The holiday season fast approaches, and I’m back with a collection to gather around the table with family and friends.
Here’s a Thanksgiving playlist that includes new music by Rihanna from the BLACK PANTHER: WAKANDA FOREVER soundtrack, and food-centered classics like Cab Calloway’s “Everybody Eats When They Come To My House” from way back in the day.
This musical journey features soul, jazz, reggae, and gospel, all good music to cook, eat, and clean that kitchen to.
Here’s Ella Fitzgerald and Nat King Cole singing songs about autumn, and several artists like Sly Stone, Massive Attack, and Otis Redding offering songs of thanks.
Plus Little Eva, Fantasia, Louis Jordan and others praising grits, stuffed turkey, mashed potatoes, greens, cornbread, and collards to name a few. Hungry yet?
Happy Early Thanksgiving, y’all. I’ll see you soon with a funky holiday season offering next month.
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.
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The connection between jazz and rap goes back to the glory days of Louis Jordan. In the 1970s, The Last Poets and Gil Scott-Heron brought their spoken word to straight ahead jazz music.
Though the sub genre of Jazz Rap really started In 1988 with the release of Gang Starr’s debut single “Manifest” sampling Dizzy Gillespie‘s “Night in Tunisia” from 1952, AllMusic.com describes the genre as “an attempt to fuse African-American music of the past with a newly dominant form of the present, paying tribute to and reinvigorating the former while expanding the horizons of the latter.”
The main groups involved in the formation of the style include A Tribe Called Quest, Digable Planets, De La Soul, Gang Starr, The Roots, Jungle Brothers, and Dream Warriors.
This collection features classics of the genre as well as recent releases from this year. I do hope you all enjoy.
For many of you riding along with these weekly playlists, some of these “points” may sound familiar.
The popular narrative of the originals of Rhythm & Blues and Rock and Roll leans heavily on the hardscrabble southern bluesman narrative.
The mythic trip to the crossroads and the juke joint circuit stories promoted by so many historians and rock legends leaves out the urban sophistication of Jump Blues artists and their contribution to the music we all love today.
Jump blues evolved from the music of big bands like those of Lionel Hampton and Lucky Millinder. These groups of the early 1940s produced musicians such as Louis Jordan, Jack McVea, Earl Bostic, and Arnett Cobb that would start their own smaller groups.
These Jump groups became hugely popular in the late 1940s and early 1950s. Artists such as Louis Jordan and His Tympany Five, Big Joe Turner, Roy Brown, Charles Brown, Ruth Brown, Helen Humes, T-Bone Walker, Roy Milton, Billy Wright, Wynonie Harris, Buddy Johnson, Sonny Terry and Brownie McGhee, and others produced hard-driving dance music that contributes mightily to the birth of Soul and Rock.
This is another collection that comes with a “Rumpshaker Warning” Enjoy!
Since the 1960s, especially when it came to emerging British rockers, the roots of Rock ’n Roll were a direct line to “authentic” Blues players. (Mainly men, but that’s the subject for another playlist.)
It’s mainly true, but it leaves out Country music, and in what Bullseye with Jesse Thorn host Jesse Thorn called “the race to find the most hard-scrabble weathered bluesman from the fields of Alabama or Mississippi or wherever” also ignores Jazz dance music.
Hugely popular in its day, it followed the big band era and was the springboard for Rhythm & Blues. Particularly the genre of “Jam Blues” and its trail-blazing, funny, and brash master of the game: Louis Jordan.
When it became too expensive for big bands to tour in the 1940s, Jordan led a revolution by cutting his band in half. The Tympany Five was a horn section, drums, guitar, bass, and piano. Jordan played saxophone and sang lead vocals himself, which was a rare move at the time.
