prohibited from performing for White audiences, unless in – believe it or not – blackface). But Black vaudevillians Flournoy Miller and Aubrey Lyles teamed with Eubie Blake and Noble Sissle (who wrote the music and lyrics) and put every nickel they could find into creating this musical comedy. It paid off; Shuffle Along was a huge success. Shuffle Along deserves note for a few other reasons. It was the first production where a White audience witnessed two Black people on stage romancing and touching each other. It also helped launch the careers of two legends – Paul Robeson and Josephine Baker.
Ol’ Man River” (1927)
Six years before Jerome Kern and Oscar Hammerstein II wrote Showboat, a musical about a Mississippi River showboat, Paul Robeson was making his powerful baritone heard in Shuffle Along. His star only grew from there, and Hammerstein and Kern specifically wrote the crucial Showboat role of Joe for Robeson. Sadly, he wasn’t available for the original production, but took over the role in the 1932 revival and the film adaptation. Because one can’t think of Ol’ Man River without thinking of Robeson, his is the version I’ve included on this playlist. When Hammerstein and Kern adapted the Edna Ferbernovel that among other things deals with prejudice in the South, they changed Broadway forever. It is generally considered the first successful musical to bring a serious topic to the genre, which was a revelation after years of vaudeville, revues, and musical comedies. It was also the first well-known racially integrated musical and the first musical to deal with the issue of interracial marriage. And it also has its share of controversy due to the stereotypical use of vernacular and its outdated stereotypes. But it was another milestone for African-Americans on Broadway.
“Summertime” (1935)
So much has been written aboutPorgy and Bessand its treatment of African-American characters, both bad and good. Porgy and Bess has its detractors and supporters. It is a troubling artifact of American culture’s history of the depiction of African Americans. But no one can deny the impact the show has had on American pop culture. In fact, “Summertime” is one of the most covered songs in history (over 25,000 times)! Which is why, instead of featuring the original version, I decided to include one of the most famous covers, by Ella Fitzgerald and Louis Armstrong. This is also to make the point that just as Broadway has used African-American artists, African-American artists have used Broadway music to great advantage. In fact, Louis Armstrong makes one more appearance on this playlist, in a similar historical role.
Even as our nation is in the grips of a necessary battle against injustice and institutionalized racism, we will not temper the celebration of our culture and our contributions to it.
June isAfrican-American Music Appreciation Month and typically there are scores of live concerts and performances to honor the beauty, art, respite, truth, wisdom, information, strength, joy and freedom in the music Black people have created in this country – no matter the circumstances – and still create to this day.
But since live gatherings are not possible in the foreseeable future, Good Black News wants to provide another way to honor our past and present musical greats during this time. All month, we will be offering playlists from myriad genres, artists and themes save one: they will all be in tribute to African American music.
To kick us off first is GBN contributor Marlon West‘s expansive offering. In Marlon’s words:
“It’s June and that brings African-American Music Appreciation Month! While President Jimmy Carter initiated as “Black Music Month” back in 1979, I’ll admit, that I was sleeping on it until it was rebranded as African-American Music Appreciation Month by President Barack Obama.
In his 2016 proclamation, he noted that African-American music and musicians have helped this nation “to dance, to express our faith through song, to march against injustice, and to defend our country’s enduring promise of freedom and opportunity for all.”
Here’s my freewheeling, daylong, genre-jumping offering celebrating AAMAM. In the weeks to come, I’ll do deep dives on specific styles and/or artists. So get ready to immerse yourself in the music of your favorite Black artists and genres.
Whether it’s Jazz or Neo-Soul or classic Rhythm & Blues or hip-hop, let the music speak to you. Share old favorites and the newly discovered on social media using #AfricanAmericanMusicAppreciationMonth and #AAMAM.
And always stay safe, sane, and kind you all. Damned if that ain’t getting harder to do the days.”
