ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 1 / WINTER 2007
Roots of Techno: Black DJs and the Detroit Scene
aaamc 07-08.indd 1 12/11/07 4:01:21 PM aaamc mission: From the Desk of the Director The AAAMC is devoted to the collection, preservation, and With this issue of Liner Notes, the “modular” traveling exhibits that dissemination of materials for AAAMC is pleased to introduce a focus on various genres and themes the purpose of research and new publication format and layout, in African American music. Drawing study of African American content from the AAAMC’s signature music and culture. which we hope will be more reader- collections, the exhibits will feature www.indiana.edu/~aaamc and library-friendly and allow us topics as diverse as the Rhythm & to more easily phase in new types of Blues era (1945-1965), music of the content. We welcome your feedback Civil Rights and Black Power eras, Table of Contents about this change! Comments can exploration of rap and hip-hop be sent to [email protected]. culture, funk as a philosophy and From the Desk of musical style, and the little-known the Director...... 2 Over the past year, the AAAMC roles of black pioneers in genres such developed some exciting new In the Vault...... 4 as rock and techno. These exhibits are initiatives and continued to implement funded by a grant from IU’s Office of AMGP Series Book Release....4 projects that are part of our five-year the Vice Provost for Research under plan. A major highlight of the year the “Moveable Feast of the Arts” Featured Collection: was our extremely successful October initiative—a program allowing IU’s John A. Jackson...... 5 2006 conference, “Roots of Techno: cultural resources to be showcased Black DJs and the Detroit Scene,” that around the state—and will travel to Roots of Techno...... 6 attracted an audience of scholars, various colleges, universities, libraries, performers, students, and techno museums, and public schools in In Memorium: aficionados from as far away as New Phyl Garland...... 11 the state of Indiana with whom we Jersey and Toronto. Participants had will co-sponsor relevant live public A Conversation with Murray the opportunity to listen to the first- programming to complement and Forman ...... 12 hand accounts of techno artists and augment the exhibit content. Such witness their live performances (see events provide ongoing opportunities Keith McCutchen...... 16 story inside). We have since indexed for students and the general public to the videos from the conference and are learn about and connect to the rich 2007 Extensions of the Tradition pursing various options for making legacy of African American expressive Concert ...... 18 these materials publically accessible in forms in American arts and culture. a variety of media formats. AAAMC Welcomes Visiting The AAAMC will also develop a semi- Continuing our drive to spark Scholars ...... 20 permanent gallery exhibition as part formal academic interest in under- of ArtsWeek (February 20 – March 1, James Brown Memorial...... 22 represented areas of black music, 2008), an annual celebration of artistry the AAAMC is now in the process of and creative activity that highlights Black Grooves...... 24 conceptualizing and planning another creative writing, dance, visual arts, conference in this series, this time on music, theatre, film, museum exhibits, black rock. Tentatively scheduled for panel discussions, youth events, and On the Cover: October 2009, this conference has a lectures. The AAAMC exhibition, purpose similar to that of “Roots of entitled “‘A Change is Gonna Come’: Techno”—to document the African Black Music and Political Activism,” American origins and evolution of will explore the ways in which black genres that have not been broadly communities drew on their sacred and recognized as “black music,” and to secular musical traditions to create encourage scholarly research and the sounds which powered both the curricular development in these areas. Civil Rights and Soul/Black Power In addition to conference eras, discussing the use of music not programming, the AAAMC developed only as a symbol but also as a potent DJ Mike “Agent X” Clark spins two related outreach exhibition political device for change. This at Bloomington’s Second Story projects, both to be curated by Dr. Nightclub during the “Roots of project was funded by IU’s Office of Techno” conference Sunni Fass, AAAMC’s Administrator/ the Vice Provost for Research, and the (photo by James Rotz) Project Coordinator. The larger exhibit will be mounted at the Mathers of the two initiatives is a series of Museum of World Cultures on the IU
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FORM IN PARTICULAR IN NEED GIOUS -USICv AND PRESENTED A PAPER DURING SON +ETRA h+EKEv 7YATT +ENNETH h"ABY Bloomington campus. OF FURTHER STUDY IS ELECTRONIC DANCE MUSIC 1011 or 812-855-2292.) THIS SESSION ON h!RIZONA $RANES AND %ARLY African American music scholarship s 5NEARTHING )NDIANAPOLIS FACEv %DMONDS !FTER 4HE *ACKSON ALSO The AAAMC continues to engage !LTHOUGH THE EARLY STYLES OF THIS MUSIC WERE The AAAMC is pleased to announce'OSPEL -USIC 2ECORDINGSv /THER SPEAKERS as transnationalism, religious music, &UNK 3OUL KNOWN AS 4HE *ACKSONS ,A-AR #AMPBELL in the development of teaching CREATED PRIMARILY BY !FRICAN !MERICANS THE the publication of the second book in INCLUDED 3UZANNE &LANDREAU OF THE #ENTER popular music, women in music, 2ODNEY resources. "RYANT AND Research !L (OBBSTHERE Associate Dr. ARE ROLE OF THESE PIONEERS IS RARELY ACKNOWLEDGED the Archive’s African American Music FOR "LACK -USIC 2ESEARCH AND *OHN 2USSICK music criticism, musical aesthetics, MANY OTHER LOCALLY ACCLAIMED ARTISTS THAT ARE Fernando Orejuela completed a 4HE !!!-# IS NOW ENGAGED IN DEVELOPING in Global Perspective (AMGP) book #URATOR and OF regional THE #HICAGO studies. (ISTORICAL 3OCIETY NOT WELL KNOWN OUTSIDE OF )NDIANA 4HE GOAL distance-learning course, “The A COLLECTION OF ELECTRONIC DANCE MUSICINseries— Black Women and Music: More I conclude this column by noting OF THE !!!-# IS TO DOCUMENT THE LIVES AND CLUDING DISCO HOUSE AND TECHNOAS PART OF CONTINUED ON P Survey of Hip Hop: Socio-cultural than the Blues, edited by Eileen M. two untimely deaths – pioneering CAREERS OF THESE UNSUNG LEGENDS WHO CONPerspectives of African American A PROJECT SPEARHEADED BY GRADUATE ASSISTANT Hayes and Linda F. Williams (2006, see journalist/music critic and AAAMC TRIBUTED TO THE DEVELOPMENT OF A VIBRANT $ENISE $ALPHOND WHO IS CURRENTLY WRITING A Music,” for the Indiana University story inside). Other books currently National Advisory Board member MUSICAL SCENE IN )NDIANA INCLUDING POPULAR School of Continuing Studies. MASTERS THESIS ON THE TOPIC in production are Ramblin’SEE STORY INSIDE on My Phyl Garland, and the musical icon RELIGIOUS AND CONCERT FORMS OF MUSICAL EX "EGINNING IN PATRONS WILL BE ABLE Through the window of a popular Mind: New Perspectives on the Blues, James Brown (see tributes inside). PRESSION SINCE THE S 4O THIS END THE African American musical culture TO IDENTIFY THE COMMERCIAL RECORDINGS VID edited by David Evans (forthcoming Ms. Garland had been working on a !!!-# HAS LAUNCHED AN ORAL HISTORY PROJ EOS AND BOOKS HOUSED IN OUR COLLECTION BY and an accompanying website that I December 2007); and Follow Your revision of her groundbreaking book, ECT IN PARTNERSHIP WITH THE )NDIANA (ISTORI developed, students outside of the IUSEARCHING Heart: )5#!4 Moving )NDIANA with the 5NIVERSITYS Giants of ON Jazz, The Sound of Soul (1969), when she CAL 3OCIETY )(3 THAT FOCUSES ON )NDIANAPO LINE LIBRARY CATALOG 4HIS INITIATIVE IS UNDER Bloomington campus can now learn Swing, and Rhythm & Blues, by Joe passed on November 6, 2006. Forty- s .APTOWN 3OUND %XHIBIT THE DIRECTION OF "RENDA .ELSON 3TRAUSS LIS SOUL AND FUNK MUSICIANS 4HIS PROJECT IS about the social and cultural history Evans with Chris Brooks (forthcoming nine days later on December 25, 2006, AN EXTENSION OF OUR COLLABORATION WITH )(3 of inner-city America, the spirit of (EAD February OF #OLLECTIONS 2008).SEE The INSIDE AMGP STORY series, 4HE the “Godfather of Soul” James Brown ON THE EXHIBITION 3OUL AND &UNK THE .AP !!!-# IS ALSO PLEASED TO ANNOUNCE THE creativity, the African Diaspora, and co-edited by Research Associate left this earth leaving behind a rich /ÀLÕÌi TOWN 3OUND WHICH HIGHLIGHTS THE ROLE OF ways of communicating hip hop LAUNCHING Mellonee OF A BOOK Burnim SERIES and IN myself CONJUNCTION and musical legacy. Both individuals will s ,UTHER 6ANDROSS )NDIANAPOLIS MUSICIANS AND THEIR SUPPORTERS WITH THE 5NIVERSITY OF )LLINOIS 0RESS #O ED culture as an artistic and sociological published in conjunction with the be sorely missed. n IN THE PRODUCTION OF THE LOCAL h.APTOWNv phenomenon. The course is scheduledITED BY 2ESEARCH !SSOCIATE -ELLONEE "URNIM University of Illinois Press, is designed SOUND OF THE S AND S 4HE EXHIBIT AND MYSELF "LACK -USIC IN #ULTURAL 0ERSPECTIVE to be offered in late spring 2008. (For to generate increased attention to *i«i IS DESIGNED TO GENERATE INCREASED ATTENTION OPENED ON -ARCH AND WILL BE ON further information, contact 800-334- such underrepresented topics in s .ATIONAL !DVISORY "OARD DISPLAY THROUGH $ECEMBER SEE STORY ON SUCH UNDERREPRESENTED TOPICS IN !FRICAN -EMBER $EBBIE -AY INSIDE !S A SECOND PHASE OF THIS PROJECT THE !MERICAN MUSIC SCHOLARSHIP AS TRANSNATION 0ORTIA + -AULTSBY !!!