Happy MLK Holiday and Music Monday. Here is our first playlist of 2024.
“MLK Day 2024” is a collection of songs and music from across the globe. They are tracks devoted to struggle, liberation, and celebration.
I’ve included songs like “You’re A Winner,” “How I Got Over,” and “A Change Is Gonna Come” that were the real-time soundtracks to the America’s civil rights struggle in the 1960s.
There’s tracks from the turbulent 1970s and ‘80s from Marvin Gaye, Stevie Wonder, Freda Payne,Gil Scott-Heron and others.
We got new and old school hip-hop by Lupe Fiasco, KRS-One, M.I.A. and Kendrick Lamar to name a few.
This 13-hour exploration on shining a light into our societies dark places and making the world a better place features jazz, soul, reggae and afrobeat.
Nina Simone and Max Roach are here beside Uganda’s Bobi Wine and Ivory Coast’s Alpha Blondy.
Please enjoy this daylong celebration of tenacity and hope. See ya next month!
For #JazzAppreciationMonth, we explore the term “bop” — a word often used today to describe a song with a good groove. I
ts musical reference origins however, are rooted in the early 1940s when “bop” was used to describe an new and exciting intricate form of jazz. To read about it, read on. 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 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 26th, 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 is another one in honor of #JazzAppreciationMonth… “Bop.”
“Bop” is a slang term most currently used to mean a really good song, but originally used to reference the jazz genre “bebop,” “rebop” or “hard bop.”
Invented in the 1940s and 1950s by musicians like Charlie Parker, Dizzy Gillespie, Sonny Rollins, Charlie Christian, Max Roach, Miles Davis, Mary Lou Williams and Thelonious Monk – right now you’re listening to the song called “Be-Bop” by Dizzy Gillespie, originally written, recorded and released by him in 1945.
The “bop” style of playing consisted of intricate phrasings and harmonic improvisations over chord melodies of standards as well as original compositions. Dizzy Gillespie even titled his 1979 autobiography To Be or Not to Bop.
To learn more about the term “bop,” links to sources 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, written, produced and hosted by me, Lori Lakin Hutcherson.
Intro and outro beats provided by freebeats.io and produced by White Hot.
The excerpt from “Be Bop” by Dizzy Gillespie is included under Fair Use.
If you like these Daily Drops, follow 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.
Happy Memorial Day, you all. I also need to acknowledge the 100th anniversary of the Black Massacre in Tulsa, Oklahoma.
Last week included the 95th anniversary of the birth of Miles Davis. His hometown of East St. Louis, Missouri was the site of another race massacre in 1917.
So much has been written about Miles Davis. Including is his own autobiography. There have been documentaries long and short about him, so I won’t go on.
At over 10 hours this collection is still the tip of the proverbial iceberg when it comes his creative output. Miles was a giant in American music, and one of this nation’s most iconic and influential figures in music and culture.
In a career that spanned five decades, he kept at the forefront of many major stylistic developments in jazz. From being of the vanguards of bebop and blazing the trail of electric jazz.
The list of his collaborators is far too long, but here are just a few: Dizzy Gillespie, John Coltrane, Charlie Parker, Cannonball Adderley, Max Roach, Gil Evans, Red Garland, Paul Chambers, Philly Joe Jones, Sonny Rollins, Bill Evans, Ron Carter, Herbie Hancock, Tony Williams, Wayne Shorter, John McLaughlin, and Joe Zawinul.
Miles Davis gave many of these now-legendary artists, who all appear on this playlist, their first break. Davis was tough as nails from all reports, though he seemed more than willing to imbue great vulnerability and tenderness in his playing.
From Max Roach’s archive: a contract for a 1956 club date; an undated photo of Roach, at right, with Art Blakey, center; a 1964 letter from Maya Angelou. Lexey Swall for The New York Times
WASHINGTON — Max Roach, the great drummer and bandleader and paradigm-shifter of jazz, though he disliked that word, never finished an autobiography. That’s a shame. He died in 2007 at 83, and his career spans the beginning of bebop, the intersection of jazz with the civil rights movement, free improvisation, and jazz’s current state of cross-disciplinary experiments and multimedia performances. Inasmuch as jazz is about change and resistance, he embodied those qualities: He fought anything that would contain or reduce him as an artist and a human being. He would have been well served by his own narrative, set in one voice.
But Roach was archivally minded, and, when he died, he left 400 linear feet of his life and actions to be read: scores and lead sheets, photographs, contracts, itineraries, correspondence, reel tapes and cassettes and drafts of an unfinished autobiography, written with the help of Amiri Baraka. On Monday, the Library of Congress will announce that it has acquired the archive from Mr. Roach’s family and that it will be made available to researchers.
“What I think he would hope people would see,” said the violist Maxine Roach, his daughter from his first marriage, “is that there was a lot about his life that was difficult, you know? The struggles. A lot about economics, and jazz as a word that we didn’t define ourselves.” (Roach felt that it was a pejorative term; he preferred to call it African-American music.) “But aside from all of that,” she continued, “I hope that people see his excellence and his mastery of his skill, which helped him rise in this country that’s been so hard on black men especially, and how he went through it and what price he paid.”
Pioneering percussionist, composer, band leader, and drummer Max Roach was born Maxwell Lemuel “Max” Roach in North Carolina to parents Alphonse and Cressie, and worked with dozens of musical greats, including Miles Davis,Charles Mingus, Thelonious Monk, and Dizzy Gillespie.
To learn more about the term “bop,” links to sources are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.
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 
But Roach was archivally minded, and, when he died, he left 400 linear feet of his life and actions to be read: scores and lead sheets, photographs, contracts, itineraries, correspondence, reel tapes and cassettes and drafts of an unfinished autobiography, written with the help of Amiri Baraka. On Monday, the Library of Congress will announce that it has acquired the archive from Mr. Roach’s family and that it will be made available to researchers.