In earlier Stevie Wonder playlists this month, GBN has featured playlists devoted to cover versions of the songs from “Songs in the Key of Life” and from “Talking Book.” Today’s playlist, in our month devoted to the music of Stevie Wonder in honor of his 70th birthday, features the music of “Innervisions.”
By 1973, Stevie was already on an impressive streak. Now having complete creative control over his work, both “Music of My Mind” and “Talking Book” from the previous year were tremendously successful both commercially and creatively. “Innervisions” took things to the next level.
Beautiful ballads of love like “Golden Lady” and “All In Love Is Fair” are intertwined with the political commentary of “Living for the City” and “He’s Misstra Know-It-All.”
It was a new kind of soul album and it all worked – kicking off an unprecedented streak of winning Grammy Album of the Year awards for three of his releases in a row.
This covers playlist differs from the other two albums. This time, instead of switching up genres from song to song, we’ve delved deeper into jazz versions of songs from “Innervisions.”
Stevie has been an immensely influential musical force among the jazz community. Jazz musicians are constantly covering Stevie – and many have done tribute albums devoted solely to his compositions (Nnena Freelon, Stanley Turrentine, and Najee to name a few).
Nevertheless, though we’ve confined the playlist to jazz, we’ve tried to mix up jazz styles and instruments, including everything from avant garde vocalists to smooth jazz saxophone. We hope our Innervisions playlist is a great vehicle to explore jazz styles, from the comfort of already knowing all the twists and turns of the original songs by heart.
As Good Black News enters the last week in our month-long celebration of Stevie Wonder‘s 70th birthday via posts and playlists, we thought we’d kick it off with something a little different.
While we still have several more great Stevie-themed playlists to share in the final days of May, today GBN is asking you to join in the fun!
If you were stranded on a desert island and could only bring 20 Stevie Wonder songs with you, what would they be? And why? Please share your own Spotify list or written list in the comments!
GBN contributor Marlon West gamely took up this challenge to pave the playlist path. In Marlon’s words:
“Here’s my last offering/delightful assignment of this monthlong celebration of Stevie Wonder’s 70th Birthday. Twenty Stevie Wonder songs you’d take to a Desert Island. Here’s mine. It is not an “essential” list or a “best of.” This is a collection of 20 songs that have enduring appeal to me personally.
You may notice my list leans heavy on 1980’s “Hotter than July.” It was the record that came out when I was rolling around in my parents’ car as a freshly-minted driver. I wore that cassette tape out. So that record looms large for me.
What’s your list look/sound like? Please share yours in the comments.
June is African American Music Appreciation Month! See ya next week with the first of my four offerings for that month-long tribute.
Ever since this writer was elementary school age and first becoming aware of music, I’ve been obsessed with the artistic connections created by “cover” versions (“remakes,” in layman’s terms).
My father and I would routinely spend a Saturday night pairing together interesting playlists for each other comprised of original versions and their remakes, usually trying to find versions as far apart musically from the originals as possible.
Several decades ago, this was very labor intensive – we had to go ‘digging in the crates’ through our own vinyl, and we had to actually know and remember that the cover version had been done. Piecing it all together was half the fun.
Today, with Spotify and the internet, it’s much much easier to uncover covers. Just type in the song name and often you’ll find hundreds of options to pick from, especially when we’re talking about Stevie Wonder, who has literally had thousands of remakes done of his songs.
So many versions, in fact, that it’s impossible to weed through them all. (According to SecondHandSongs.com, a website devoted to ‘cover’ songs, Stevie is the most covered R&B artist of all time.)
So with today’s Stevie Wonder playlist from GBN, I’ve limited myself to covers of songs from his landmark 1976 double album “Songs in the Key of Life.” “Songs in the Key of Life” capped a prolific mid-1970s golden era for Stevie Wonder, winning him a remarkable third Grammy for Album of the Year – all three of his wins coming in just four years! Many lists feature “Songs” as one of the best albums of all-time.
You may ask – why should I listen to cover versions when the originals are so perfect? I certainly won’t argue with the originals’ perfection. And I don’t think that any of the artists here would argue either that their version supersedes Stevie’s own.
