History was made moments ago when the U.S. Senate confirmed Ketanji Brown Jackson 53-47 to become the next Associate Justice of the Supreme Court of the United States.
Jackson is the first African American woman to serve on the court and the 116th Associate Justice overall.
President Joe Bidennominated Jackson over a month ago to take over the seat of retiring Justice Stephen Breyer, for whom Jackson once clerked.
Associate Justice Jackson was born in Washington, DC and grew up in Miami, Florida. Her parents attended segregated primary schools, then attended historically black colleges and universities.
Both started their careers as public school teachers and became leaders and administrators in the Miami-Dade Public School System. When Justice Jackson was in preschool, her father attended law school.
In a 2017 lecture, Justice Jackson traced her love of the law back to sitting next to her father in their apartment as he tackled his law school homework—reading cases and preparing for Socratic questioning—while she undertook her preschool homework—coloring books.
Justice Jackson stood out as a high achiever throughout her childhood. She was a speech and debate star who was elected “mayor” of Palmetto Junior High and student body president of Miami Palmetto Senior High School.
But like many Black women, Judge Jackson still faced naysayers. When Judge Jackson told her high school guidance counselor she wanted to attend Harvard, the guidance counselor warned that Justice Jackson should not set her “sights so high.”
That did not stop Judge Jackson. She graduated magna cum laude from Harvard University, then attended Harvard Law School, where she graduated cum laude and was an editor of the Harvard Law Review.
Jackson went on to clerk for the U.S. Supreme Court, serve as a public defender, become a U.S. District Court Judge for the District of Columbia and then a Judge on the U.S. Court of Appeals.
Justice Jackson lives with her husband, Patrick, and their two daughters, in Washington, DC.
All due respect to Chuck D, some of our heroes actually did appear on stamps, the first doing so 82 years ago #onthisday. Question is, who was the first one? To read the choices, read on. To hear them, press PLAY:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Amazon, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website (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 Thursday, April 7th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing. It’s in the category for Black Trivia we call “We Got Game”:
Okay, so I’m going to read a multiple-choice question that you will get time to think about and answer.
What I’m going to do is read the question, read the choices — and they’ll be four of them — and then I’ll prompt you to pause the episode if you want to take longer than the 10 seconds that will pass before I share the answer.
Sound good? Ready to see if you got game? All right, here we go:
Who was the first African American to be featured on a U.S. Postage Stamp? Was it…
W.E.B. DuBois
Frederick Douglass
Harriet Tubman, or
Booker T. Washington
Now go ahead and pause the episode if you want to take more than 10 seconds before you hear the answer. Otherwise, I’ll be back in 10… Okay, time’s up.
The answer is… D: Booker T. Washington.
Although the other three have since been featured on USPS stamps — 1992 for DuBois, 1967 for Douglas and 1978 for Tubman — Booker T. Washington was the first Black person to be honored in this way 82 years ago on April 7, 1940.
After several petitions from African American supporters, President Franklin D. Roosevelt pushed to make Washington’s stamp happen.
Issued at a cost of 10 cents and celebrated with a ceremony at the Tuskegee Institute, Washington’s stamp was part of the U.S. Postal Service’s Famous Americans Series.
The most recent African American person celebrated on a postage stamp is sculptor Edmonia Lewis, who is the 45th subject of the USPS Black Heritage stamp series, issued in January of this year.
To learn more about the history of African Americans on U.S. postage stamps, check out the links 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.
Beats provided by freebeats.io and produced by White Hot.
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 explore the term “Cutting Contest.” To hear 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 Monday, April 4th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
It’s in the category we call “Lemme Break It Down,” where we explore the origins and meanings of words and phrases rooted in the Black Lexicon and Black culture. Today’s phrase for #JazzAppreciationMonth? “Cutting Contest.”
A “cutting contest” is a battle between two musicians where the “prize” could range from bragging rights to a coveted job.
The term was first applied to face-offs between pianists in the 1920s and later evolved to include competitions between singers, horn players, drummers, guitarists or virtually any musicians who squared off against each other on the same instrument.
A lasting form of the cutting contest is the improvisational trading of solos in jazz. It’s also a precursor to modern-day breakdancing and rap battles.
To learn more about cutting contests, you can watch a cool, fictionalized cutting contest from the 1977 television movie Scott Joplin starring Billy Dee Williams as Scott Joplin and Clifton Davis as respected St. Louis pianist Louis Chauvin on YouTube, and also check out the links to sources 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.
Beats provided by freebeats.io and produced by White Hot.
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.
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.
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.
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.
We close out #WomensHistoryMonth with Mary Lou Williams, one of the most talented and revered pianists, composers, and arrangers in jazz music history.
Williams, who grew up in Pittsburgh, was a self-taught musical prodigy who cited Lovie Austin, who we did a daily drop on yesterday, as her greatest influence.
Since 1996, The Kennedy Center in Washington DC has held an annualMary Lou Williams Jazz Festival – this year’s will be held in May. To hear our Drop on 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 Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, still a little stuffed up, but here to share with you a daily drop of Good Black News for Thursday, March 31st, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
One of the first renowned female players, composers and arrangers in jazz, Williams was a working musician by the age of 15, and by 18 had joined the Andy Kirk Orchestra based out of Kansas City, Missouri.By the 1940s she had her own weekly radio show, Mary Lou Williams’s Piano Workshop, where she mentored Thelonious Monk, Charlie Parker and Dizzy Gillespie.
In 1945, Williams composed one of her most noted works, Zodiac Suite, which she said was inspired by the astrological signs of famous friends in the jazz world. “Aries” which you are hearing now, was inspired by Billie Holiday and Ben Webster.
[Excerpt from “Aries”]
After converting to Catholicism in the 1950s, Williams quit performing to aid musicians with addictions, even turning her home into a halfway house.
When she returned to music years later, Williams composed sacred works such as 1971’s acclaimed Mary Lou’s Massand supported musicians in need by tithing her proceeds for the rest of her life.
Even with her self-imposed break, in her lifetime, Williams composed over 350 songs and recorded over 35 albums. Williams passed in 1981 and in 1983, Duke University established the Mary Lou Williams Center for Black Culture.
And since 1996, The Kennedy Center in Washington DC has held an annual Mary Lou Williams Jazz Festival. The next one will be held this May.
And if you really want to deep dive, like I know I do, you can listen to and read all seven tapes and transcripts of Mary Lou Williams’ interviews from the 1973 Jazz Oral History project where her archives are stored at Rutgers University.
And, of course, you can buy or stream her music on Apple Music or Spotify. 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 “Aries” from Zodiac Suite and “Credo” (Instrumental) from Mary Lou’s Mass by Mary Lou Williams are included under fair use.
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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 
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