According to Variety.com, Hulu has ordered from Lee Daniels’ company eight episodes of a biographical limited series about legendary entertainer Sammy Davis Jr. based on the book In Black and White: The Life of Sammy Davis Jr. by Wil Haygood. Elijah Kelley is set to play the lead role.
Daniels is writing the series with Thomas Westfall, as well as executive producing and directing at least the first two episodes.
Kelley, who has starred in musical projects such as BET‘s record-breaking New Edition miniseries in 2017, NBC’s The Wiz Live in 2015 and the 2007 remake of Hairspray, will collaborate on some of the show’s music in addition to starring and producing.
Davis rose from childhood stardom on the vaudeville stage to become one of the most famous African American entertainers of the 1950s and 1960s, famed for his impeccable tap dancing skills and his warm and inviting vocal style. Davis even overcame losing an eye in an accident and re-learned how to move onstage and perform.
At the same time, he faced several career challenges — over his relationships with white film stars, his 1960 marriage to Swedish actress May Britt, his conversion to Judaism, his closeness to the Kennedys and later Richard Nixon, his problems with alcohol and drugs, and difficulties with identity within the Black community as the times and attitudes changed.
In continued celebration of #JazzAppreciationMonth, today we drop in on virtuoso vocalist Sarah Vaughan, who hailed from Newark, New Jersey, and was dubbed “Sassy” for her salty conversation and “The Divine One” for the heavenly and serene singing feats she accomplished with her three octave range.
To read about Vaughan, read on. To hear about her, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Wednesday, April 13th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Today, we offer a quote from one of the finest vocalists and musicians ever to do it, she’s known as “Sassy,” “The Divine One,” she’s Ms. Sarah Vaughan:
“When I sing, trouble can sit right on my shoulder and I don’t even notice.”
Born in Newark, New Jersey in 1924, Sarah Lois Vaughan’s musical talent first revealed itself in church when she would clamor to sit with the organist instead of her mother.
As a teenager Vaughan snuck into local nightclubs to play piano, sing and perform. In 1942, she entered the famed Apollo Theater Amateur Night contest in New York and captivated the audience with her stunning performance of “Body and Soul.”
Here’s a version Vaughan later recorded of the song that was her calling card to her career:=
[Excerpt of “Body and Soul”]
Vaughan’s Apollo contest win lead quickly to a stint singing with the Earl Hines Orchestra before she joined fellow singer Billy Eckstine’s orchestra when he quit Hines to form his own big band.
In Mr. B’s outfit, Vaughan played, sang and improvised with burgeoning bebop innovators Art Blakey, Dizzy Gillespie and Charlie Parker before eventually going solo herself.
Vaughan carried the bebop style into her vocals, as can be heard in her version of “Lover Man” with Gillespie’s Septet from 1946:
[Excerpt of “Lover Man” 1946]
From the 1940s through the 1960s, Vaughan recorded with various labels, big and small, including Columbia, Roulette, Mercury, and Mercury’s jazz subsidiary, EmArcy.
Whether singing sweet pop or hot jazz, Vaughan’s vocals remained innovative, impressive and unparalleled. In 1947 she was the first singer to record and release “Tenderly,” establishing the standard for the standard:
[Excerpt of “Tenderly”]
Vaughan literally could sing anything – and did. She scored her first gold record with pop and R&B hit “Broken Hearted Melody”:
[Excerpt of “Broken Hearted Melody”]
And kept her jazz chops tight with her renditions of songs like “Nice Work If You Can Get It”:
[Excerpt of “Nice Work If You Can Get It”]
“Black Coffee”:
[Excerpt of “Black Coffee”]
And turned tunes like Erroll Garner’s “Misty,” which she recorded for her 1959 Vaughan and Violins album orchestrated and arranged by Quincy Jones, into something altogether ethereal:
[Excerpt of “Misty”]
In the 1960s and 1970s however, Vaughan experienced differing troubles with different record labels that didn’t know how to present or frankly even respect Vaughan in the changing musical times.
Just take one look at the clown with an afro photo on the cover of her 1974 Send in The Clowns album on Mainstream Records and you’ll get it.
But if you can’t do that right now, take a listen to the ‘70s vanilla pop/light disco production of the title track to get the point:
[Excerpt of “Send in the Clowns” – 1974]
After Vaughan sued Mainstream over the album cover and other issues, she signed with Norman Granz’s Pablo label and released albums of jazz standards and bossa nova inflected music, two of which were nominated for Grammys.