What I would say is that cover versions can do several things. First, they evoke the true songwriting abilities underlying the original song – a great ‘song’ should be able to stand up to multiple interpretations.
Second, when the cover version is in a different genre (and these are the most interesting ones, usually) – they can bring the listener to new places musically that they may not have ventured before. Third, after hearing an iconic album so many times that it becomes almost second nature, it can be refreshing to hear it again in a new way.
In this playlist, we’ve got the entire ‘Songs in the Key of Life’ song list, in the same order as the original – with the four ‘bonus tracks’ from the extra single included in the original release added to the end.
Each song has only one extra version – and each covering artist is limited to just one track. The mix spans jazz, folk, rock, Latin, soul, dance music and many more, including Luther Vandross, Thelma Houston, Najee, Mary J. Blige and James Taylor‘s brother Livingston Taylor. There’s even a Spice Girl in there if you look for her!
Stevie Wonder told us with his very first hit, ‘Fingertips,’ recorded when he was 12, that he was a harmonica master. Somehow, through all the genius songwriting, singing, production and keyboard innovation, we tend to forget about those harmonica skills.
But Stevie hasn’t.
His unmistakable harmonica blowing is right there, easy to find in such Stevie favorites throughout his career including ‘I Was Made to Love Her,’ ‘Isn’t She Lovely,’ ‘For Once In My Life,’ ‘That Girl,’ ‘We Can Work It Out,’ ‘Boogie On Reggae Woman,’ and even 1990s gems like ‘Treat Myself.’
Although he does play that Hohner Chromonica often on his own records, Wonder actually seems to utilize his harmonica skills most frequently as a means to collaborate with other artists.
From the 1960s to today, he’s played harmonica as a guest session man on over 150 songs from other artists. That’s more than 10 whole albums worth of additional Stevie-infused material!
To celebrate that part of Stevie’s career, today’s GBN Month of Stevie playlist is entitled “The Wonders of Stevie’s Harmonica,“ where we’ve amassed every Stevie Wonder harmonica guest appearance that we could find on Spotify into one huge list.
You’ll find a few famous hits – Chaka Khan’s ‘I Feel For You,’ Elton John’s ‘I Guess That’s Why They Call It The Blues,’ Sting’s ‘Brand New Day,’ R&B classics from DeBarge’s ‘Love Me In A Special Way’ to Jermaine Jackson’s smash ‘Let’s Get Serious’ (which Stevie also wrote and produced). And one of my personal favorites, the Eurythmics #1 UK hit ‘There Must Be An Angel (Playing With My Heart).’
And though he hasn’t released a full album of new work since 2005, Stevie Wonder has stayed relevant to the charts through these harmonica-based collabos. That’s Stevie’s harmonica on Drake’s ‘Take Care’ album – the #1 album of 2012.
He appears twice on the Mark Ronson 2015 album that contained the #1 song of that year, “Uptown Funk.” And just last year, that was Stevie’s harmonica again on rapper Travis Scott’s chart-topping album “AstroWorld.”
But going on Stevie Wonder’s harmonica journey through music takes you to more than just the top of the charts. One of the special things about being Stevie – a sonic force for nearly 60 years – is his wide-ranging love of music across all genres and generations, and his ability to play with all those people.
(photo via youtube.com)
While many associate the harmonica mostly with blues and folk sounds, Stevie takes the instrument to new places. To be expected, his harmonica is present in the work of his Motown compatriots from the Supremes to the Temptations to Smokey Robinson.
But he’s also played with the finest in rock music (Paul McCartney, James Taylor), popular standards (Barbra Streisand, Tony Bennett), world music (Sergio Mendes, Djavan), jazz (Robert Glasper, Herbie Hancock, Dizzy Gillespie), pop (NSync, 98 Degrees, Mariah Carey), hip hop (Drake, Snoop Dogg) and gospel (BeBe Winans, Andrae Crouch). (Stevie, of course, has also ventured into Broadway, but the version of Rent’s ‘Seasons of Love’ with his contributions isn’t available on Spotify. But you can hear it here.)
