Center for Black Music Rerearch, Columbia College Chica
Spring 2 0 0 0 Tracing U.S. Black Vernacular Musical Styles
haps, as a member of the Johnny Pate
as a professor
junior college. And
a col- lector
These experiences have
music history of the last
was known as
community on Chicago's South
heard the popular
in voice. While
He soon invested in his first
pursuit of a degree in music educa- tion-a switch from his voice major-
Chicago because he decided
the freelance work that
(as available to him in
and Maryland wuld not adequately sup-
lifestyle he desired.
In 1949, in an
to become a more b p o n s i - blew man, he
and landed a regular
to completely abandon his dream
By day, he worked for the Board of
playing with an array
Chicago music scene.
Johnny Pate Trio ca. 1950. Top to bottom:
Charles Walton, Johnny Pate, Lionel Bright.
of @'?e Vivian
H a d Resean-h CoIi~'on
Amwidn W i r y
a d Chicago
realized that the "respon-
music to settle for
less than his full commihnent
1957, he moved
New York City.
and fast-paced lifestyle
f i ~ s h college degree.
He gradnated from Roosevelt
degree in music
same time, he worked as the director
community music founda- tion
Malcolm X College. There he
composi- tion for
years. His unique and quite varied
gained from his experience
a practicing musician, served him and
Today, the energetic Walton
of inter- views and photographs of Chicago's
community. It features numerous musicians, particu-
to capture the
This kind of work is invaluable as
(continued on page
taking with them memories of an important historical moment. Over the years, Walton has collected numerous pieces of memorabilia to document his lifelong mterest in Chicago music. His collection is now permanently housed in the Vivian
Collection of Afro-American History and Literature
the Carter G.
Woodson Regional Branch of the
Chicago Public Library. The collection has among
holdings rare pho- tographs, recordings, and taped oral histories. Belinda Jones, an archivist at the Harsh Collection, states that the value
is its 'pefsonal touch."' It is one of the few collections by a musician that documents
American involvement in the Chicaga
scene. It includes fare photos of a young Miles Davis performing at an after-hours jam session and Duke
Ellington participating in an early Bud
Billiken parade. Photos from the
Walton Collection are featured at the pellter for Black Music Research in a
The Johnny PateTrio at theSuthedand Hotel.
Johnny Pate (bas), Lionel Bright (piano). Charles WaNon
HMoryend lhfatum, airago
montage timefine. librarian
Black Music Research, says that
Wdton is unusual because he is "a practicing musician
archivally-he knows the
of saving things." Indeed, we can
thank Walton for helping to preserve for posteriiy a vital part of our nation's
Profenerof d k a w h e r i a a n Studiff andEegiisb,
UniveniTj of llfincisa Chicago
R&B Mitn, Goldmlne, and writer,
Charles D. Spencer and Associates, Chitauo
South Shore Culwral tenter
Chief Exec&e Offreer. M i i ~ r in&~reide& cp
M.E&~Y%:[email protected]~D*~ ma,,&-'
< . + 2 - - k , ,
I [ ~ . c , ; ~ . $ q $ , ~ !
R o d n e y R ; Q & w
E u d d y ' W m , ~ ~ i ~ ~
Ro&r Harfjs,[email protected] kamn
~h&i.b~~i b y i i i ~ ~ o n n g , . ~
Director of the Chicago Park District's
South Shore Cultural Center. She teaches courses in dance and arts man- freelance choreographer. Russell-
Koylass holds a master's degree m interdisciplinary arts from Columbia
College Chicago and was a faculty member in the dance department for three and one-half years. She has per- formed nationally and abroad with the
Chicago-based Gus Giordano Jazz
Dance Chicago, Joseph Holrnes
Chicago Dance Theatre, Mordine and
Company Dance Theatre, and with
Robin Lakes Rough Dance and David
is Chief Executive
Officer of Mariner Broadcasters, Inc., president of CD 1570-AM radio sta- tion, and president of the Chatham
Business Association in Chicago. He is past president and chairman of the
National Institute of Corporate
Responsibility. Sherrell is very active in developing jazz music appreciation by African-American adults and chil- dren. He is a former high school and college instructor and holds doctorates in linguistics and anthropology.