She also re-arranged and re-recorded “Send in the Clowns,” which went from being lawsuit-worthy to another of her signature songs:
[Excerpt of “Send in the Clowns” 1981]
Vaughan continued to lean into bossa nova-style music in the 1980s, and recorded her last full album, 1987’s A Brazilian Romance, with Sergio Mendes producing. A personal favorite of mine from that LP is the languidly stunning “So Many Stars”:
[Excerpt of “So Many Stars”]
In her lifetime, Vaughan received a star on the Hollywood Walk of Fame, was inducted into the Jazz Hall of Fame and received the National Endowment for the Arts Jazz Masters Award in 1989. Vaughan passed in 1990 and in 1998, her recording of “If You Could See Me Now,”composed specifically for her by Tad Dameron four decades earlier, was inducted into the Grammy Hall of Fame.
[Excerpt of “If You Could See Me Now”]
In 2002, Sarah Vaughan’s “Whatever Lola Wants” was a standout on the Verve Remixed2compilation, introducing her timeless voice to a whole new generation:
[Excerpt of “Whatever Lola Wants – Gotan Project Remix”]
In 2012, Vaughan was inducted into the New Jersey Hall of Fame, and for over a decade, the New Jersey Performing Arts Center has held an annual International Jazz Vocal Competition, nicknamed “The SASSY Awards” in honor of the one and only, the incomparable Sarah Vaughan.
Stream or buy on DVD the music documentary of her performing live 1958 and 1964 called Sarah Vaughan: The Divine One in 1958, watch the 1991 biographical American Masters documentary Sarah Vaughan “The Divine One” currently available on YouTube, watch clips of her live performances on YouTube and of course, buy or stream as much Sarah Vaughan music as you can online.
Links to these sources and more are provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.
And let’s hear Sarah Vaughan’s voice one more time – her speaking voice – from her 1964 live performance in Sweden of “Misty”:
“Thank you very very much ladies and gentlemen. I’m very nervous up here I got a cold today. The day I got to do TV I got a cold. That’s fine. But anyway I do you want to enjoy our show and right now I like to do a little tune that I recorded while I was over here and not in Stockholm but while I was in Paris in ’58. A tune that was written by Erroll Garner. I do hope you enjoy “Misty.”
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
All excerpts of Sarah Vaughan’s music included are permitted under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com,Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
In continued celebration of #JazzAppreciationMonth, today we drop in on the underappreciated yet cherished and deeply talented song stylist Nancy Wilson, who was at one time in the 1960s the second most popular act on Capitol Records behind only the Beatles.
To read about Wilson, read on. To hear about her, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Tuesday, April 12, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Ohio native Nancy Wilson claimed her gift early, knowing by age four she was meant to be a singer. Encouraged by jazz saxophonist and bandleader Julius “Cannonball” Adderley, Wilson moved to New York in 1959 and landed a contract with Capitol Records.
The success of Nancy’s debut single “Guess Who I Saw Today,” led to a rush of album recordings, and to that tune becoming one of the signature songs of her career:
[Excerpt of “Guess Who I Saw Today”]
Wilson’s classic 1962 album recorded with Cannonball Adderley [Nancy Wilson/Cannonball Adderley] contained her first Billboard R&B chart hit, the gorgeous ballad “Save Your Love for Me”:
[Excerpt of “Save Your Love for Me”]
From her 1964 album of the same title, Wilson scored her first pop hit, reaching number 11 on the Hot 100 chart with “How Glad I Am”:
[Excerpt of “How Glad I Am”]
Wilson won her first Grammy for that song and had four top 10 albums on the Billboard charts between 1964 and 1965, becoming during that period Capitol Records’ second-biggest selling act behind only the Beatles.
Wilson released more than 70 albums in her five-decade recording career, and won two more Grammys 40 years after her first win, both for Best Jazz Vocal Album, in 2005 for R.S.V.P. (Rare Songs, Very Personal) and 2007 for Turned to Blue.
[Excerpt of “That’s All” from R.S.V.P.]
In 2004, Nancy Wilson was honored as a Jazz Master by the National Endowment for the Arts, and for her work as an advocate of civil rights, which included participating in the 1965 Selma to Montgomery march in Alabama.
