New Robin DG Kelly: Africa Speaks, America Answers: Modern Jazz in Rev

[colinmce]

In 1966, playing his first show in Dakar, Senegal, Duke Ellington told the audience, “After writing African music for 35 years, here I am at last in Africa!” That period’s sense of discovery—or maybe rediscovery—is what powers the lively new book by USC professor and Thelonious Monk biographer Robin D.G. Kelley. Africa Speaks, America Answers: Modern Jazz In Revolutionary Times nods explicitly to A.B. Spellman’s 1966 classic Four Lives In The Bebop Business as it examines the intersection of American-bred jazz and the traditional music of Africa.

Kelley focuses on four players, two from Africa—South African vocalist Sathima Bea Benjamin and Ghanaian percussionist Guy Warren (later Kofi Ghanaba)—and a pair of Brooklyn-born friends and collaborators, pianist Randy Weston and Ahmed Abdul-Malik, a bassist and oud player who worked heavily with Islamic music.

http://www.amazon.com/Africa-Speaks-America-Answers-Revolutionary/dp/0674046242/ref=sr_1_1?ie=UTF8&qid=1331476239&sr=8-1

http://www.avclub.com/articles/robin-dg-kelley-africa-speaks-america-answers,70471/

Looks good!

[AllenLowe]

I like a lot of Robin's work (just read a terrific essay of his on the organizational efforts of the old CP and African Americans), and, of course, Weston is a great pianist - but what I've read of Weston's past comments on Africa and jazz always strike me as unmitigated B.S., as basically a way to mystify jazz and "save" it from Western contamination. Just my take, of course. It wears me out reading this stuff, as though in my mind I have to constantly counter what strike me as contradictory impulses of African American writers - who, on the one hand, criticize white efforts to "fetishize blackness," yet who, on their own, attempt to place layers of mystification between white performance and what almost amounts to an innate African and African American cultural superiority (shades of the Baraka thread).

[robertoart]

I like a lot of Robin's work (just read a terrific essay of his on the organizational efforts of the old CP and African Americans), and, of course, Weston is a great pianist - but what I've read of Weston's past comments on Africa and jazz always strike me as unmitigated B.S., as basically a way to mystify jazz and "save" it from Western contamination. Just my take, of course. It wears me out reading this stuff, as though in my mind I have to constantly counter what strike me as contradictory impulses of African American writers - who, on the one hand, criticize white efforts to "fetishize blackness," yet who, on their own, attempt to place layers of mystification between white performance and what almost amounts to an innate African and African American cultural superiority (shades of the Baraka thread).

Thanks for your honesty regarding this post. These kinds of opinions are good and thought provoking to read.

Especially so from someone whose projects Black musicians/public thinkers have contributed/put their name too.

Have you played with Herbie Hancock in the last 30 years

Edited March 12, 2012 by freelancer

[AllenLowe]

he won't return my calls.

[fasstrack]

This stuff gets touchy indeed, and it is best to let personal experience---when possible---sort it out. People are not necessarily what they write-or are quoted as saying. And people evolve.

Re Randy Weston: I had problems with some statements in Notes and Tones-thinking them anti-white. Specifically he told Taylor 'the white man, all he can do is imitate'. It's there in print. and Black nationalism---however, some would say, then warranted---didn't justify that statement. It spoke for itself. I was perturbed.

Then, recently I attended a lecture he gave promoting his autobiog (African Rhythms). Both book and lecture were very worthwhile, though I had to warm to the book. I recommend it. The funny thing is Weston gives full credit and gratitude in the book to a white historian, Marshall Stearns, for turning him on the the African roots of jazz---not to mention getting him some gigs when he was just a dishwasher/cook in the Berkshires. And Mr. Weston warmly received me that day. The books were free (about a $30 value) to the attendees.

Finally I lost a dumb job hanging out with him last year when he was honoree at All Night Soul. Another guy-Jewish he happened to be-said he and Randy had been friends since 50s. Without giving him a pass I now started to view that statement in somewhat of perspective. See, Randy put his money where his mouth was, opening a nightclub in Tangiers, and running it for 7 years. This, like organizing black musicians into a sort of union here, was (I suspect) partly in reaction to black musicians being subjected to a plantation system in recording and clubs here, and shut out of so many things. I consider Randy Weston's African leanings and what he's done with his life and music proudly proactive. I think all people could use him as an example of a life well-spent---a life that's still going! I've come to understand him as proud of the African roots of jazz and wanting to share them as a gift to the world. After reading his book I'm more aware of the musician's traditional role in African tribal society. After years of witnessing the rampant egotism of some of our 'stars' here in full action, this is a humbling breath of fresh air. I don't feel he would deny credit to any white or green musician-and would play happily with or hire anyone who could play his music. Follow the deeds then do some analysis.

Edited March 13, 2012 by fasstrack

[seeline]

...and Ahmed Abdul-Malik, a bassist and oud player who worked heavily with Islamic music.

I think the writer is confusing "Arabic" with "Islamic." They're not synonymous.

Besides, the Arabic-speaking world is very big and there are diverse musical traditions within Arabic-speaking countries, and in the larger Muslim world as well.

Abdul-Malik recorded with Arab American and Armenian American musicians, too. (Having them as sidemen on his "fusion" projects.)

[fasstrack]

Wanted to say one thing more: I thought Robin Kelly's biog of Monk one of the best music bios in every way. Just a tremendous and utterly human work.

Someone on this board had a problem with some of his statements re the Israeli government's treatment of Palestinians---and posted Kelly's remarks. I am a person of Jewish descent who never has been to Israel and don't wish to talk out of my anus. If anything, just by raw instinct my heart would go out to the Palestinians, b/c I've seen it over and over in my life: oppressed turning into oppressors. But, again, I haven't been there and it is unwise to speculate on a complex situation from a safe distance. I think, though, that even if Mr. Kelly's remarks were offensive, muddle-headed or even wrong one must read him as if one were listening to Wagner, ignoring the garbage and ferreting out the good.

Edited March 16, 2012 by fasstrack

[Face of the Bass]

Just wanted to say that I finished reading this book today, and IMO it is a truly excellent and moving work, in some ways more enjoyable than his biography of Monk. (Full disclosure: I'm an African historian with a particular interest in African music so this book is right up my alley.) Anyway, I give it my highest recommendation. The entire book is excellent, though I think I enjoyed the chapters on Guy Warren and Sathima Bea Benjamin the most.

[Chuck Nessa]

Many thanks.