-# WILL ALSO COLLECT THE PERSONAL NARRA ALISM RELIGIOUS MUSIC POPULAR MUSIC WOM $IRECTOR ÊÌ iÊ6>ÕÌ aaamc 07-08.indd2ECENT 3 12/11/07 4:01:24 PM iÛʺ/ iÊ Ãi»Ê >ÀÊ/>VÀi` $ONATIONS `iÀà #OPIES OF HIS PUBLISHED ARTICLES INTER /RIGINAL RADIO SERIES ,ESSONS IN *AZZ A VIEWS AND SELECTED RECORD COLLECTOR >ÃÊÕÃiÞ MIX OF HIP HOP AND JAZZ COMBINED MAGAZINES 3OUL AND 2" RPM RECORDS AND WITH ORIGINAL INTERVIEWS SELECTED PERIODICALS >ÌiÃiÞiÀ]ÊV° -Õâ>Êià -ÞÊ i}>VÞ 0RESS MATERIALS #$S AND VIDEO FEA 2" &OUNDATION ORAL HISTORY TAPES s 7ELCOME TO #OMPACT DISCS FROM THE 2HYTHM TURING BLUES MUSICIAN AND )NDIANA AND #$ COMPILATIONS 3OUL SERIES NATIVE -IGHTY -O 2ODGERS #AROL "ENNETT AMGP Book Series In the Vault: Black Women and Music: Recent More than the Blues Donations CDs/DVDs: The AAAMC book series, African American Music Special Allegro Alligator in Global Perspective (AMGP), is devoted to the Collections: Anaphora music publication of studies of African American musics Anti in the United States as well as treatises on African Ron Lewis: Arhoolie and African derived music traditions across the CDs, photographs, and Atlantic globe. Books in the series foreground the cultural press releases from Mr. Babygrande perspectives of the primary creators and performers Wonderful Productions in BlackBerry of the music, highlighting the voices of African Louisville, KY Blue Note Americans, in particular. The AMGP series is edited Caroline Distribution by Portia K. Maultsby and Mellonee V. Burnim and Bala Baptiste: Concord published by University of Illinois Press. Press clippings and Contour Records We are pleased to announce the release of the interviews documenting Criterion second book in the series – Black Women and Music: black radio in New Delmark More than the Blues, edited by Eileen M. Hayes and Orleans DJ A+ Linda F. Williams (University of Illinois Press, 2007). DL Media This collection is the first interdisciplinary volume Murray Forman: Dust-to-Digital to examine black women’s negotiation of race and Collection of over 300 hip Expansion Films gender in African American music. Contributors hop serials and related Heads Up address black women’s activity in musical arenas clippings Image Entertainment that pre- and postdate the emergence of vaudeville Koch blues singers of the 1920s. Throughout, the authors John McDowell, Light in the Attic illustrate black women’s advocacy of themselves Pat Glushko, Malaco as blacks and as women in music. Feminist? Black Gail Glushko: Mental Afro feminist? The editors take care to stress that each term James Brown Memorial MVD Visual warrants interrogation: “Black women can and have Service collection Nature Sounds forged, often, but not always––and not everywhere the Plexifilm same across time––identities that are supple enough Nelson George: Pro Marketing to accommodate a sense of female empowerment Addition of 19 interviews Entertainment through ‘musicking’ in tandem with their sensitivities with R&B musicians Real World to black racial allegiances.” ReddApple Seed Individual essays concern the experiences of black Entertainment women in classical music and in contemporary blues, John A. Jackson: Rounder the history of black female gospel-inflected voices Book manuscript and Shanachie in the Broadway musical, and “hip-hop feminism” interviews about Philly Smithsonian Folkways and its complications. Focusing on under-examined Sound Sony BMG contexts, authors introduce readers to the work of Sony Legacy a prominent gospel announcer, to women’s music Portia K. Soul Thought festivals (predominantly lesbian), and to women’s Maultsby: Soulganic involvement in an early avant-garde black music Addition of 170 Telarc collective. In contradistinction to a compilation of interviews about R&B and Thirsty Ear biographies, this volume critically illuminates themes black music industry Traffic Entertainment of black authenticity, sexual politics, access, racial Tyscot uplift through music, and the challenges of writing Miles White: Ujam Records (black) feminist biography. Black Women and Music is Addition of original hip Yellow Dog Records a strong reminder that black women have been and are hop performance videos both social actors and artists contributing to African and field recordings American thought. Eileen M. Hayes is an assistant professor of music at the University of North Texas. Linda F. Williams is an independent scholar and jazz saxophonist.
aaamc 07-08.indd 4 12/11/07 4:01:25 PM Featured Collection
Philly Soul: The John A. Jackson Papers
John A. Jackson, author of A House On Fire: The Rise and Fall of Philadelphia Soul (NY: Oxford University Press, 2004), recently donated to the AAAMC all of the research materials used in the compilation of his award-winning book. The collection consists of Leon Huff interviews conducted between 2000- 2003 (both original audiocassettes and transcripts in manuscript), secondary Kenneth Gamble source materials such as clippings and articles, his early book drafts and Jackson fi rst developed an interest other Philadelphia musicians are revisions, and an autographed advance in writing about “Philly Soul” while also discussed in detail. Among those copy of A House On Fire. conducting research in Philadelphia interviewed were Bobby Eli, a top Jackson was born in Queens, New for his American Bandstand book. notch session guitarist and producer York in 1943 and raised on Long When discussing Philly’s early 1960s who played on hundreds of Philly Island, about 40 miles from New York Bandstand-driven white “teen idol” soul sessions; guitarist Earl Young and City. He fi rst heard rhythm and blues recording scene, several people spoke percussionist Vince Montana, who music in 1955, played on the radio of a local group of young black singers along with Eli were part of the famous by the legendary disc jockey Alan and writers (among them Kenny Philadelphia International rhythm Freed (at the time, Freed advised his Gamble, Leon Huff, and Thom Bell) section; William “Poogie” Hart, lead listening audience that the music he who, because of Bandstand’s prevailing singer of the Delfonics; soul singer played was called “rock and roll”), dominance coupled with the city’s Jerry “The Iceman” Butler, whose and developed what turned out to racist attitudes, could not break into landmark albums The Iceman Cometh be a lifelong interest in the genre. the music business. Jackson realized and Ice On Ice were produced by Jackson taught in the public schools that this topic would make a good Gamble and Huff; Jerry Ross, the fi rst on Long Island for 32 years. During story in itself, and kept the idea in songwriter to team up with Gamble; this period he also found time to mind until he was ready to write recording engineer Jim Gallagher, write his fi rst two books, Big Beat another book. The result was A House who worked in the studio with Huff Heat: Alan Freed and the Early Years of on Fire, which examines the musical for many years; and Win Wilford, Rock and Roll (Schirmer/Macmillan, empire created by Gamble, Huff, and bass player for the Romeos—the fi rst 1991) and American Bandstand: Dick Bell—three of the most infl uential rhythm section formed by Gamble Clark and the Making of a Rock and and successful music producers of the and Bell. All of these interviews and Roll Empire (Oxford University Press, seventies. more are now available for research at 1997). Each book received the Ralph J. Jackson interviewed over 60 the AAAMC, thanks to the generous Gleason Music Book Award as well as people during the course of his donation by John Jackson. the Association for Recorded Sound research, including music industry After a hiatus of several years, Collections (ARSC) Award for Best executives, composers, songwriters, Jackson is currently doing research for Research in Recorded Rock, Rhythm and musicians. Much of the focus is on his next book—an unconventional & Blues, or Soul (1992 and 1998). In Philadelphia International, the record study of the evolution of American 1998, NBC-TV broadcast the movie label founded by Gamble and Huff in music from its beginnings into rock Mr. Rock and Roll, which was based on 1971, as well as on the subsidiary label and roll. If his previous books are any the Alan Freed book. Shortly after that, TSOP (The Sounds of Philadelphia), indication, it should be a great success! Jackson left teaching to pursue a full- started in 1974. The early careers of time writing career. Gamble, Huff, Bell, and -Brenda Nelson-Strauss
5
aaamc 07-08.indd 5 12/11/07 4:01:27 PM DJ Minx (photo by James Rotz)
Roots of Techno: the critical absence of these genres in academic proceedings, all of the DJs, academic institutional and archival along with other local and regional Black DJs and the settings. Despite the national and DJs, performed at Bloomington’s Detroit Scene global influence of techno and the Second Story Nightclub during the role of African Americans in its conference weekend. On October 20, On October 21, 2006, the AAAMC development, this and related genres conference panelist DJ Minx also gave presented a landmark one-day have been excluded from the collection a free, student-oriented workshop/ conference—“Roots of Techno: Black development activities of libraries demonstration on DJ technique at the DJs and the Detroit Scene”—in and music archives and, consequently, Foster International Living-Learning the Willkie Auditorium of Indiana from the systematic critique of Center, a residence hall on the IU University, Bloomington. “Roots of scholars. There was, and remains, very campus. Techno” featured eight prominent little academic literature on this genre The conference proper was and influential Detroit techno and and its African American history. organized into three roundtable house DJs as panelists, as well as two In order to jumpstart efforts to sessions, where panelists took their of the co-curators of an exhibit on close this gap, Denise Dalphond, lead from questions posed by the Detroit techno music mounted at Ph.D. candidate in ethnomusicology moderator, IU graduate student the Detroit Historical Museum. The at Indiana University, worked with Denise Dalphond, and then engaged purpose of the conference was to AAAMC staff and Portia K. Maultsby in lively, wide-ranging conversations explore the roots of Detroit techno, to bring “Roots of Techno” to life. and discussions with each other and and electronic dance music in general, The conference, sponsored by the later with audience members. The in African American culture and AAAMC, was organized into a full conference opened with a panel history through the experiences of day of panel discussions at Willkie entitled, “‘Detroit’s Gift to the World’: the DJs themselves. In addition, the Auditorium, preceded and followed Detroit Historical Museum’s Techno conference served to initiate collection by related events in other locations Exhibit,” that featured Catherine development of techno and house around Bloomington and Indiana Burkhart and Sulaiman Mausi, co- music at the AAAMC, in response to University. In addition to the curators of the 2003-2004 exhibit.