Although Wilson was lauded as a jazz vocalist, she preferred to think of herself a song stylist, as she drew from a variety of influences, which she spoke about in detail during an interview on grammys.com:
“So, consequently, I was exposed to male influences. From early on, I heard Nat Cole I heard [?????] Jackson and Louis Jordan – loved Louis Jordan. I heard Billy Billy, Mr. B. I mean, he was just, I mean, my father thought Billy Eckstine was like, couldn’t – he walked on water. He loved B. And I heard Little Jimmy Scott with Lionel Hampton‘s big band. I would imagine that was when I was around 10. So basically, it was all male. And, and not gospel. I heard Jimmy Cleveland, James Cleveland, and C.L. Franklin, and his choir from my mom used to play that. So, I got to hear it all. And I enjoyed all of it. And then of course, I became a teenager. I mean, I was allowed to go out.
And there was a jukebox where I heard Little Esther, and I heard Little Miss Cornshucks. I heard LaVern Baker. I definitely heard Dinah and I heard Ruth Brown – I used to love Ruth Brown. That was where I got the exposure to R&B females. Was a quite a while – I think I was pretty much almost grown like 15 when I became exposed to – Sarah had some hit pop songs and I heard Sarah Vaughan and that I loved. “I Ran All the Way Home” was my big song. Also one of my big numbers was the Ravens tune called “You Saw Me Crying in the Chapel.”
So I sang these songs in variety shows and I’m like ninth grade, 10th grade, so, these were the things that really made things happen for me. The fact that I did not I had no idea that you were supposed to be afraid, or that you needed to be nervous. Because to me that had no part of what I did. I was not nervous about it at all. Loved to sing – loved the lyrics to songs always. Yeah.”
Links to these sources and more provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
All excerpts of Nancy Wilson’s music included are permitted under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
In continued celebration of #JazzAppreciationMonth, today we drop in on virtuoso pianist Oscar Peterson, who hailed from Canada, composed the de facto Civil Rights Movement anthem “Hymn to Freedom,” and was dubbed the “Maharaja of the Keyboard” by none other than fellow piano master Duke Ellington.
To read about Peterson, read on. To hear about him, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Monday, April 11, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Being called the “Maharaja of the Keyboard” by Duke Ellington was a lot for Canadian-born jazz pianist Oscar Peterson to live up to – and he did.
In a career spanning over six decades, the classically trained Peterson showed off his virtuosity and dexterity in his compositions such as 1964’s Canadiana Suiteand 1962’s “Hymn to Freedom,” which was embraced by people around the world as the anthem of the Civil Rights Movement:
[Excerpt from “Hymn to Freedom”]
Peterson also excelled as accompanist to greats like Billie Holiday, Ella Fitzgerald, Dizzy Gillespie and Louis Armstrong, and as front man of his world-renowned Oscar Peterson Trio in the 1950s, who recorded such treasures such as “Quiet Nights of Quiet Stars”:
[Excerpt of “Quiet Nights of Quiet Stars”]
“Something’s Coming” from West Side Story:
[Excerpt of “Something’s Coming”]
and “C Jam Blues”:
[Excerpt of “C Jam Blues”]
Peterson won eight Grammy awards and was inducted into the Canadian Music Hall of Fame in 1978 and the International Jazz Hall of Fame in 1997.
Later this month over the April 22nd weekend, the Oscar Peterson International Jazz Festivalwill be held in Toronto, Canada and feature contemporary jazz artists Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade, among others.
And, of course, buy or stream as much of Oscar Peterson’s music as you can, including the latest 2021 posthumous release, A Time For Love, a recording of Peterson’s quartet live concert in Helsinki in 1987, which you can get on 180 gram blue vinyl if you’re into that through oscarpeterson.com.
Links to these sources and more are provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro provided by freebeats.io and produced by White Hot.
All excerpts of Oscar Peterson’s music included are permitted under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
As #JazzAppreciationMonth continues, we offer a quote from true jazz royalty, — bandleader, composer, pianist, performer — the superb, sublime Edward Kennedy “Duke” Ellington.