The list closes with another personal favorite, this one from Stevie’s own catalog – his harmonica infused take on the classical holiday piece ‘Ave Maria’ – written in 1825 and sung primarily by opera singers through the centuries.
The 45-second harmonica solo here is simple and majestic, and completely at home within a classical music space, something I think only Stevie Wonder could achieve with this instrument.
Come take a ride on Stevie’s harmonica highway – and listen out for that unmistakable sound. As with most musical adventures, we hope you will find something unexpectedly nice along with way.
Special thank you – assembling this playlist wouldn’t have been easily possible without the massive amounts of information on the fan website www.steviewonder.org.uk .
And, posthumously, the one and only Ida B. Wells was awarded a special citation for her reporting on lynchings in the late-19th and early 20th century.
The Pulitzer Prize awards were established in 1917 through money provided in the will of Joseph Pulitzer, who had made his fortune as a newspaper publisher. The Pulitzers are given yearly in twenty-one categories. In twenty of the categories, each winner receives a certificate and a US $15,000 cash award. The winner in the public service category is awarded a gold medal.
With his win for “The Nickel Boys,” Colson Whitehead becomes the fourth fiction writer to win the prize two times (Booth Tarkington, William Faulkner and John Updike are the other three) and the first African American writer to pull off that feat.
Nikole Hannah-Jones, a writer at The New York Times Magazine, (whose Twitter handle, btw, is Ida Bae Wells, an homage to the woman who serendipitously was also honored by Pulitzer this year), mixed U.S. history and personal anecdote in her essay for the “The 1619 Project,” which worked to re-center the contributions of African-Americans, including enslaved people, to American history.
Over the weekend, Good Black Newsoffered a remembrance and playlist of one of the world’s most iconic and influential jazz singers, Ella Fitzgerald, in honor of her 103rd birthday. But what about those women who also contributed mightily to jazz but are not commonly recognized?
“This week’s playlist is inspired by Giovanni Russonello’s New York Times piece, “10 Women in Jazz Who Never Got Their Due.” This collection includes the oft-forgotten artists mentioned in the piece, including Mary Lou Williams, Jutta Hipp, Marian McPartland, Hazel Scott, Dorothy Ashby, Shirley Scott and Alice Coltrane, though it also features several current artists who are also frequently overlooked like Vi Redd, Nubya Garcia, Linda Oh and others.
This one was a real pleasure and education to compile. Do enjoy. And stay safe, you all.”
Although I’m typically calm-if-a-bit-nerdy when I meet artists I admire, there is one time in my life I fully lost my natural mind for someone. That someone was the woman and musical legend Good Black News is celebrating today, April 25, on what would have been her 103rd birthday – Ella Fitzgerald.
To set the scene, it was the day of my college graduation in June of 1990. I was standing in my black cap and gown next to my roommates, as the graduating class formed something akin to a Soul Train line for alumni, professors and distinguished guests to walk through on the way to taking the stage for the ceremony. I’d spent four long, great years earning a bachelor’s degree at Harvard in American History and Literature with a minor in African-American Studies. I also DJ’d at the college radio station 92.3FM WHRB all four of those years.
In addition to being all about hip-hop, house, R&B and dance music, I fell in love with jazz at WHRB, too. So much so that I got up several mornings a week to jock the 6-8am “Jazz Spectrum” program at WHRB, and even found a way to incorporate jazz into my senior thesis by comparing jazz autobiography to the slave narrative. Not exactly everyone’s idea of a page-turner, I know, but it was nice and egghead-y, earned me high honors from my department, and was a sneaky way to earn credit while spending time deepening my nascent love of jazz and jazz history.