aaamc 07-08.indd 6 12/11/07 4:01:28 PM They first discussed some background musical expressions. Panelists also processes related to the exhibit, explored the complex connections including initial planning stages, between techno and house music and administrative hurdles, and challenges expressed important ideas regarding in securing funding. Catherine genre distinctions or lack thereof. and Sulaiman then described their Mike Clark, a Detroit DJ/producer, research and interactions with DJs described the similarities between in preparation for the exhibit— techno and house in the early days of conducting interviews, securing both genres: equipment and memorabilia for the The DJs at the conference spoke exhibit, and working around busy DJ repeatedly about the problems with touring schedules (Catherine told of genre titles like “techno” and “house.” meeting techno DJ Richie Hawtin at a In fact, many of the DJs who spoke train station in Ann Arbor, Michigan DJ Terrence Parker (photo by James Rotz) on the panels specifically refer to at a late hour because that was the their music as house, or explain that only time that he was available and they play house and techno; some near Detroit). They relayed stories of even avoid genre titles completely. pooling the resources of nearly the Theo Parrish, a Detroit DJ/ producer, entire staff of the museum to install adamantly expressed that he does the exhibit. The panel concluded with not play any particular genre of an eight-minute film produced for music. He went even further in his the Detroit exhibit which included comments, explaining that house interviews with major techno DJs and and techno, as musical genres, do not producers as well as fans of the music. even exist anymore. For Theo, they The second and third panels, are useful historical references, but entitled “Roots of Techno: DJs Explore do not effectively describe any type of the History and Present State of contemporary DJ performance genre. Detroit Techno,” and “DJ Discussion & Demonstration: The Musical DJ Gregory Dalphond (photo by James Rotz) Even though they [house and Characteristics of Detroit Techno techno] were technically the same & House,” featured well-known DJs as far as sound usage, and all of and producers. The third panel also the above, it wasn’t until later included DJ demonstrations on two on when other people discovered turntables and a mixer donated by what we were doing, they started Colin Boyll, resident DJ at Second generalizing these sounds and Story. Participant names will resonate saying, “okay, well, if Chicago made with techno aficionados: Mike “Agent house, then this is what house sounds like. And if Detroit made X” Clark, Cornelius “Atlantis” Harris, techno, then this is what Detroit DJ Minx (the only female DJ in the techno is supposed to sound like.” lineup), Terrence Parker, Theo Parrish, Now technically, I’ll say it again, it Marcellus “Malik” Pittman, and Rick was the exact same thing [spoken “The Godson” Wilhite. Some of these with great emphasis and humor]. panelists contributed to the creation of Detroit techno when the genre first began to take hold in the late 1970s; DJ Rick “The Godson” Wilhite (photo by James Rotz) These ideas of genre specifications and these DJs are still actively performing implosion of genre boundaries are today. Other panelists began DJing and deejays, and producers; (3) electronic areas ripe for research in relation to producing techno and house music equipment used in live and studio DJ performance and electronic dance characteristic of the Detroit style in the recordings; (4) audience response music. late 1980s and 1990s, and continue to to this music; (5) issues of musical The DJs also had a lot to say do so successfully. appropriation and changing identities; about how they began to cultivate The discussions covered a range of and, finally, forming the general an interest in techno and how they topics, including: (1) the history of impetus for the entire conference, (6) became DJs. Detroit DJ/producer Rick techno, spanning the decades from the issues of race and culture, relating Wilhite explained that he used to host late 1970s to the present; (2) techno techno to a broader continuum and DJ roller skating parties in his pioneers, including DJs, radio of African American cultural and basement. He described this type of
aaamc 07-08.indd 7 12/11/07 4:01:28 PM and in other parts of Europe, and then in the United States, among primarily white, suburban, middle- class teenagers. At the conference, Cornelius Harris, a Detroit techno label manager and spokesperson for Underground Resistance, discussed the strategic locations of rave parties during the late 1980s and 1990s in Detroit, and throughout much of urban and suburban United States. Harris explained that many rave promoters would host parties in abandoned warehouses in dangerous neighborhoods in metropolitan Detroit, while allowing primarily white, suburban rave kids to attend. People who actually lived in the neighborhoods in which the rave was being held were routinely denied entry, but sometimes forced their way in anyway. Harris spoke of a “safari element” to this type of intrusion by white suburban “outsiders”: There was also this safari element to it where it was the sense that these were privileged white kids Portia Maultsby watches DJ Theo Parrish (photo by James Rotz) coming into the city to experience party, in conjunction with basement ..., to me, the spark of techno the dangerous black folks. It was and backyard techno parties, as the and house really took off a real fun experience for them. beginnings of Detroit techno and because … most of your high I remember a bunch of parties house: school or middle school and at really inappropriate places. neighborhood friends would There was one on the southwest My house at the time, my mother’s be just stopping over. And side of Detroit in a particular house, my parents’ house, … I it wasn’t a lot of rap, it was area where there happened to had a basement where it was big more dance music. … People be a lot of gangs. And there was enough where we could roller would do the new dances in the this rave that was done, and skate around the basement. So, backyard and in the basement. the tickets were out of control. you know, they [friends] used to It was so fun and you just got They were 35-40 bucks [Terrence come over and like, “Rick play an experience of new music Parker chimes in “yeah, 35-40 some music, we got our skates, consistently, almost three times bucks”], something ridiculous. So you know, we’re going to the rink, a month. of course, none of the people in we’re going to go listen to the the neighborhood can afford to new stuff.” DJs back then were Another type of party, the rave, go to this party. Now there is no radio DJs at the roller rink, and developed after techno became way you are going to have a party they [friends] got used to it at popular in the UK in the late 1980s. there and you’re not going to let my house, and so when we went Record collector, Neil Rushton, along these guys come in. They came to the roller rink, we already had with Detroit techno DJs Juan Atkins up to the door, they were like routines, and things like that. And and Derrick May, released Techno! “What?” and they went in there. so everybody was like, “how do The New Dance Sound of Detroit in And of course some fights broke y’all know that record?” It was 1988 in the UK. This album was an out and everyone was like “Oh like … “’cause of Rick!” … And so important compilation of techno man, these crazy Mexicans shot basically, it spawned into backyard tracks featuring Detroit DJs. The us.”… But that was the safari parties and basement parties, and introduction of this music spawned experience…People went around a lot of those parties were where the development of rave in the UK bragging about it.
aaamc 07-08.indd 8 12/11/07 4:01:29 PM During the afternoon panels, the DJs were generous with their storytelling and were surprisingly forthcoming in their discussions of race and musical appropriation in techno music. The panelists discussed the role of white DJs in the historical and contemporary Detroit scenes, including a story about Richie Hawtin and John Aquaviva. Canadian DJs from Windsor, Ontario (across the river from Detroit), Hawtins and Aquaviva would stamp their records with “Detroit Techno,” promote drug use at their raves and techno parties, and pay little or no homage to the African American cultural and musical origins of techno, nor to its contemporary black practitioners. Appropriation of techno and house, in which the music is rapidly and radically severed from its African American historical, cultural, and musical roots, is a major issue for many Detroit techno DJs, and deserves more attention in academic research. Some of the panelists, primarily Rick Wilhite, Marcellus Pittman, Theo DJ Minx (photo by James Rotz) Parrish, and DJ Minx, discussed the panelists about demographics at importance of vinyl as a format for the annual Detroit Electronic Music Getting a glimpse of so many techno and house music production. Festival and at the techno exhibit facets of the lives of this group Theo Parrish pointed to his own at the Detroit Historical Museum; of Detroit musicians was shirt: “Keep Vinyl Alive” was printed about the presence of women DJs in extraordinary, an extraordinary across his chest. He emphasized this Detroit; about musical ownership moment of oral history. The message as an important statement for African American DJs in Detroit; panelists were all eager to that he and other panelists brought to and about different live performance talk: eager to tell their life Bloomington to share. Related to the techniques and equipment. There story--as they wanted it to issue of audio formats, the panelists was also a lively discussion between be known. The setup worked discussed financial concerns, quality audience member Professor Mellonee really well. Thank you for doing of sound, ease of production, and ease V. Burnim and panelist Theo Parrish all this here in Bloomington, of performance when using digital about DJ performance in a live club Indiana! The range of subjects formats. They emphasized, however, setting. This interaction and the the panelists brought up was that while digital formats facilitated subsequent demonstrations by all four remarkable. They even touched production and performance (and DJs on the panel helped the audience on the subject of music itself— often quicker rises to fame), truly to understand the basics of DJ presumably at the center of it important, influential DJs always performance as well as the diversity of all, but clearly also the most maintained an awareness of history musical styles represented by the DJs technically complicated issue. and musical influences, as well as at the conference. Theo Parrish, especially, seemed historically important DJ equipment The conference weekend generated eager and able to talk about and recording/playback formats. enormous amounts of feedback, sound and structure in more Audience members engaged with from attendees and panelists alike. An than just impressionistic terms. the panelists with such interest and attendee of the conference, Indiana intensity during the question and University graduate student Koenraad answer periods, that there was barely Vermeiren, wrote at the close of the Another conference attendee, Indiana enough time for breaks between weekend, full of praise for the event University undergraduate student panels. There were questions for the and the panelists: Paul Kane, wrote an extensive
aaamc 07-08.indd 9 12/11/07 4:01:29 PM and thoughtful email as well as After such positive and encouraging will continue over the next several a description of the conference feedback from panelists and years, and many of the conference that he published online through conference attendees, it is clear that panelists have already begun to deposit a website called “Progressive the event was a success and had a materials, including audio and video Historians: History and Politics Of, profound impact on many levels. The recordings, photographs, posters, and By, and For the People.” Kane gave a techno conference was of interest to a other forms of documentation, at the fantastic overview of the conference diverse audience, including local and AAAMC. In addition, documentary proceedings and the performances at regional musicians, scholars, students, materials from “Roots of Techno” are Second Story, and he also commented and general music consumers. currently available at the AAAMC on the conference’s role in educating “Roots of Techno” also helped to for research purposes. High quality American fans about techno’s black bridge the gap between the academy video recordings of the conference roots: and public realms, emphasizing the proceedings and DJ performances importance of connecting these two at Second Story, professional Much thanks to you and to seemingly disparate worlds. Many photographs from the conference everyone else involved for of the panelists, including the DJs, and club performances, and all of the putting on the conference. One repeatedly expressed their gratitude conference planning documents have of the audience members said for the opportunity to express their been accessioned into the AAAMC’s that he had been waiting all his stories and explore techno and house permanent collections. Looking life for this conference. I suspect with a primary focus on African ahead, the AAAMC intends to use that a lot of people could relate American history, culture, and music. the planning protocol developed to that sentiment. I myself The academic impact was equally during the “Roots of Techno” event as have read a little bit about the great, providing a wealth of primary- a template for future conferences on origins of techno, but I had not source data, launching a new techno various under-represented genres of realized fully that it’s beginning and house collection at the AAAMC, black secular and sacred music. was so deeply embedded in and establishing Indiana University as Detroit’s Afro-American an important location for research on community, in a world where electronic dance music. By introducing Additional Thanks: “Roots of Techno” basement parties and mixtape- this genre in the context of African was partially funded by the College Arts sharing was a vital part of life. American studies, the conference also & Humanities Institute; other sponsors enhanced IU’s research concentration included the IU departments of African I was grateful to the panelists on African American culture that and African American Diaspora Studies, for opening up to us in the is supported in the Department American Studies, Communication and audience so much about the of Folklore and Ethnomusicology, Culture, Folklore and Ethnomusicology, connection they saw and felt the African American and African the School of Journalism, the African and experienced between Diaspora Studies Department, the American Arts Institute, Foster techno music and their Archives of African American Music International Living-Learning Center, community. They also made it and Culture, the African American RPS Academic Initiatives and Services, clear that it was very important Arts Institute, and the Neal Marshall Foster Quad Community Council and to them, from the very Black Culture Center. Foster Quad Student Government. beginning, that the music they Connections between the AAAMC Support was also provided by the record were creating was something and Detroit will be significant and labels Sound Signature and Unirhythm, that broke down cultural, racial lasting – strategies are already being and the record outlet Vibes New & Rare and geographic barriers. And initiated for the deposit of existing Music. there was a lot of pain and techno- and house-related materials, anger expressed over the fact as well as for the future collection that they felt (at the risk of and accession of interviews and oral -Denise Dalphond histories. Panelists Terrence Parker, Ph.D. candidate in ethnomusicology, over-collectivizing the panels, Indiana University which were, of course, made up Mike Clark, and Cornelius Harris of individuals) that their music are engaged in ongoing, in-depth had been turned into something discussions with AAAMC director that, at least in America, Portia K. Maultsby about depositing created more separation than their personal techno materials. Theo connection between urban Parrish even brought to Bloomington black culture and suburban materials such as LPs and CDs that he white culture, as it traveled wanted to deposit in the AAAMC. The from one to the other. AAAMC’s techno collecting efforts
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aaamc 07-08.indd 10 12/11/07 4:01:29 PM In Memorium:
The life of Phyllis T. Garland was full and robust. She surrounded herself with her favorite music, a rewarding career, and many friends and acquaintances.