To read it, read on. To hear it and more about Ellington, press PLAY:
Or just check it out every day here on the main website.) Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Wednesday, April 6th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Today, we offer a quote from jazz royalty — bandleader, composer, pianist, performer — the one and only Edward Kennedy “Duke” Ellington:
“Playing ‘bop’ is like playing Scrabble with all the vowels missing.”
Born in Washington D.C. in 1899 to two piano playing parents, Duke Ellington began composing in his teenage years and started landing gigs through his work as a freelance sign painter by offering his band’s services to any club or party he made a sign for.
Ellington later moved to Harlem and landed the gig as the house band for the Cotton Club after King Oliver turned it down, and became a world-renowned big band leader for popular compositions and recordings like 1926’s “East St. Louis Toodle-O” which was the first signature song of Duke Ellington’s Orchestra:
[Excerpt from “East St. Louis Toodle-O”]
Also hugely popular was his composition “Caravan” which was first recorded and released by clarinetist Barney Bigard and his Jazzopaters before Ellington reclaimed it:
[Excerpt from “Caravan”]
“Mood Indigo” for which Barney Bigard is listed as a co-writer:
[Excerpt from “Mood Indigo”]
The classic swing tune “It Don’t Mean a Thing If It Ain’t Got That Swing”:
[Excerpt from “It Don’t Mean a Thing If It Ain’t Got That Swing”]
His 1953 composition with longtime collaborator Billy Strayhorn, “Satin Doll”:
[Excerpt from “Satin Doll”]
One of Ellington’s best known songs is one that Strayhorn composed for him, the song that would replace Ellington’s own “East St. Louis Toodle-O” as his orchestra’s signature song, the song titled to tell you how to get to Harlem, Ellington and the Cotton Club… “Take the “A” Train”:
[Excerpt from “Take the “A” Train”]
Ellington also composed beyond the category of jazz, writing orchestral and symphonic works such as Black, Brown, and Beige, and a Concert of Sacred Music, scored the feature films Anatomy of a Murder and Paris Blues, and influenced those who became the vanguard in jazz and bop such as Miles Davis and former orchestra member Charles Mingus.
In 1962, Ellington himself played Scrabble without the vowels when he recorded the album Money Jungle with bassist Mingus and drummer Max Roach, which included a new take on “Caravan”:
[Excerpt from “Caravan” from Money Jungle]
Ellington composed and played up until the last years of his life before passing at the age of 74 in 1974. That same year, his DC hometown renamed its Calvert Street Bridge the Duke Ellington Bridge.
In 1997, an intersection in Harlem in Central Park was renamed Duke Ellington Circle. In 1999 he was posthumously awarded a special Pulitzer Prize for his indelible contribution to art and culture and in 2009 Ellington graced the back of the commemorative District of Columbia quarter, among just a few of the honors Ellington has received since he transcended this life as we know it.
And, of course, buy or stream as much of the music as you can from the man lovingly and unforgettably referred to by modern day musical genius Stevie Wonder as “The king of all, Sir Duke.”
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot. All excerpts of Duke Ellington’s music included are permitted under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
As Pharrell Williams takes his 49th orbit around the sun today, GBN celebrates the music and contributions to the culture and community made by this prolific and inventive force of nature.
To read about him, read on. To hear about him, press PLAY:
(You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website.) Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Tuesday, April 5th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Born April 5, 1973 in Virginia Beach, VA, prolific music producer, composer and artist Pharrell Williams (“Drop It Like It’s Hot,” “Get Lucky,” “Hollaback Girl”) has also excelled as a fashion designer (Billionaire Boys Club, G Star Raw, Adidas) as a film and television producer (Dope, Hidden Figures, the Amazon Prime series Harlem) …and, importantly, as a philanthropist.
In 2019 Williams offered “A-List internships” to 114 college-bound high school students to help set them on their career paths.
More recently, Williams co-founded the Black Ambition Initiativeto fund Black and Latinx entrepreneurs in tech, design, healthcare and consumer products and services start-ups. So, let’s wish a “Happy” birthday to this “Beautiful” Neptune on his 49th trip around the sun.
And, it goes without saying, stream or buy any and/or all of the innovative, industry-changing music he’s produced and performed over the decades.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
Excerpts from “Frontin’”, “Happy,” “Beautiful” and “Brand New” by Pharrell Williams permitted under fair use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
At yesterday’s Grammy Awards, power group Silk Sonic (featuring Anderson .Paak and Bruno Mars) and its signature song “Leave The Door Open” had a huge night, winning in both major categories for singles — Song of the Year and Record of the Year.