Hazel B. Steward
is Region Three
Education Officer with the Chicago
Public Schools. She provides services and resources for and oversees the daly operations of more than 100 schools and serves over 55,QOO
Chicago elementary and high school students. Steward is a member of the
Chicago African-American Teachers
Association, the American Association of School Admhstrators, as well as
- tions. She serves on the boards of the
Consortium of Chicago School
Research Constituent Advisory group,
Project Serve, and the Principals
Coalition for the arts. Steward has puh- lished extensively and lectured throughout the United States.
%mud A. Floyd Jr.
Marsha 1. Heizer
Morris A. Phibbs
u u m a n and Arehim'
Johann 5. Buis
Coleridge-Taylor Perkir.,.. o r b h n of
T. 5. Galloway
Guthrie Ramsey Jr.
Trenace V, Ford
College President's that took place on
Gala Committee would like to extend
&rovidence-St. Mel's Auditorium. The its heaafelt appreciation for the perfor-
Stop-Time did a beautiful perSmmance.
the mance of Ensemble Stop-Time on
" 7 -
4,2000. assembly, students axid
The entire evening was a
to me, or sent e- m i l s t e h g how much they enjoyed the
The Dean of Students said
School in the balcony even enjoyed tbmelves. I
sitting on the main
~ ~ w ~ ~ - # ~ d
- wonderful blend of music preserr tation of the
and exceptional musicianship. The variety
ensemble was a true floor,
I could see
stu- dents, 4ministcatoi8, and a few outside
the same. I think
really stole the show.
Keep up the
work and we hope to have Ensemble Stq-Time back again. Give thaalrs to
the crew. We love you
wekdme you m our fami- ly
Providence-St. Mel. testimony to the legacy of our people past, present, and future. Thanks for continuing to make
CBMR a p o w e m force
archive of musical history and preservation to our musk.
May you experience continued suc- cess in your future programs and endeavors.
h h n a ~ n ,
,, of Stop
nmef we avalable
of charge To recave your
us of a change of address, send
your name and address
Cenier for Black Music Researcl
South Mtchaan Avenue arcall (312) 3G7559, fax (312) 344-8029, e-mail wlum edu.
Vls~t home page at www
ith the death of Cnrtis
Mayfield in December 1999, the music indusuy lost
its most innovative and
entil voices. A Chicago native son,
Mayfield was born
1942. He will be remembered for bringing a social consciousness to soul music.
From the late 1950s to the mid-1960s, his work helped to develop the
"Chicago Sound'' during
the popular quintet,
Impressions. Writer and lead singer
such memorable hits as "People Get Ready," "Keep ou
Pushing," and "We're a
These songs showcased themes
racial uplift and
the midst of the civil rights
and, at the same time, forecasted the stylistic shift from rhythm and blues to soul. Like the spirituals
music spoke to the hearts of African Americans, encourag- ing
persevere and to m s c e n d
important, to change
circumstances. Mayfield's artistic activism caused many to consider his work "the soundtrack
hnpressions in 1970 to pursue a solo cmer, Mayfield achieved critical acclaim
the creative force
(1972). a definitive blaxploitation film of the
, early 1970s. The film
dealer entangled in the
of ghetto drug
stunning. His mellow falsetto voice glides over exquisitely
lyrics about life
the' drug strings, horns,
yet strident tenor.
such as the film's
Dead," and "Pusheman" secured
soundtrack as cultural icons of the
Black Power Movement.
Arguably, the idealism and advocacy for social change tbat characterized much of the music of
1960s was lost on
disco and the dance
of the 1970s. However, Mayfield worked against the tide and contmued to write music with a political con- sciousness, capturing
of the historical moment. Lyrics from his first solo single, "(Don't Wow)
Hell Below We're
Going to GO" typify Mayfield's
during that time:
and the crackers
They'te all political actors
His bold exploration and illumination of America's racial politics are c a p tured on other songs such
Than Blue" and "Mighty Mighty (Spade
With hit singles whose themes
sensual love ballads to reflections on ghetto life, he remained
cially viable. Mayfield also continued his
Let's Do ItAgain
his greatest film contribution after
the soundtrack to the
His collaboration with
one of the hit singles from
was extremely prolific, releasing
a dozen albums.