November 2006 of cancer at the age of and Josephine Baker, and attending 71. During her nearly fifty-year career, music industry parties and Broadway Garland used her talent as a journalist opening nights. However, she later to advocate for black artists and recalled feeling as though something introduce national artists to up-and- was missing. Garland was able to fill coming musicians such as Wynton that void in 1973 when she joined Marsalis. Perhaps journalism was her the faculty of Columbia University’s destiny—Garland’s mother and role School of Journalism. model, pioneering journalist Hazel Throughout her tenure at Hill Garland, built her own career at Columbia, Garland mentored many the Pittsburgh Courier and eventually African American and female aspiring served as its editor-in-chief from 1974- journalists. She was known as one who 1977. Garland’s father was also in the always made time for her students, news business as a photographer in professionally and personally, and the Pittsburgh area. Always mindful Garland’s engaging personality and of the professional achievements of achievements in the field of journalism her parents, when Garland went on garnered continued respect from her to attend Northwestern University colleagues at Columbia and beyond. Phyllis T. Garland, as a journalism major she dedicated The life of Phyllis T. Garland was 1935-2006 her experience to her father who had full and robust. She surrounded been accepted to Northwestern years herself with her favorite music, a The AAAMC is saddened by the earlier but could not raise the money rewarding career, and many friends passing of noted journalist and scholar to attend. and acquaintances. She boasted of Phyllis “Phyl” T. Garland. The Archives Garland began her professional her impressive 10,000-record album was fortunate to have had Garland as career as a reporter in 1958 alongside collection and her Southern cooking a member of its National Advisory her mother at the Pittsburgh Courier. abilities. The AAAMC was extremely Board since 1997. In addition to her In 1965, the late John H. Johnson, fortunate to be affiliated with her, and leadership role with the AAAMC, the founder of Johnson Publishing Group, we are grateful to be able to benefit Archives houses the Phyl Garland invited Garland to join Ebony, and from her donation of materials that Collection, which features many of her Garland was with the magazine from document a prolific career. Garland’s personal papers, original typescripts of 1965-1973. By the end of her tenure involvement will be missed, but her Ebony Magazine news columns, over with Ebony, she had climbed from the legacy lives on through her work and 900 publicity photographs, and taped entry-level position of assistant to the her students. interviews with various musicians, coveted position of New York Editor. singers, and filmmakers. While with the magazine, Garland -Fredara Mareva Hadley AAAMC Graduate Assistant Garland, who was the first female became a part of the glamorous side tenured professor at Columbia of music journalism, interviewing the University’s Graduate School, died in likes of Diana Ross, Duke Ellington,
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aaamc 07-08.indd 11 12/11/07 4:01:30 PM A Conversation with Murray Forman, New AAAMC National Advisory Board Member
The Archives have recently benefi ted from Murray Forman’s rich collection and rather substantial donation of hip hop magazines—The Source, XXL, Vibe, Rappages, Rap Sheet—as well as photocopies of articles on the hip hop industry that span over 20 years. He collected these items while researching The ‘Hood Comes First: Race, Space, and Place in Rap and Hip-Hop, a brilliant tome on race, place and music (Wesleyan, 2002). While Forman does not claim to be the “Hip Hop Professor” on his campus, he remains one of the more formidable hip hop scholars of our generation even while pursuing new research interests. He is an active contributor to the current study of hip hop culture and one of the founding members of the Northeastern University Hip Hop Studies Collective. Dr. Forman joined the AAAMC National Advisory Board in 2006. As a student at Carlton University, that students could use to think In August 2007, I had the pleasure of talking Forman was exposed to scholars on about what hip hop is and how it to Dr. Forman about Hip Hop Studies the vanguard of Canadian Cultural functions in terms of an expressive and pedagogy, his life in hip hop, and his Studies and popular music, like John form. From his academic work he current academic interests. The words below Shepherd and Will Straw, who were has since published two tomes on hip are but a small excerpt from our lengthy already working in Popular Music hop culture: The ‘Hood Comes First: and pleasurable conversation on that long Studies. So he had no problems Race, Space, and Place in Rap and summer’s day. convincing them that reggae and hip Hip-Hop (2002), and a compilation, hop were viable areas of study for a That’s The Joint: The Hip-Hop Studies Around 1981 or 1982, Murray young undergrad to pursue. He was Reader (2004), which he co-edited Forman was playing percussion and also writing freelance and covering the with Mark Anthony Neal (a second singing for a funk band in British limited-but-present reggae and hip edition of which may be forthcoming). Columbia, Canada when a friend of hop scenes in Ottawa. Hip hop shows Forman is currently an Associate the group’s bass player started sending were often taking place alongside Professor of Communication Studies him tapes recorded straight from some the reggae dance hall scene, and thus at Northeastern University in Boston, New York City radio stations. They began his quest to rigorously study hip Massachusetts. were listening to funk and hip hop— hop. and the whole axis of their musical Forman pursued a M.A. in Media Hip Hop Studies awareness and cultural sensibility just Studies at Concordia, writing his thesis tilted. Forman claims, “Slowly, some of When Murray Forman and Mark on hip hop themes and sampling. Anthony Neal put together their edited the records and the like started coming For his Ph.D. he noticed a lacuna in into the shops and everything and that volume, That’s The Joint: A Hip Hop the literature on urban and cultural Studies Reader, they never intended for was it. By ’82 when ‘The Message’ [by geography and the spatial themes Grand Master Flash and the Furious Hip Hop Studies to be a freestanding in hip hop, and so he put forth a fi eld, nor for it to have sub-disciplinary Five] came out, I was convinced that dissertation demonstrating the ways this was the music that I was probably status. Rather, the two scholars of hip a study on hip hop’s spatiality could hop culture came to the realization most interested in. I just got on it bring new light to Communication right away.” that if they were going to name it Studies—a certain kind of knowledge “Hip Hop Studies,” it could not be a
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aaamc 07-08.indd 12 12/11/07 4:01:30 PM Now that hip hop is approaching its mid-30s, it has grown so enormously that it is too much to contain in one department or one area, and the notion of disciplinary ownership becomes troublesome.
single entity. Forman explains, “We hop sensibility” or that emphasizes a and there’s even a Sociology of Hip were really surprised and impressed hip hop perspective and then adopts Hop course that’s taught regularly by that English departments had adopted some of these disciplinary theories. a Northeastern graduate student. In it. Sociology clearly, Women Studies, “In that way, Hip Hop Studies his own department, Forman explains Communications, Film, Popular gradually does affect the fields and that there is currently no room in Music, African American Studies, maybe shifts the ways of thinking the curriculum for him to teach his Ethnic Studies—it’s in all these and doing academic practice.” Now own hip hop course, and, with all the different departments in really, really that hip hop is approaching its mid- offerings from other departments, complex and different ways. …One 30s, it has grown so enormously he does not feel that he needs to. of the things that becomes interesting that it is too much to contain in one However, he clarifies, “I make sure from my personal perspective, [is] to department or one area, and the when I’m doing my Popular Music see which lens is the more powerful notion of disciplinary ownership as Media Form course, I have a lot of lens in different settings. Is somebody becomes troublesome. “I think opportunities to use hip hop videos looking at hip hop with an emphasis there was this period where it was and hip hop music to make the case on the sociology side of things, for much more intensely anchored and or discuss aspects of popular music in example, in a Sociology department, connected—either in a music program media. When I do some of my other or are they looking at sociological and certainly in African American basic courses, like an audience course issues and sociological theories Studies—but it’s broken loose of that. or something, we can have those through a hip hop lens? That’s where it It still has a super-strong importance discussions about suburban, middle- becomes quite interesting to see which and relevance in those departments, class, white fans of hip hop and talk one receives the greater emphasis, and but as I’m saying, we’re seeing it come about that through issues of audience really good work comes from both up in really important and different and reception theory. …I integrate sides.” He is fascinated by the ways ways across the disciplines.” it into as much work as I can, but I the more “gilded”-oriented advisors, don’t want to get pinned down or just professors, and department chairs Teaching Hip Hop have the reputation as the campus come to terms with their discipline At Northeastern University there are ‘hip hop professor.’ A lot of people when something completely different hip hop courses in African American on our campus are doing a great job is born from what he refers to as a “hip Studies, in the music department, with it.” He noticed that these multi-
Magazines from the Murray Forman Collection
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aaamc 07-08.indd 13 12/11/07 4:01:32 PM The hip hop performers themselves must also grapple with this notion of remaining relevant to a youth-centered market, which hip hop has always been—more so than rock ‘n’ roll and R& B.