FYI, Silk Sonic was not nominated for Album of the Year — that Grammy went to Jon Batiste for We Are.
Black artists weren’t always so frequently celebrated in the key main categories. As recently as 2015, there were no songs performed by Black artists in the Song of the Year or Record of the Year categories. And wins for Black artists in the main categories have been infrequent through many of the past 6 decades+ of the Awards.
The Grammys, of course, have honored Black artists in the R&B and Hip Hop categories. And they did it with Silk Sonic and “Leave The Door Open” last night too, as it tied with Jazmine Sullivan for Best R&B Performance and won in one more singles category that wasn’t televised — Best R&B Song.
It’s a favorite sport of music fans to second guess whether the Grammys got it right or not, but, as you’ll hear in today’s list, almost all the winners have ended up being — like “Leave The Door Open” is already — truly classic jams.
If you’ve been watching the Grammys for years, you know by now that the Academy of Recording Arts and Sciences gives awards in Performance and Record categories (which go to the artists) and in the Song category (going to the songwriters – but not the artist, unless they also wrote the song).
In the twists and turns of the Grammy Awards, a single R&B Performance of the Year honor has actually not been given out consistently through the years.
Although it was awarded up through most of the ’60s (completely ignoring Motown and Stax, by the way, in favor of Ray Charles), it was then discontinued in favor of separate performance categories for Male R&B Performance, Female R&B Performance and Duo or Group R&B Performance – three categories that awarded artists up until 2011, when they were combined once again into a collective R&B Performance of the Year Award.
So R&B Song of the Year essentially became a unique declaration of the Grammys’ top choice in R&B music, starting in 1969 with Otis Redding‘s “Sittin’ on the Dock of the Bay” and continuing to today.
It’s clear that the Grammys favored some trends and artists more than others. After ignoring Motown in the 1960s, Grammy jumped into Motown fandom in the 1970s with Stevie Wonder and The Temptations – but in the process managed to almost completely ignore Philly Soul.
The Academy began to embrace Disco, but while awarding a Donna Summer song one year, the Grammy voters managed to relegate all the biggest Nile Rodgers & Bernard Edwards compositions to runner-up status through the years, yet somehow ended up awarding the R&B Song of the Year in 1978 to Leo Sayer‘s “You Make Me Feel Like Dancing” over The Commodores’“Easy” and “Brick House,”Thelma Houston‘s “Don’t Leave Me This Way” and The Emotions’“Best of My Love.”
By the 1980s, the Grammys favored slick adult soul in the vein of Luther Vandross, Stephanie Mills, Earth, Wind & Fire’s “After the Love Has Gone” and George Benson over more funky fare.
In fact, Prince won the R&B Song Grammy for penning “I Feel For You” when it was a hit for Chaka Khan. But his first R&B Song of the Year nomination for one of his own recordings – for “Kiss” in 1987 – was defeated by Anita Baker‘s breakthrough “Sweet Love.”
The 1990s brought multiple wins for Babyface compositions for Boyz II Men and Whitney Houston, a win for Jimmy Jam & Terry Lewis for their work with Janet Jackson, and yes, a win for R. Kelly.
And, if you wanted to win a R&B Song Grammy in the 2000s, you should have been writing songs for female performers, because the decade’s honorees were dominated by Alicia Keys, Mariah Carey, Mary J. Blige, Destiny’s Child and Beyoncé tunes.
In the past decade, as hip hop has continued to dominate the story of Black artists crossing over to the mainstream, R&B crossover success on the charts has declined, along with the reach of R&B radio.
The Grammys have begun awarding more rootsy and alternative R&B fare. While the vast majority of all the winning songs for decades had been major R&B and often major pop hits, multiple winners in the past decade have not even hit the Top 10 on Billboard R&B charts, including songs from Robert Glasper, P.J. Morton, D’Angelo and John Legend with the Roots.
Grammy finally seems to be putting musical achievement over sales figures. We hope you’ll enjoy this chronological journey through R&B history.