So when I heard Ella Fitzgerald – the singer whose interpretation of “Lullaby of Birdland” took my heart and mind to heights of joy so unexpected that I immediately began to consume her versions of every standard as if they were musical narcotics – was on the list of people receiving honorary degrees from Harvard that year, I was beyond thrilled. Ella, Billie Holiday, Sarah Vaughan and Nancy Wilson were my personal Mt. Rushmore of jazz singers, and having her name indelibly connected to my class was momentous.
But I also knew she’d had some recent health issues (she was 73 at the time) and did not expect her to accept her doctorate in person. In fact, I was saying pretty much that to my roommate Susan as several of the distinguished graduation guests filed past us. And then I turned. And saw her. Elegant. Beautiful. Smiling. Ella.
There was a consistent smattering of applause accompanying every step she took. When I finally caught my breath, all that came roaring out of my mouth was the primal scream – “ELLLLLLLAAAAA!!!! ELLLLLLLAAAAA!!!” I couldn’t stop. I was hopping up and down and cheering and – as I said before – losing my natural mind.
I saw on my roommate’s face and other faces around me that amused “Damn, what exactly is happening to her right now?” look, but that was all in slow motion and I did not care because a national treasure was walking towards me. The architect of vocal improvisation and scatting and so much pure jazz singing greatness was in my sights, and I could not contain myself.
I think Ella heard me before she saw me, because I saw her glance my way, smile, then veer close enough to lay her hand on my forearm. Yes, that’s right, I can now and forever brag that the one and only Ella Fitzgerald touched me.
As I observed her small but mighty hand on my forearm, it reminded me of my grandmother’s. From it I felt a gentle squeeze – and in that squeeze she communicated her amusement, her thanks, and, if I’m being 💯 about it, encouragement to get a gotdamn grip on myself and attempt some level of decorum. I was at my college graduation ceremony, her hand reminded me, not Showtime at the Apollo. And then she kept going down the line and when no more dignitaries were left to file past us, we collapsed the Soul Train line and headed to our seats.
https://youtu.be/or1kqkeGXrI
I have no idea what else was said or done during the rest of that ceremony – I spent most of it plotting with my wing woman Karen Moody on how to get close enough to the stage so I could ask Ella for her autograph. Moody offered to distract the security guard once the ceremony was over – she turned on her gift of gab and I was able to glide by and up to Miss Fitzgerald with a pen and the only paper I had, my graduation program. Ella graciously signed it and smiled at me once again as security quickly became undistracted and pointed me away.
Thirty years later, when I look back on this moment, I can’t help but ask myself exactly why I went so crazy. The obvious answer is, duh – ELLA FITZGERALD – but it was such lightning bolt of energy that came through me, it was more than that. Back then I didn’t know much about her life, her professional or personal struggles, but something in me knew to honor the totality of who she was, what she’d gone through and what she gave to this world.
Ella Fitzgerald deserved (and got) a full body-and-soul shout out from the younger generation through me that day. To let her know that she was seen, heard, loved and would never be forgotten, particularly by those, like me, who present to the world in the same type of package.
And here I am again, thirty years later, shouting out love and appreciation for the one and only Ella, master of tone, phrasing, intonation, improvisation and interpretation, so the next generation may know her and pass on to the next their appreciation for one of the best to ever do it.
Below is a playlist compiled in her honor, as well as several other resources and links to foster even more awareness of the “First Lady of Song.” Love you always, Ella!
This covers playlist differs from the other two albums. This time, instead of switching up genres from song to song, we’ve delved deeper into jazz versions of songs from “Innervisions.”
His unmistakable harmonica blowing is right there, easy to find in such Stevie favorites throughout his career including ‘I Was Made to Love Her,’ ‘Isn’t She Lovely,’ ‘For Once In My Life,’ ‘That Girl,’ ‘We Can Work It Out,’ ‘Boogie On Reggae Woman,’ and even 1990s gems like ‘Treat Myself.’
With his win for “The Nickel Boys,” Colson Whitehead becomes the fourth fiction writer to win the prize two times (Booth Tarkington, William Faulkner and John Updike are the other three) and the first African American writer to pull off that feat.