disciplinary hip hop course offerings more and more work on hip hop and have been growing in number for the the work has gotten constantly better past six years, at least since he started and better, so that notion of having at Northeastern and perhaps longer. to justify it has become somehow “It’s just accelerated since then; so if less relevant.” Forman is finding that you go online and Google ‘syllabi,’ at the major communication and …Mark [Anthony Neal] and I found media conference—the National 70 or 80 free-standing courses on hip Communication Association—there hop when we started with the reader. are typically five to ten panels on My guess is that there are only more hip hop, with topics ranging from now.” discourse and rhetoric to examinations He finds the multi-disciplinarity of performance issues. Forman adds, of the hip hop courses offered on “Anybody who’s looking at the field his campus beneficial to the study, says, ‘Okay, [Hip Hop Studies] is not and faculty can then move on to new. It’s standard, it’s an established different themes and issues. “A lot part of it, and it’s every year at the of times, hip hop gets taught in this annual conference. There’s at least a historical trajectory,” Forman states, representation.” “or at least it used to, but now some of the students…can do rigorous Prof’s Keepin’ it academic and theoretical work on hip Real: Studying Black hop; hence Hip Hop Studies.” The Musical and Cultural Northeastern faculty share syllabi, Artifacts try to ensure that they are offering Forman acknowledges that the a full array of analytical angles into stakes are a little different in studying hip hop, and also try to look at the hip hop and believes that there is a way hip hop helps everyone better lot of encroachment into hip hop in a understand the wider culture and variety of ways. He explains, “People community. feel the commercial encroachment and feel like it has diluted and The Scholar of Hip altered a culture that is a living Hop and the “Triviality culture that people take very, very Barrier” seriously, obviously. There are all Despite all the love being shared these examples. There’s the historical among the Northeastern faculty who example of African American cultural teach courses on hip hop, Forman practices and music forms and other admits that they occasionally meet cultural forms being subverted or with resistance from colleagues. often come from predictable sources commercially...appropriated and the Sociologist and children’s folklore such as older or more conservative like. I think [for] all of us who are specialist Gary Alan Fine refers faculty members, but Forman knows studying it, [guardianship] becomes to the obstacles encountered by that these scholars are aware of the one of the added responsibilities. In folklorists that study children’s academic publications emerging from some ways, you make sure that you cultural productions as the “triviality hip hop studies. “They’re seeing their don’t sell out hip hop as well.” barrier”—an expression that might faculty members and their students As an example, Forman offered also apply to scholars of youth culture doing really solid, theoretical, rigorous, an experience he had at an early and popular music. In terms of their historical and cultural analysis. It’s conference at which he delivered overall orientation, the criticisms hard to deny that. I think there’s a paper on hip hop and women. A
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aaamc 07-08.indd 14 12/11/07 4:01:33 PM female member of the audience told to be as effective, academic, and an own age and status—he really seems him that the paper was interesting, analytical thinker about contemporary like he’s given it some thought. He’s but she wanted to know how he saw hip hop....I don’t know how that cool and he’s made his peace with it, the fact that he was building his career question will be shaped, but to what but he’s got a lot to say about it, too.” on the backs of black female rappers. extent is age a factor in the work I do “That was a fantastic question to on hip hop now? That’s the kind of The New Direction in ask at an early stage of my academic question that I’m grappling with at the His Research: Aging career. What are my responsibilities? moment.” As a result of Dr. Forman’s sincere What are my commitments? How But it is not just the aging “Hip consideration of aging and hip hop, do I write and speak through hip hop Hop Headz.” The hip hop performers he is now investigating popular music and, in a way, remain a collaborator themselves must also grapple with on television before Elvis—looking with all the individuals in the culture? this notion of remaining relevant to a at holes in the field, gaps in the It’s been a challenge ever since, but I youth-centered market, which hip hop arguments, and the evidence—and he think we need to ask that of ourselves has always been—more so than rock feels that he can do it. “That was my and I think ask our students that as ‘n’ roll and R& B. These questions also main challenge, but the other thing well. As I use that term ‘collaborator,’ have become problems to be tackled is my father, who passed away last it just makes me realize that one of intellectually. “It’s like you look in the year…my parents are elderly and this the approaches that I’ve tried to take mirror and you say, ‘Oh, look at that. was a way for me to connect a little bit through the years since I’ve been doing Look at those little lines,’ and it’s seen with their culture and their musical work on hip hop is [to] try and see it as a negative right away. This is what sensibilities. It’s leading me into some as a collaboration. I don’t necessarily I’m trying to think through. I would issues and theories of aging culture. see that I’m in a vanguard. Hip hop love to start trying to talk to some of That’s going to have two angles, but drives Hip Hop Studies and the music the hip hop veterans and say, ‘How do one of them is precisely [that] I want and cultural practices…academia you think of your own status? How to start thinking a little bit more about doesn’t lead hip hop anywhere but do we address this idea of a decline what it means to age in hip hop. What there is this collaboration and I narrative in hip hop, because we never does it mean to be a veteran in hip hop think there’s been a nice sharing, really had to?’ We’re at a very, very culture, the so-called ‘elder statesmen’? especially as more and more of the interesting place right now in this What does it mean when some of these artists/cultural producers have been culture and we’re starting to see it as a hip hop veterans, who are now tipping on campuses. We invite them in the dilemma. We’re having a harder time over the fifties, have grandchildren same way that we go to the shows, and talking to young people about the who are growing up in a world that I think there is a lot more dialogue.” same culture that we both love and live they’ll only know as a hip hop world? within to some extent…to differing I think this is fascinating in the same Aging Hip Hop Headz extents. For me, it poses an interesting way that space, place, and geographical Similarly, Dr. Forman also told me set of questions within hip hop but themes are a part of hip hop, but that he has had to negotiate and field also within the academic study of hip something that we could all talk about questions about how his whiteness hop.” and focus on. I’m looking at age has been a factor, both in terms of his For example, “[hip hop artists] maybe coming up in a similar way. status as a fan and his involvement Wise Intelligent and X Clan had a new When Cam’ron [on the track “You Got in the culture. Was there a barrier product out but they were fully aware It”] calls out Jay-Z and says, ‘You’re to overcome? The question has now of their status and what it meant. He old, you’re old, you’re thirty-eight.’ The changed. “One of the things that talked about it in a number of ways, whole discourse of falling off, what comes up now as a definite factor and like personally… a band member died does that mean? Well, at some point, a definite barrier, [and] the question and they’ve gone through all of these there is an age bias built into that. that I raise myself, is my oldness. This personal changes...but then he also The suggestion is that you’ve moved becomes, I think, one of the critical talked about in terms of longevity, through your prime, your heyday, but analytical barriers. I cannot get inside career, reputation, and status in the you’ve aged through it and you’re no hip hop the way I used to...[I] do industry...what it means to try and longer current and relevant, get out of have these moments in time where I get a meeting and what it means to the way. That also transcends into the say, ‘This is the field, the sound, the try and get a record deal as somebody audience.” aesthetic, the vibe that works best who’s on the other side of their prime. for me. These are the themes that Actually, he was wonderful, that way he -Fernando Orejuela seem to resonate most with the way I broke it down, and I think the students AAAMC Research Associate came out of there really illuminated... Lecturer, IU Department of Folklore and was seeing the world,’ and it’s passed Ethnomusicology beyond that. We’re in a different in fact, I’d love to start with him place now, so it makes it very difficult because I think his perspective on his
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aaamc 07-08.indd 15 12/11/07 4:01:33 PM Looking Back, Looking Ahead: Keith McCutchen, AAAMC Research Associate
Throughout his career as a composer, arranger, pianist, and educator, Keith McCutchen has found ways to keep “looking back while constantly looking ahead.” According to McCutchen, his current role as Director of the African American Choral Ensemble (AACE) within Indiana University’s African American Arts Institute (AAAI) affords him a great opportunity to impress upon his students the power of preserving the essence of traditional African American musical expressions while embracing new sounds. As a new introduced to the music of Miles Banfi eld encouraged him to apply, and Research Associate at the Archives of Davis in high school. Jazz music McCutchen is now one year into his African American Music and Culture and improvisation became his new tenure as director. (AAAMC), McCutchen is building passions and it was in fact a jazz band As the AACE’s director, McCutchen on his commitment to present the scholarship which sent him to college. realizes that the AAAI is a crucial work of living African American At the University of Kentucky he component of the Department composers and choir conductors by developed his jazz musicianship by of African American and African examining the Negro spiritual through working on his improvisational skills Diaspora Studies (AAADS) because the perspectives of contemporary when he should have been in music it serves “as a means of expression of arrangers and composers. history class. what’s being studied historically.” Thus A musician since childhood, After college and throughout the AAAI is a place where all students, McCutchen’s upbringing helped him his career as both an educator and but especially African American to develop a diverse musical palette. professional musician, McCutchen students, can explore various He grew up playing the piano in always felt that he would somehow end aspects of their musical heritage and his Kentucky church which served up affi liated with Indiana University; experiment with diverse modes of as a proving ground for his gospel however, he only knew of David Baker musical expression. McCutchen is music performance, yet his mother and IU’s renowned jazz program, and committed to this mission because consistently played National Public he had no knowledge of the AAAI. he believes that African Americans Radio in the car and thus exposed Then, while living in Minneapolis, “…can trace our historical perspective him to the music of great orchestras McCutchen found out through IU through our songs. So there is a such as the Chicago Symphony. With alumnus and composer William purpose in continuing to tell the story gospel and classical music already Banfi eld about the AAAI and the of a people and a culture through their fi rmly entrenched in his ear, he was opening for Director of the AACE. music.”
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aaamc 07-08.indd 16 12/11/07 4:01:34 PM McCutchen has continued to find ways to build bridges between his various musical passions and experiences.
Never one to be confined by just lined hymns, early gospel songs and choir conductor, and record label one type of musical expression, anthems, and contemporary gospel executive, provided invaluable insight McCutchen has continued to find ways songs. McCutchen’s diverse musical into the history of the contemporary to build bridges between his various experiences with jazz, choral music, gospel industry from an insider’s musical passions and experiences. On and gospel all become evident in perspective. the concert program for the Spring his compositions which have been In researching contemporary gospel 2007 AACE concert, the ensemble recorded by the St. Olaf Choir, music and jazz, McCutchen is not performed the hymn “Shine On Me,” the St. Olaf Gospel Choir, and the daunted by the many changes that which McCutchen chose in part American Spiritual Ensemble. As a both genres continue to undergo; because of his fond remembrance composer, McCutchen is interested in he asserts “We have to be willing of the way a deacon would line out the question, “What does it mean to to look at the evolutions and the “Shine On Me” at the Consolidated be an African American composer?” transformations that are occurring. Baptist Church where McCutchen was He feels it is incumbent upon the [The music is] beyond us and we can a musician. His personal connection African American composer to only in retrospect survey [it].” Whether to the song manifested itself in how continually “define and redefine it is through teaching students in he taught the song to his students. He manifestations of Blackness.” Thus, his the AACE, composing a new work, not only encouraged his students to work as a composer gives zeal to his researching a new idea, or pursuing his focus on the technical aspects of the commitment to continue to perform doctoral degree in choral directing at piece such as pitch and time, but he the work of living African American the IU Jacobs School of Music, Keith also painted a picture of the context composers and to work with the McCutchen is continuing to find new in which the music is performed and AAAMC to document the life histories ways to merge and integrate sounds encouraged the students to place of these composers. and ideas about African American themselves in the scene. As Research Associate at the musical expression. In his own words, Perhaps McCutchen’s assertion AAAMC McCutchen plans to “There are gems still to be written that African American history is build on his research dealing with and of course other gems that need preserved in its songs is part of the contemporary gospel music and to be heard by new listeners. So we reason he continues to find ways to musicians. As a church musician and are constantly looking back, while unite the past, present, and future choir director, he was enthusiastic constantly looking ahead.” in his performance and research about traveling to Indianapolis, careers. Under his direction, attending Indiana in June 2007 to interview Al -Fredara Mareva Hadley an AACE concert feels like a choral Hobbs, the founder of the Indianapolis AAAMC Graduate Assistant journey through the African American Mass Choir and Executive Vice Chair experience because McCutchen of the Gospel Music Workshop of carefully chooses selections that America (GMWA). The opportunity represent diverse aspects of African to interview Hobbs, who has been a American life such as spirituals, gospel music radio announcer, writer,
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aaamc 07-08.indd 17 12/11/07 4:01:35 PM Musical Arts Center lobby, left to right: David Baker, Marian Harrison, Tyron Cooper, the commissioned painting “Lift Every Voice and Sing!”, Wilhelmina Fowlkes (commissioned artist, Atlanta, Georgia), and William C. Banfield (artist-in-residence).