In today’s Daily Drop, for #JazzAppreciationMonth we offer a quote from jazz legend and pioneer, the unparalleled saxophonist, composer and musician, North Carolina native John Coltrane. To hear it (and more on Coltrane), press PLAY:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Sunday, April 3rd, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Today, we offer a quote from jazz legend and pioneer, the unparalleled saxophonist, composer and musician, John Coltrane:
“That’s what music is to me—it’s just another way of saying this is a big, beautiful universe we live in, that’s been given to us, and here’s an example of just how magnificent and encompassing it is.”
It makes complete poetic sense that the name of the band John Coltrane played in while enlisted in the U.S. Navy was the Melody Masters.
With Johnny Hodges and Dexter Gordon as musical heroes and from a young age in thrall to big band music and its emerging successor, bebop, a young Coltrane dedicated himself to hours upon hours upon hours of practice, gigging whenever and wherever he could, and learning from whoever he could learn from.
Coltrane mastered and some even say transcended what was understood or known about the structure and composition of jazz music in the 1950s and 60s. After stints working with and learning from Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonious Monk and Ornette Coleman, among others, Coltrane began creating and recording with his own band.
Not only could Coltrane reimagine, reinvigorate and repopularize standards such as My Favorite Things, he composed the bulk of classic works such as Blue Train, Giant Steps, and his undisputed masterpiece recorded one day in 1965, A Love Supreme.
Coltrane passed in 1967 but his music and legacy live on.
In 1995, the United States Postal Service created a commemorative John Coltrane postage stamp and in 1997, the Grammys honored him with a Lifetime Achievement Award. In 2001, the National Endowment for the Arts chose “My Favorite Things” for its list of 360 Songs of the Century, and in 2007, Coltrane was awarded a Pulitzer Prize as a Special Citation for a lifetime of innovative and influential work.
And of course, perhaps most importantly, buy or stream Coltrane’s music. Links to these sources and more are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
Excerpts from “Blue Train,” “My Favorite Things” and “A Love Supreme, Pt. 1: Acknowledgement” performed by John Coltrane are included under fair use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Marvin Gaye is known worldwide as a key R&B, soul and pop music innovator from the 1960s on. But what may not be well known about Gaye is that his earliest musical ambitions were to sing and perform jazz.
As it’s #JazzAppreciationMonth in addition to what would have been Gaye’s 83rd birthday, we honor his contributions to the genre in today’s daily drop. To hear it, press PLAY:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a bonus daily drop of Good Black News for Saturday, April 2nd, 2022, based on the format of the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
The incomparable musician and artist Marvin Gaye was born #onthisday in 1939 in Washington D.C.
From the 1960s on, he helped define the sound of R&B, soul and pop music, as well as blazed a trail for singer-songwriter concept albums exploring personal and social issues in depth with his classic 1972 LP What’s Going On.
But what may not be well known about Gaye, even though he started his professional career in the 1950s as a doo wop singer in the New Moonglows with Harvey Fuqua, it’s that his earliest musical ambitions for himself were to be a jazz singer and player in the ilk of Nat King Cole.
When Fuqua moved to Detroit in 1960, Gaye followed and soon signed his own solo contract with Motown subsidiary Tamla Records.
And even though his maiden release was titled The Soulful Moods of Marvin Gaye, as Berry Gordy had other ideas in mind for Gaye than Gaye had, 9 of the 11 tracks on it were, at Gaye’s insistence, jazz standards, such as “My Funny Valentine”:
[Excerpt of “My Funny Valentine”]
“Witchcraft”:
[Excerpt of “Witchcraft”]
and “How High The Moon”:
[Excerpt of “How High The Moon”]
Even though Gaye’s first album and the singles released from it didn’t sell well, the title track of his next album, That Stubborn Kind of Fellow became a Top 10 R&B hit and the trajectory of Gaye’s musical path in the public’s – and Berry Gordy’s — perception was set.