To my ears, much of
Mayfield's creative verve can be
to his innova- tive use of
char- acteristics that have always
Mayfield allows the
talk- ing," there is a constant,
var- ied, pattern
call-and-response. The recording of "Move on Up,"
hit from his solo career that
reminiscent of his civil rights anthems from his days with the Impressions, concludes with an exknded
passage in which the horns dominate the
scape over a
When a saxophone solo enters along
impeccable guitar work, the instruments
C O ~ U N - cate powerfully with
other and with
listeners. s o from
soundtrack also show Mayfield's
African-American music traditions.
to the soundtrack cite the call-and-response between the horns and piano on "Junkie Chase!'
much of his work, references
signifies on the blues and
In today's musical milieu, in which the popular music industry generates a lot of
Mayfield's name may not be familiar to younger listeners. However, they are indirectly exposed to his work through a new generation of artists who, like
Mayfield, also use concepts from the black musical traditions and recognize his influence on their own styles.
If imitation is truly the highest form of flattery, then the hip-hop community has paid great homage to
Mayfield through countless covers and samplings of his work. Hip-hop producer Sean
Combs sampled "Give Me
Your Love," the theme from
infamous bathtub love scene, and incorporated it into
"I'm the Only
Rapper Ice-T cites Mayfield as one of the artists who directly influenced his work. Hip-hop
1 poets, such as Nas and the Notorious
B.I.G., who rap about surviving as black men in the urban underclass, are referencing Mayiield's musical lamen- tations on ghetto life.
After a tragic accident in
Mayfield a quadriplegic, the music industq began to recognize his accom- plishments with various honors and tributes. But the industry only con- firmed what many of us have known
years: Mayfield was one of a hand- ful of artists who was "right on time" and will continue to he timeless. His work will live on as an inspiration to future generations.
a senror at the Universrty of Pe~syiwnin.
The following selections are available in the CBMR Library and Archives, open
Monday through F r i d a y f i m
P.M.; telephone: (312)
The ~ ~ ~ r e s s r o n s
Keep on pushing
Never endcna lm~ressions
One by one
People get ready
The fabulous Impressions
This is my country
We're a winner
The versattle Impressions
The young rnods'forgotten story
(Curtom CRS 8003).
Check our your mind
( C u m 8005).
(Curtom CRS 8008).
(Curtom CRS 8009).
(Curtom CRS 8014).
Back to the world
(Curtom CRS 8015).
Curtrs in Chicago
(Curtom CRS 8018).
Got tofurd a way
(Curtom CRS 8604).
Move on up
( C m m C R S 8601).
Let's do i f aaatn
(Curtom CU 5005).
There's no ;ace like America today
(Curtom CU 5001).
take, and have
Never say you can't survive
(Curtom CU 5017).
Do tt all night
(Curtom CU 5022).
The right combination
Cldford] (RSO 3084)
Something to believe in
come in peace with a message of love
(CRC CRC 2001).
Live in Europe
(Curtom CUR 2901).
Take it to the street
New world order
B l b ~ a p l i v
Alexander, Michael. 1969. The
Blum, Russ. 1999. Soul legend Curtis
Mayfield, 57, dies. [Albany,
December 27: B8.
Cummings, Tony. 1974. The gentle genius writes on.
1, no. 10 (Sept.):
Flanagan, Bill. 1993. Black history: Speech meets Curtis Mayfield.
Gonzales, Michael A. 1998. The legend of soul: Long live Curtis Mayfield. In
Black powel; politics, and pleasure.
York University Press.
Gradwell, Ian. 1990. Curtis Mayfield.
Hewitt, Paolo. 1983. So proud: The moral standard of soul.