2007 Extensions of the Tradition Concert Series presents “The Enjoyment of Composition: From Stage to Audience”
The Extensions of the Traditions C. Banfield, David N. Baker, Tyron purpose of publicly performing works concert series is an annual event that Cooper, and Marian Harrison. All by African American composers. Since features the innovation and creativity composers were present for the event, 1993, the series has been presented of classical works composed by African making the theme of the concert at IU. The concert series’ name, Americans. Sponsored by the Indiana extremely relevant as they exhibited a Extensions of the Tradition, refers to University African American Arts true enjoyment of composition both artistic expressions that are linked to Institute (AAAI), in collaboration on- and off-stage, as performers and a long history of African American with the IU Jacobs School of Music members of the audience. composers. These composers speak in and the Archives of African American William C. Banfield, the 2007 several “musical tongues” which exist, Music and Culture (AAAMC), the Extensions Artist-in-Residence and as W.E.B. Dubois stated, in a “double 2007 concert was held on Sunday, former IU Soul Revue director (1992- consciousness” of European- and February 25, at 8 p.m. in Auer Hall 1997), established the Extensions of African-derived artistic traditions. on the IU Bloomington campus. The the Tradition concert series in 1988 at Marian Harrison, producer of the concert featured works by William the University of Michigan, with the concert series and the first African
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aaamc 07-08.indd 18 12/11/07 4:01:35 PM Left to right, dancers Jennifer French, Ariel Simpson, and Chaley Jackson in poses that reflect the ones painted in the picture, “Lift Every Voice and Sing,” during the welcome delivered by Marian Harrison.
American to graduate with a Doctorate The pieces were both members of the Jacobs School of of Music in Music Composition from an impressive Music faculty, and pianist David Hart. the Jacobs School of Music (August collection of Songs of the Past for the Future was 2007), welcomed the audience with composed and conducted by former her dramatic arrangement of Lift Every creativity, IU Soul Revue Director (1999-2005), Voice and Sing, the Negro National innovation, and Tyron Cooper. The work, featuring a Anthem. The arrangement included movement, medley of Negro spirituals arranged spoken word and singing by Delia illustrating each for mezzo-soprano, was performed by Alexander and the Acabella Choir, composer’s Jacobs School of Music vocal professor interpretive dance by IU students individual style Marietta Simpson, accompanied by a Ariel Simpson, Jennifer French, and within the African student-comprised string ensemble, Chaley Jackson, and an unveiling of American race. and harpist Erzebet Gaal. Marian “Lift Every Voice and Sing,” a textured Harrison’s works included Interpretive acrylic commissioned painting Sketches, a collection of short pieces by Atlanta-area artist Wilhelmina and Society at the Berklee College for solo piano, performed by David Fowlkes. of Music in Boston, Massachusetts) Lyons; and Reflections of Life for viola William C. Banfield had two during a lunchtime talk entitled “The and piano, performed by Neesa Sunar compositions performed, including Sociology of Doing Black Music in and Daniella Candillari. Harp Song for soprano and harp, American Culture: A Talk about The “Enjoyment of Composition” sung by Leah McRath and played by Artistry, Education and Meaning was truly exhibited both on stage Erzebet Gaal. Joes Chose Woes Slows in Making Music.” This event was and in the audience during the 2007 Blues ended the concert on a bluesy jointly sponsored by the Department Extensions of the Tradition concert with note and featured the composer of African and African American its fusion of musical languages—from as conductor, students from the Diaspora Studies and the AAAI. classical to jazz, sights to sounds, Jacobs School of Music, and AAAI Other programmed works included vocal to instrumental. The pieces Professors Nathanael Fareed Mahluli David N. Baker’s Songs of Living and were an impressive collection of and Keith McCutchen, current Dying for soprano, cello, and piano. creativity, innovation, and movement, directors of the IU Soul Revue and the This song cycle features a collection illustrating each composer’s individual African American Choral Ensemble, of poems by Paul Laurence Dunbar, style within the African American race. respectively. In addition to his music, Samuel Allen, Georgia Douglas Banfield shared his career’s experiences Johnson, and Langston Hughes, and -Marian Harrison (culminating in his current position was performed by mezzo-soprano Concert series producer and IU Jacobs School of Music alumna as Professor of Africana Studies/Music Patricia Stiles and cellist Emilio Colon,
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aaamc 07-08.indd 19 12/11/07 4:01:36 PM AAAMC Welcomes Visiting Scholars
Dupetit was thrilled to discover the many recordings, interviews, and photographs in the AAAMC’s collections documenting George Clinton and Parliament/ Funkadelic.
Guillaume Dupetit
During the summer of 2007, a world where all the American Finding a dearth of funk- the AAAMC welcomed two young Parliament would be Black. [This related materials in France, visiting scholars who are conducting is] a new vision of the Chocolate Dupetit was thrilled to discover research on African American City metaphorical utopia—a the many recordings, interviews, music and who made extensive symbol of self-consciousness, self- and photographs in the AAAMC’s use of the AAAMC’s collections. determination, and self-confi dence.” collections documenting George Guillaume Dupetit traveled all the Dupetit is also interested in Clinton’s Clinton and Parliament/Funkadelic. way from Paris, France, and spent a theory of funk as a divine inspiration. He hopes to return to Bloomington month in Bloomington immersing “Funk, which used to be a ‘bad word,’ again next summer in order to himself in funk music. A student becomes a positive thing, and the continue his studies. “Funk music in the Department of Musicology Funkintelechy—a P-Funk neologism is for me a real pleasure. I think the at the University of Paris, Dupetit combining ‘funk,’ ‘intellect,’ and study of this music is an integral part is in the process of completing ‘technology’ which characterizes their of the study of the culture with which his thesis, translated into English musical orientation—defi nes the it is associated. I take a large interest as “Creating a New World: An ‘force by which Funk gets stronger’ in Afro-American culture and music, Analysis of Parliament-Funkadelic.” and ‘pure’ (Pure Funk is one of the so I would really like to learn more His current research focuses on meanings of P-Funk). Funk colonizes about it, [and have an opportunity George Clinton’s Parliament/ the other words and leads the way to] meet and discuss [the music] with Funkadelic collective—their P-Funk to a new African-American cultural Dr. Maultsby and other specialists.” theory, their Universe, and their resistance. By transforming the Nora Brennan Morrison, a Ph.D. signifi cance. He explains, “According language, the P-Funk Mob (as they candidate in the History of American to the surrounding Afro-Futurism called themselves) destabilizes the Civilization program at Harvard, movement, Parliament/Funkadelic ‘right or bad’ values and the concepts also visited the AAAMC for a week has created their own world, their of religion and fi niteness. All these last summer. A native of Chicago, own history, and their own values. symbols (and many more) tend to Morrison now lives in New York and George Clinton’s afrocentric create a complex universe which I has taught at Harvard and at the City science fi ction projects him into will try to fi gure out in my thesis.” University of New York—Lehman
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aaamc 07-08.indd 20 12/11/07 4:01:38 PM “Many of the musicians I discuss have either passed away or are unwilling or unable to conduct interviews. The AAAMC’s collection of interviews is thus among the best sources of material about R&B artists.”
Nora Brennan Morrison
College. She is currently completing I am particularly interested in why Radio Collection, the Rhythm and her dissertation on the rise of rhythm audiences embrace popular music Blues Foundation Collection, and and blues music from the mid-1940s and how they ‘use’ it in their lives. the Michael McAlpin Collection through the mid-1950s. Morrison I also am quite interested in how have helped me better grasp how is taking an interdisciplinary musicians combine genre limitations musicians perceived rhythm and approach to the formation of the with individual performances and blues, and how they understood genre of rhythm and blues music, creative expression.” their music in retrospect. The other analyzing the music itself but also Morrison quickly realized that great source that I used was the considering performance styles, the AAAMC was an obvious place Charles Connor Collection. Connor technology, audience, and race. She is to pursue her research. “Working on drummed for Little Richard during especially interested in issues such as rhythm and blues music is rewarding the early 1950s R&B era. The AAAMC musicians’ gender play and sexuality and fascinating, but there are precious holds a copy of the manuscript of in performances, multiple musicians few archival sources available to his unpublished autobiography. His “covering” the same song across scholars. I was delighted to discover detailed recollections have greatly genres and racialized categories, and that the AAAMC holds extensive helped me understand Little Richard’s the decline of race as the primary collections of taped interviews and music, the band’s creative process, determinant of audience composition transcribed interviews with rhythm and the historical era in which they during the rhythm and blues era. and blues musicians and record were created. It’s safe to say that Her dissertation will also include an company executives. Many of the without my visit to your archive, extensive discussion of Little Richard, musicians I discuss have either passed my dissertation would be much the as well as close analyses of musicians away or are unwilling or unable to poorer.” such as Big Mama Thornton, conduct interviews. The AAAMC’s We enjoyed working with Wynonie Harris, Elvis Presley, and collection of interviews is thus among Guillaume and Nora, and we look Fats Domino. She notes that, “In a the best sources of material about forward to seeing the fruits of their larger sense, my scholarship centers R&B artists. The in-depth, thorough labor! around popular music of the late interviews found in the Johnny Otis nineteenth and twentieth centuries. Collection, the Smithsonian Black -Brenda Nelson-Strauss
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aaamc 07-08.indd 21 12/11/07 4:01:40 PM James Brown Memorial Service in Augusta, Georgia
In December of 2006, IU Folklore Professor John McDowell and his wife, Patricia Glushko, were visiting relatives in Augusta, Georgia when the legendary James Brown passed away on Christmas Day. Brown grew up in Augusta, and the town had erected a life-size bronze statue on Broad Street to honor the “Godfather of Soul.” For several days after Brown’s death, fans gathered in front of the statue, leaving tributes of flowers and other mementos. Glushko was able to document the street scene, and donated the photographs to the AAAMC. Gail Glushko, Patricia’s sister, also contributed to the documentation effort by taping Augusta’s public memorial service (CBS) broadcast on December 30th over local station WRDW-TV as A Tribute to James Brown: Live from the James
933 - 2 00 6 Brown Arena (a memorial service was also held at New York’s Apollo Theater on Dec. 28th). The four-hour program features news coverage of the memorial service, including a video of Brown’s last performance in Augusta, a eulogy by Rev. Al Sharpton, and speeches by various family members, Brown’s manager, and Michael Jackson. Also included are many live musical tributes featuring some of Brown’s greatest hits: Derek Monk singing “God Has Smiled on Me;” the Soul Generals (Brown’s last back-up band) performing “Soul Power;” Vickie Anderson singing “It’s a Man’s Man’s Man’s World;” Tommi Rae Brown (his widow) singing “Hold On, I’m Comin’;” Marva Whitney singing “Kansas City;” the Bittersweets (Brown’s back- up singers) performing “I Feel Good;” and Bootsy Collins, Fred Wesley, and Bobby Byrd (one of the original Famous Flames) joining together on “I Know You Got Soul.” The tribute has been transferred to four DVDs, complete with chapter indices, which may be viewed in the AAAMC’s reading room. McDowell and Glushko also donated copies of The Augusta Chronicle (December 30 and 31, 2006), and the Augusta weekly Metro Spirit (January 4-10), which include additional coverage of the funeral procession through downtown Augusta, the memorial service, and special feature sections about James Brown and his musical legacy. These materials are now housed together as SC 32: James Brown Memorial Service (Augusta, Georgia), 2006. We are very grateful to Dr. John McDowell, Patricia Glushko, and Gail Glushko for their role in documenting this extraordinary tribute to one of the greatest musicians of all time.