But Gaye, still a lover of jazz, returned right to it on his 1964 release When I’m Alone I Cry, this time with way better production value and input from respected jazz musicians and arrangers Melba Liston and Ernie Wilkins. The album starts with Gaye’s smoldering version of “You’ve Changed”:
[Excerpt of “You’ve Changed”]
The LP also includes Gaye’s takes on “I’ll Be Around”:
[Excerpt of “I’ll Be Around”]
“I’ve Grown Accustomed to Her Face”:
[Excerpt of “I’ve Grown Accustomed to Her Face”]
And “Because of You”
[Excerpt of “Because of You”]
In 1965, Gaye even did a tribute album to Nat “King” Cole after Cole’s passing called A Tribute to the Great Nat “King” Cole where Gaye covered “Straighten Up and Fly Right”:
[Excerpt of “Straighten Up and Fly Right”]
“Mona Lisa”:
[Excerpt of “Mona Lisa”]
“It’s Only a Paper Moon”:
[Excerpt of “It’s Only a Paper Moon”]
and, of course, “Unforgettable”:
[Excerpt of “Unforgettable”]
After this album, the majority of Gaye’s recordings were contemporary soul, pop and R&B, even though he still managed to include a gorgeous, bluesy remake of “One for My Baby (And One for the Road)” on his 1966 The Moods of Marvin Gaye LP:
[Excerpt from “One for My Baby”]
Only after Marvin Gaye’s untimely passing in 1984, did more of his jazz-influenced recording sessions from the late 1960s and 1970s come to light on the posthumous albums Romantically Yours, which was issued in 1985 and Vulnerable which came out in 1997. On those you can hear Gaye’s takes on “I Won’t Cry Anymore”:
[Excerpt from “I Won’t Cry Anymore”]
His experimental version of “Shadow of Your Smile”:
[Excerpt from “Shadow of Your Smile”]
“Funny, Not Much”:
[Excerpt from “Funny, Not Much”]
And the arresting “I Wish I Didn’t Love You So” which seems to capture every nuance of Marvin Gaye’s voice, style and innovations across all the genres he loved:
[Excerpt from “I Wish I Didn’t Love You So”]
Even though Gaye’s indelible legacy was forged from different genres of music entirely, Gaye also gave us much to appreciate about him in the realm of jazz.
To learn more about Marvin Gaye and his jazz leanings, check out the “Standards of Marvin Gaye” episode of WFIU’s weekly music show Afterglow hosted by Mark Chilla, read Divided Soul: The Life of Marvin Gayebiography by David Ritz and of course, stream or buy all of the albums mentioned during this drop to hear even more of Marvin Gaye’s forays into jazz.
Links to these sources are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
This has been a bonus daily drop of Good Black News, based on the format of “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing. Intro and outro beats provided by freebeats.io and produced by White Hot.
All excerpts of music from Marvin Gaye are included under fair use.
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No fooling, in the U.S. April 1st denotes the start of Jazz Appreciation Month (aka “JAM”), where the art form born out of Congo Square in New Orleans became a unique and true African American and American musical expression that continues to evolve across the decades and centuries.
Started by the Smithsonian Museum of American History in 2001, “JAM is intended to stimulate and encourage people of all ages to participate in jazz – to study the music, attend concerts, listen to jazz on radio and recordings, read books about jazz, and more.”
To hear our Drop about it, press PLAY:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Friday, April 1st, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
No fooling, April 1st in the United States also kicks off Jazz Appreciation Month. It’s a time to savor the musical gumbo first cooked up in early 20th century New Orleans by master chefs including Jelly Roll Morton, Sidney Bechet, King Oliver, and Louis “Pops” Armstrong.
During the 1930s and ‘40s, bandleaders such as Lionel Hampton, Chick Webb, Count Basie and Duke Ellington swung the nation and defined the sound–as did singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Billy Eckstine.
Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonious Monk, Charles Mingus and John Coltrane were the vanguard through the 1950s and 60s, leading to the free jazz of Ornette Coleman, Taj Mahal, the Jazz Messengers and today’s pot stirrers Kamasi Washington, Esperanza Spalding and MacArthur “genius” Cecile McLorin Salvant.
To quote Wynton Marsalis, the most famous trumpet player in modern times and the managing and artistic director of Jazz at Lincoln Center:
“Jazz is the nobility of the race put into sound; it is the sensuousness of romance in our dialect; it is the picture of the people in all their glory.”
Links to these sources and more are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
“Dippermouth Blues” by King Oliver’s Jazz Band and composed by Oliver and Louis Armstrong is used with permission under Public Domain.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Stream or buy on DVD the music documentary of her performing live 1958 and 1964 called 
To learn more about Oscar Peterson, read his 2002 autobiography 
You can also watch Ellington in the short film Black and Tan from 1929, Symphony in Black from 1935 featuring Billie Holiday, the mid-1960s documentary 
You can also check out the 2020 Netflix series 