New Musical Express
(July): 24-26, 43.
Hoekstra, Dave. 1995. Honors for a native son: Mayfied returns for a star-studded tribute.
Holtzberg, Maggie. 1996. Curtis Mayfield.
Portrait of spirit: One story at a time.
Oakville, Ont., Canada: Disability Today
Kening, Dan. 1990. Keep on pushing:
Friends say injured Mayfield "can't stop
sect. 13, 16.
Kot, Greg. 1993. An unfettered soul: C d s
Mayfield won't let hard
stop the music.
April 11: sec.
1996. Theme songs: Curtis
Mayfield answers the call with a new album.
Mayfield, Curtis. 1996.
Poetic license in poem and song.
Beverly Hills, Calif.:
Obrecht, Jas. 1994. Keep on pushing: A
Curtis Mayfield tribute.
Ofari, Earl. 1972. Curtis Mayfield: A man for all people.
Soul Illustrated 3,
Phillips, Chuck, and
1991. Curtis Mayfield: The soul of an
Ptuter, Robert. 1993. Curtis Mayfield and
-. the impressions.
331 (April 2):
1999. Curtis Mayfield. In
International Dictionary of Black
vol. 2: 789-793.
Turner, W~lliarn Jr. 1992. Keep on pushing: The Impressions. In
Music of the Secular Cily.. From Blues to
Rap. Black Sacred Music
6, no. I:
began his music career as a teenager, playing piano with hands in his hometown Edmonton, Alberta,
Canada. After a short stay in Detroit,
- studied composition at Roosevelt
University and also worked with jazz greats Milt Jackson, Donald Byrd,
Slide Hamuton. Harold Land, Bobbv
Klemmer, and many others.
Chaney has performed at major venues throughout the world. As a member of the
Unlimited trio, he appeared at
Camegle Hall, Madison Square
Garden, the Apollo Theatre, and the
Montreaux Jazz Festival in
Switzerland; at the Chicago Jazz
Festival in Grant Park with The
Awakening; and at the Ravinia Jazz
Festival and throughout Europe and
Singapore with his own group the Ken
The Ken Chaney Xperience has appeared in concert with many fine musicians, including Roy Ayers,
Angela Bofill, Natalie Cole, Miles
Wilson. Voted the best jazz group in
Chicago by the Ninth Annual Reggae
Awards, the Ken Chaney Xperience was also awarded first prize in the
Hennessy Best of Chicago Jazz Search on March 31,
Chaney's recordmgs include
Duck, Superfly, Soulful Strut,
Young and Holtful,
Brand New Feeling, Hear
Sense and Feel,
When We Were Lovers,
with John Klemmer; and
~ i b e
with the Ken Chaney Xperience.
Chaney can be heard on the sound- trachs of the movies
Trial Run, The
Last Cold Justice,
Burgess 1. Gardner
has performed with various jazz greats, including Count Basic,
Ray Charles Orchestra (as lead trum- pet), Max Roach, and Horace Silver, with whom he toured. Gardner has appeared in concert at the
AspedSnowmass Jazz Festival in
Aspen, Colorado; the Chicago Jazz
Festival with the Bill
Russo Orchestra; and the Ojai Jazz
Festival in Ojai,
Gardner's television studio orchestra credits incluae
Birthday Party of
The M-Squad (1968)
Count Basie Orchestra;
Gardner: Music Year 2000 (1982),
his debut solo album, which he produced; and
the debut album of the California State University-
Fullerton Jazz Ensemble, which he recorded and produced.
A former Chicago high school band duector, Gardner was the
recipi- ent of the Certificate of Appreciat~on for Outstanding and Dedicated Service from the Austin Community Academy
High School Band, and, in
he received the F'rinc~pals Excellence
Award, presented by WMAQ-TV
/ . :
is one of Chicago's sts. For two con- secutive years, he was named winner nist" award at the
Notre Dame Jazz Festival, and the late bassist W.