JAMES BROWN, 1 JAMES -Brenda Nelson-Strauss
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aaamc 07-08.indd 22 12/11/07 4:01:42 PM Remembering James Brown
The year was 1963 in Orlando, Florida. The event was the James Brown Show. A dimly lit stage spotlighted Bobby Byrd, Brown’s MC and a member of his Famous Flames, who introduced the star of the show in a highly dramatic style: “Ladies and Gentlemen. It’s star time. Are you ready for star time? I say, are you ready for star time?” Byrd then announced the titles of Brown’s hit songs, each punctuated with a one note hit by the horn section. The list began with “I’ll Go Crazy” and ended James Brown leaves the stage after a concert at the Sam Houston Coliseum in Houston, Texas, with his latest hit, “Prisoner of Love.” circa 1968. SC89:George Nelson Collection Byrd concluded his introduction saying: “Let’s bring out the hardest- played piano and organ for various of his musical innovations (along working man in show business, churches, French horn in the middle/ with those of Ray Charles and Sam James Brown. Let’s hear it for James high school band, and led a popular Cooke) that provided the transition Brown,” stretching out every syllable music group), I was especially from rhythm and blues to soul and each time he pronounced Brown’s inspired by his show—the verbal, the transition from soul to funk. name. Then Brown entered the visual, and musical components— Brown was especially influential stage spinning, strutting, shuffling, the emceeing; the costumes; the during the era of Black Power, dropping into splits, and grabbing choreographic moves of Brown, the promoting the nationalist message and performing kinetic moves with back-up singers, and the band; and of black empowerment. Songs such the microphone to the high energy, the featured instrumental songs. I as “Say It Loud – I’m Black and syncopated, and percussive musical liked the way Brown programmed I’m Proud” (1968), “I Don’t Want style—fast tempo, choppy guitar, and interpreted the songs, Nobody to Give Me Nothing (Open brassy and rhythmic horn riffs, juxtaposing fast and slow songs while up the Door, I’ll Get it Myself)” funky polyrhythmic grooves—of the building and contrasting intensity (1969), and “Get Up, Get into It, Get immaculately dressed (black tuxedos, through the manipulation of timbre, Involved” (1970) spread the concept white shirts and shined black shoes) texture, and rhythm, and through his of black pride, black solidarity, and band. musical exchanges with the band and black empowerment to the masses. I remember every detail of this audience. Most of all, I liked Brown’s Some radio deejays, however, show because I was there. The strident vocal quality and the way believed that these songs were too venue was a skating rink located in he used his voice as an instrument, overtly militant and musically intense the all-black neighborhood on the weaving it into and around the for broadcast, and they initially west side of Orlando, Florida. The funky instrumental arrangements. didn’t play them. Nevertheless, audience consisted of teenagers, His show was electrifying and through these and the songs of other who had that rare opportunity influenced the way I thought about soul singers, black Americans began to see “Mr. Dynamite,” as he was performance. to identify with and embrace the known at that time. James Brown The bands I formed in college, concepts of Black Power. performed regularly in Orlando and graduate school, and at Indiana Although we lost a legend on the surrounding area, but only at University (IU Soul Revue) all were December 25, 2006, Brown’s musical adult venues such as the Quarterback modeled after James Brown’s musical legacy will continue to resonate Club, TK9, and Club Eaton (the and live production concepts. Even throughout the nation and world latter located in Eatonville, the home my original soul and funk-based through radio broadcasts, hip of folklorist and novelist Zora Neal compositions and arrangements bore hop samples, and soundtracks Hurston). aspects of his musical signature—the for commercials and television My friends and I were drawn to repetitive bass lines, brassy and programs, as well as for Hollywood, the funkiness and earthiness of the funky horn riffs, and polyrhythmic documentary, and independent films. James Brown sound. We loved his structures. Brown’s music also The brother lives on through his music, and most of us had bought inspired my scholarly interest in music. every 45 rpm he had recorded. As a African American popular music. musician (I studied classical music, I viewed him as a pioneer because -Portia K. Maultsby
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aaamc 07-08.indd 23 12/11/07 4:01:47 PM Celebrates Feature articles have focused on everything from black rock to Detroit techno to independent record labels. All First Anniversary of the reviews are still accessible at www.blackgrooves. org—just select the appropriate month/year of issue Black Grooves, the AAAMC’s monthly black from the “Archives” section found on the right-hand music review e-zine, recently celebrated its one-year side of the website. To become a subscriber and receive anniversary, and we’ve received lots of positive feedback a monthly notice when new issues are posted, follow the from subscribers and record labels. Since its inception instructions at the top of the page under the “Subscribe” in June of 2006, over 180 books, CDs, and DVDs have button. been reviewed, covering a multitude of genres from rap, Following is a complete index of reviews and articles R&B, jazz, blues, and gospel, to reggae and world music. published from June 2006 through October 2007:
Artist Title Label/Catalog No. Issue Chicago Sinfonietta Coleridge-Taylor Perkinson: A Celebration Cedille CDR 90000 087 7-2006
Czech National Symphony aul Freeman Introduces…David N. Baker Albany Records Troy 843 9-2006 Orchestra P Roumain, Daniel Bernard etudes4violin&electronix Thirsty Ear: 700435717923 9-2007 Shaffer-Gottschalk, David Samuel Coleridge-Taylor: 24 Negro Melodies Albany: TROY930-31 6-2007
Club/Dance/Techno Duplaix, Vikter Bold and Beautiful BBE: CD 730003107023 1-2007 Underground Resistance Interstellar Fugitives: Destruction of Order Submerge: UGCD-UR2005 10-2006
Folk, Country Burke, Solomon Nashville Shout! Factory: 826663 6-2007 Cage, Butch; Thomas, Willie B. Old Time Southern Black String Band Music Arhoolie CD 9045 6-2006 Carolina Chocolate Drops Dona Got a Ramblin’ Mind Music Maker: MMCD76 10-2006 Miller, Polk & the Old South Quartette Music of the Old South Flaherty Recordings: F-2006-1 7-2007 Various Artists Classic African-American Ballads Smithsonian Folkways: 40191 10-2006
Gospel Music Adams, Yolanda The Essential Yolanda Adams Legacy: 88697 02211 2 12-2006 Anointed Pace Sisters Return Tyscot: TYSD-4154-2 12-2006 Baylor, Helen Full Circle MCG: 7272203 5-2007 Dixie Hummingbirds Still…Keepin’ It Real: The Last Man Standing MCG Records 12-2006 Floyd, Ruth Naomi Root to the Fruit Contour: 7-9604-40930-1 12-2006 Gray, Euclid Father Guide Me Malaco: MCD 4543 6-2007 LaBelle, Patti The Gospel According to Patti LaBelle Bungalo: 970109 5-2007 McFadden, Darrell & The Disciples I’ve Got A Right EMI Gospel 12-2006 Men of Standard Surrounded Sony Urban: 82876 80880 2 12-2006 Moore, Lucinda Lucinda Moore Tyscot: TYSD 4150-2 12-2006 Murdock, Shirley Soulfood Tyscot: TYSD-4155 3-2007
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aaamc 07-08.indd 24 12/11/07 4:01:47 PM Nesby, Ann In the Spirit Shanachie: SH 5759 5-2007 Racy Brothers There’s Not a Friend: Live in Little Rock MCG 7038 10-2006 On My Journey: Robeson’s Independent Smithsonian Folkways: SFW CD 40178 Robeson, Paul Recordings 6-2007 Tribbett, Tye & G.A. Victory LIVE! Sony Urban Music: 82876 77526 2 12-2006 Trinitee 5:7 Holla: The Best of Trin-I-Tee 5:7 Zomba Gospel: LLC 88697 11291 2 9-2007 Various Artists Good God! A Gospel Funk Hymnal Numero: 010 12-2006 Various Artists Texas Gospel Volume 1: Come on Over Here Acrobat Music: AMCD 4209 9-2006 Williams Brothers; Morton, Paul S. On Broken Pieces: A Hurricane Relief Project Blackberry Records: 1654 12-2006 Williams, Bernard A. Come On Children Let’s Sing Mr. Wonderful Productions 2-2007 Williams, Lee & The Spiritual QC’s Soulful Healing MCG Records: CD 2614 12-2006
Jazz, Blues Carter, Regina I’ll Be Seeing You: A Sentimental Journey Verve: B0006226-02 10-2006 Coleman, Michael & the Delmark All-Stars Blues Brunch at the Mart Delmark DE-785 6-2006 Deep Blue Organ Trio Goin’ to Town Delmark: DE-569 (CD); DVD-1569 11-2006 Incognito bees + things + flowers Narada Jazz: 0946 3 70179 2 0 4-2007 Little Axe Stone Cold Ohio Realworld: CDRW 140 6-2007 Magic Slim & Carter, Joe That Ain’t Right Delmark: DE-786 11-2006 Marsalis, Wynton From The Plantation to The Penitentiary Blue Note: 0946 3 73675 2 0 2-2007 Monk, Thelonious Monk; Coltrane, John The Complete 1957 Riverside Recordings Riverside: RCD2-30027-2 11-2006 Newborn, Calvin New Born Yellow Dog Records YDR 1157 6-2006 Oliver, Paul (compiler) Broadcasting the Blues Document Records DOCD-32-20-10 6-2006 Paradise JazzFunkHipHoPoetry True Vibe: 8 37101 13505 4 (UPC) 4-2007 Simone, Nina Nina Simone Sings the Blues Legacy 82876 73334 2 6-2006 Soul of John Black Good Girl Blues Yellow Dog: YDR 1576 10-2007 Taylor, Koko Old School Alligator: ALCD 4915 6-2007 Turner, Ike Risin’ with the Blues Zoho Roots: ZM 200611 2-2007 Various Artists Progressions: 100 Years of Jazz Guitar Legacy C4K86462 6-2006 Wells, Junior Live at Theresa’s, 1975 Delmark: 787 3-2007 Williams, Mary Lou Mary Lou’s Mass Smithsonian Folkways SFW CD 40815 6-2006
Popular, Rock, Misc. Bad Brains Build a Nation Megaforce: MEGA1048 9-2007 Baker, Josephine Josephine Baker: A Centenary Tribute Sepia 1065 10-2006 Brown, William Swing Along: The Songs of Will Marion Cook Albany: TROY 839/40 (2 CD set) 11-2006 Burnt Sugar More Than Posthuman Trugroid (2 CD set) 11-2006 Dells It’s Not Unusual: Very Best of the Vee-Jay Years Charly: SNAP 266 2-2007 Harper, Ben Both Sides of the Gun Virgin/EMI: 0946 3 57446 2 0 (2 CDs) 11-2006 Hunt, Van On the Jungle Floor Capitol B000EMGJM2 11-2006 Murphy, Eddie Eddie Murphy: Comedian Columbia/Legacy: 82876 81282 2 9-2006 Pearls; Velours The Pearls vs. The Velours Empire Musicwerks: 545 450 837-2 2-2007 Pine Leaf Boys Blues de Musicien Arhoolie: CD 533 7-2007 Reid, Vernon & Masque Other True Self Favored Nations: FAVR 2550 11-2006 Ross, Diana Blue Motown: 000569402 10-2006 Rux, Carl Hancock Rux Good Bread Alley Thirsty Ear: THI-57168-2 9-2006 Simone, Nina Just Like a Woman: Classic Songs of the ’60s Sony Legacy: 82876 85174 2 6-2007
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aaamc 07-08.indd 25 12/11/07 4:01:47 PM Smith, Alice For Lovers, Dreamers, & Me BBE Records: BBE067 1-2007 Smith, Rhonda RS2 215 Records: 215-2038 4-2007 Three5Human A Swig from the Acid Bottle Anaphora Music: AML 139140 11-2006 Various Artists Lost Sounds: Blacks &Birth of Recording Industry Archeophone: ARCH 1005 6-2007 War Loose Grooves: Funkin’ Live in England 1980 MVD Visual: B000MV209G 5-2007
R&B, Soul, Funk Brown, James James Brown: the Federal Years, 1956-1960 Hip-O Select/Universal: B0007029-02 1-2007 Charles, Ray Unreleased Night Train International NTI CD 7154 7-2006 Davis, Betty Mabry Betty Davis Light in the Attic: LITA 026 7-2007 Davis, Betty Mabry They Say I’m Different Light in the Attic: LITA 027 7-2007 Davis, Geater The Lost Soul Man AIM 1506 CD 7-2006 Dirty Dozen Brass Band What’s Going On Shout! Factory: 826663-10178 12-2006 Domino, Fats Alive and Kickin’ Tipitina’s Foundation 12-2006 Earth, Wind & Fire Illumination (2CD+DVD edition) Sanctuary: 06076-87513-2 7-2006 Foster, Ruthie The Phenomenal Ruthie Foster Blue Corn Music: BCM 0602 5-2007 Green, Al Back Up Train Legacy 82876695482 7-2006 Green, Jerry Do That To Me Baby! Mr. Wonderful Productions 2-2007 Hamilton, Anthony Southern Comfort Merovingian: CD MRV 000002 4-2007 Hines, Brandon Love Music…Falling In, Falling Out Heavyweight Ent.: 3710116608 10-2006 India.Arie Testimony: Vol. 1, Life & Relationship Motown/UMG: B0006141-02 1-2007 Johnson, Syl Is It Because I’m Black, ‘69-’71 Twinight: 3710110048 1-2007 LaVette, Bettye Child of the Seventies Rhino Handmade: RHM2 7899 11-2006 LaVette, Bettye Scene of the Crime Anti: 86873-2 10-2007 Mayfield, Percy Specialty Profiles: Percy Mayfield Specialty: SPCD 30056-2 1-2007 McCrae, Gwen Gwen McCrae Sings TK Henry Stone Music: HSM 6001-2 9-2006 Mental Afro Mental Afro [CD Baby] 9-2007 O’Jays The Essential O’Jays Epic/Legacy EK 90632 7-2006 Randolph, Robert & Family Band Colorblind Dare/Warner Bros.: R 585216 3-2007 Simone, Nina Forever Young, Gifted and Black Legacy 82876 74413 2 6-2006 Simone, Nina Silk & Soul Legacy 82876 73335 2 6-2006 Sly & The Family Stone Sly & The Family Stone 40th Anniversary Sony/Legacy 5-2007 Smith, Kenny One More Day Shake It Records: Shake 551 9-2006 Soulganic All Directions Forward [CD Baby]: 634479485534 (UPC) 9-2007 Tate, Howard Live Shout! Factory: DK 10045 7-2007 Teena Marie Robbery Legacy EK 93817 7-2006 Thomas, Irma After the Rain Rounder: 612186 3-2007 Various Artists Eccentric Soul: The Big Mack Label Numero: 009 1-2007 Various Artists Eccentric Soul: The Deep City Label Numero N007 6-2006 Various Artists Funky Funky New York Funky Delicacies: DEL CD 0073 3-2007 Various Artists Atlantic Unearthed: Soul Sisters Rhino: R 77626 1-2007 Various Artists Beautiful Ballads series Columbia/Legacy 2-2007 Various Artists Boogie Uproar: Texas Blues and R&B 1947-1957 JSP Records JSP7758 6-2006 Various Artists Funky Funky New Orleans 5 Funky Delicacies: DEL CD 0072 9-2006 Various Artists New Orleans Will Rise Again Night Train Int.: NTI CD 7152 12-2006 Various Artists Northern Souljers Meet Hi-Rhythm Soul-Tay-Shus: STS CD 6357 10-2006 Various Artists The Best of Scram Records Night Train Int.: NTI CD-7046 3-2007
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aaamc 07-08.indd 26 12/11/07 4:01:48 PM Various Artists The Complete Motown Singles; Vol. 5: 1965 Motown/Hip-O Select: B0006775-02 10-2006 Vinson, Eddie “Cleanhead” Kidney Stew is Fine Delmark: DD-631 7-2007 Watts Prophets Things Gonna Get Greater Water Records: Water 157 9-2006 Williams, Larry Specialty Profiles: Larry Williams Specialty: SPCD 30054-2 1-2007 Willis, Nicole & Soul Investigators Keep Reachin’ Up Light in the Attic: LITA 028 10-2007 Withers, Elisabeth It Can Happen to Anyone Blue Note: 68171 3-2007
Rap, Hip Hop Brother Ali Undisputed Truth Rhymesayers: RSE0080-2 5-2007 Cash, Ray Cash on Delivery Sony Urban Music: 82796 92685 2 9-2006 Cee-Lo Green Closet Freak: the Best of Cee-Lo Green Arista/Legacy: 88697 018492 2-2007 DJ Quik Born and Raised in Compton: Greatest Hits Arista/Legacy: 82876 82516 2 11-2006 Donnie The Daily News Soul Thought: SLH-001 9-2007 El-P I’ll Sleep When You’re Dead Definitive Jux: 137 5-2007 Evidence The Weatherman LP ABB: 1089 5-2007 Fiasco, Lupe Food & Liquor Atlantic: 83959 1-2007 Ghostface Killah More Fish Island/ Def Jam: B0008165-02 2-2007 Hell Razah Renaissance Child Nature Sounds: NSD 128 2-2007 J Dilla The Shining BBE 77 10-2006 KRS-One & Marley Marl Hip Hop Lives Koch: KOC-CD-4105 7-2007 Ludacris Release Therapy Def Jam: 602517029163 5-2007 Masters of Ceremony Dynamite Traffic: TEG 76507 9-2007 Nas Hip Hop is Dead Def Jam: 000722902 4-2007 Rhymefest Blue Collar J Records/Allido 82876-70371-2 9-2006 Roots Game Theory Def Jam: 00007222 11-2006 RZA Afro Samurai: The Soundtrack Koch: KOC-CD-4188 7-2007 Slum Village Slum Village Barak Records BRK 30007 6-2006 Snowgoons German Lugers Babygrande: BBGCD205 4-2007 T.I. King Altantic/WEA: 075678380020 5-2007 Ultimate Force I’m Not Playin’ Traffic: TEG 76528 9-2007 West, Cornel & BMWMB Never Forget: A Journey of Revelations Hidden Beach: HBF00001 10-2007 Wisemen Wisemen Approaching Babygrande: BBGCD305 4-2007 YZ The Best of YZ Tuff City TUF CD 0616 7-2006
Reggae Marley, Bob & the Wailers Another Dance Rounder: CDHBEA335 10-2007 Marley, Stephen Mind Control Universal-Republic: B000B354-02 4-2007 Various Artists Drumline Riddim’ Timeline Riddim’ Black Chiney: TEG 2434 7-2007 Various Artists Summer Records Anthology, 1974-1998 Light in the Attic: LITA029 9-2007
World Music Adé, Sunny Gems from the Classic Years (1967-1974) Shanachie: SH 66041 6-2007 Green Arrows 4-Track Recording Session Alula Records: AACD061 7-2006 Hallejulah Chicken Run Band Take One Alula Records: ALU2002 7-2006 La Drivers Union Por Por Group Por Por: Honk Horn Music of Ghana Smithsonian Folkways: SFW CD 40541 1-2007
V Singing for Life: Songs of Hope, Healing, HIV/ arious Artists AIDS Smithsonian Folkways: SFW CD 40537 10-2007 Zap Mama Supermoon Heads Up: HUCD3132 10-2007
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aaamc 07-08.indd 27 12/11/07 4:01:48 PM Archives of African American Music & Culture Nonprofit Organization Smith Research Center, Suite 180-181 U.S. Postage 2805 East Tenth Street PAID Bloomington, IN 47408-2601 Bloomington, IN Permit No. 2 Phone: (812) 855-8547 Web: www.indiana.edu/~aaamc E-mail: [email protected]
Liner Notes No. 12 Winter 2007
Nonprofit Organization U.S. Postage PAID Bloomington, IN Permit No. 2 AAAMC Staff:
Portia K. Maultsby, Director circle of Brenda Nelson-Strauss, Head of Collections Sunni Fass, Administrator-Project Coordinator Fredara Mareva Hadley, Graduate Assistant friends Anthony Guest-Scott, Graduate Assistant Mack Hagood, Graduate Assistant Gillian Richards-Greaves, Graduate Assistant I would like to join the Circle of Friends of the Archives of African American Music and Culture. My donation will support the activities of the AAAMC. Newsletter design & layout by Dennis Laffoon Patron Friend ($25-$49) Platinum Circle ($1,000 or more) Supporting Friend ($50-$99) Other National Suzan E. Jenkins Sustaining Friend ($100-$999) Bobby L. Jones Advisory Regina Jones Enclosed is my/our contribution of $ to the Archives of African Michael Lydon American Music and Culture. All contributions to the AAAMC are tax Board Debbie May deductible. Harry Allen Barry A. Mayo Name______Michelle T. Boone Michael McAlpin Address______Regina Harris Baiocchi Tom Reed City______State______Zip______Louise Bullard-Garrett Robert E. Rosenthall Phone ( )______Kirkland R. Burke Patrice Rushen Charles H. DeBow III Leonard S. Scott Please make checks payable to Indiana University/AAAMC Murray Forman Allan Slutsky and mail completed form to AAAMC • Smith Research Center, Suites 180-181 Reebee Garofalo 2805 E. Tenth Street • Bloomington, IN 47408-2601 Olly W. Wilson Luvenia A. George
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