Smith cited Goodrich as
"one of the finest alto sax players I have heard"
(Side Man: The Long Gig of
Tony Bennett, Betty
Clark Teny, Zoot
Mills, David Brubeck, and Louie Bellson,
Goodrich was invited to participate in a trib- ute to Lionel Hampton at the Kennedy Center for the Performing
Goodrich performed with Langston Hughes in one of his early Jazz and Poetry concerts at Fisk
University and has also performed in
Buntrock Hall. Symphony Center
' Symphony Center box office.
13. 2000, 2 3 0
South Sacramento Avenue
Free and open t o the public
Co-sponsored by the Office of
Community Arts Partnerships
Introduction t o Project Stop-Time
The StopmTime Devi-Jan
King Porter Stomp
Onginal Plano Compofiition (1906)
New Orleans/Chlcago Style Jazz (m the style of Loms Armstrong)
New York Style JazzlSwng (m the style of Fletcher Henderson)
Late Swing (m the style of Teddy f i l l )
Bopesque (an onginal bebop compos~tlon)
Avant-Garde (in the style of the AACM)
Black Music Forms in tk United States
I"ve Been 'Buked (Negro spmtual, late
Search Me Lord (gospel song, 1948) me
What'd I Say (R&B/soul, 1959)
Message (rap, 1982)
E C q
W h i t ~ ~ l e y ~
Flash and the
F ~ v e
concert in clubs, in theaters, and on college campuses with Cannonball
Adderley, Thad Jones, Hank
Crawford, Louis Smith, Andrew
White, W. 0. Sm~th, many others.
He has appeared as guest soloist and clhcian at the Madison College Jazz
Festival, Hamsonburg, Virginia; fea- tured soloist for "An Afternoon of
Jazz" with the Universny of Maryland and Howard Univers~ty
Ensembles; guest c h c i a n and soloist at Aquinas College's Annual
Intercollegiate Big Band Jazz Festival,
Grand Rapids, Michigan; and featured artist at the Memphis in May Beale
Street Music Festival.
The CBMR Community Culture
Councll 1s an active and supportive committee of community and organiza- tlon leaders that will assist the Center in reaching communities throughout
of the CBMR
Darlene Blackburn Dance Troupe
Joe Ann Bradley
Community Action Group
Neon Street Programs
Chicago Park District
Youth Theater Coalition of Chicago
Little Black Pearl Workshop
Center for Communications Resources
Chicago Park District
Bethel Cultural Arts Center
Grand Boulevard Community Arts Initiative
T he Center for Black Mnsic
Research is pleased to announce that Ensemble Stop-Time and the
New Black Music Repertory
Ensemble will be presente&in a joint performance at Symphony Center on
5, and Saturday, May
This will he the first and only chance to hear both of these stellar ensembles in a combined performanceand one of the last chances to hear Ensemble
Stop-Time in a formal concert setting before the end of Project Stop-Time.
This special concert
provide a hint of the things to come in the
Center's performance activities. Since
1987, the Center has presented nearly
150 performance events by the original
Black Music Repertory Ensemble,
Ensemble Kalinda Chicago, and
Ensemhle Stop-Tie. At the conclusion of the current year's performance sea- son, the missions and repertoires of
these groups will be merged into a sin- gle large ensemble--the New Black
Music Repertory Ensemble, which began its gradual introduction during the past year.
Although Ensemhle Stop-Time and the New BMRE will perform separate sets at the May 5 and 6 performances, you
get a taste of the widely varied repertoires that will become common fare for future presentations of the New
BMRE. You will hear music of Jelly
Roll Morton, Duke Ellington, Thomas
A. Dorsey, and Earth, Wind, and Fire, paired with a violin concerto by the
Chevalier de St. Georges (a composer and violin prodigy in the royal courts of 18th-centnry France) and concert works written by composers of the 20th century.
(general adrnis- n) and may be purchased at the
Symphony Center box office, 220
South Michigan Avenue. The box office is open Monday through
Credit card orders may be placed by calling (312) 294-
Don't miss this opportunity! Please join us for t h ~ s musical experience in the intimate and superb acoustic environment of Symphony
Center's Bnutrock Hall.