An article in the Sunday, November 9 New York Times about the history of African-American visitors to the White House came with a jazz twist at the end involving Sarah Vaughan. Vaughan performed at the White House in 1964 as part of a state dinner hosted by president Lyndon B. Johnson for the prime minister of Japan. In Leslie Gourse’s Vaughan biography pianist Bob James described the singer’s nervousness before her appearance in the East Room, an area with an intimacy that James compared to “working in a living room.”
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Jazz vocalist Rene Marie turned a relatively pedestrian event–this past Tuesday’s “State of the City” address from Denver Mayor John Hickenlooper–into a media tempest over patriotism when she sang the melody of “The Star-Spangled Banner” but imported lyrics from James Weldon Johnson’s Lift Every Voice and Sing, long referred to as “the black national anthem.”
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(Note: the extended audio version above includes an interview with Ray Boomhower and clips of Robert Kennedy speaking during the 1968 campaign)”Indiana can help choose a president.” Those words, which may have a surprising relevance this year, were used by Senator Robert Kennedy to open speeches when he launched his campaign for the presidency in Indiana. In his new book, Robert Kennedy and the 1968 Indiana Primary, Ray Boomhower provides the inside stories…
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Historian and Indiana University professor Michael McGerr is a man whose scholarly knowledge and personal enthusiasms are infectiously wedded. In Part 2 of this Night Lights interview, Michael talks about the influence of Duke Ellington’s ambitious Black, Brown and Beige suite and the civil-rights movement on later composers who undertook extended black musical histories as well. Michael is a guest on this week’s show, Suite History: Duke Ellington, Oliver Nelson, John Carter, and the African-American Odyssey…
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Our guest on this week’s Night Lights program Suite History is Michael McGerr, a historian and professor at Indiana University in Bloomington. Michael, author of the book A Fierce Discontent: The Rise and Fall of the Progressive Movement in America, 1870-1920, frequently teaches a course at IU on American popular music in the 20th century. He has a particular passion and expertise for Duke Ellington, one of the three composers whose music is featured in Suite History, and he can be heard in two previous WFIU documentaries…
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The inspiration came from a late-night party, a convergence of Hollywood glamour and nascent civil-rights activism with one of America’s greatest jazz orchestras. In the summer of 1941, as Americans warily regarded a world war that seemed to be edging ever closer to their shores, Duke Ellington staged what he would later call “the first ’social significance’ show,” Jump for Joy. Jump for Joy was an all-black musical revue that Ellington said “would take Uncle Tom out of the theater and say things that would make the audience think.” It featured the Ellington orchestra in its so-called “Blanton-Webster” years, playing at the peak of its powers, and up-and-coming African-American…
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A number of radio stations around the country have picked up the Night Lights show Dear Martin: Jazz Tributes to Martin Luther King Jr. Station links and air dates follow:KSJD-Cortez, Colorado: Monday, Jan. 21 at 1 p.m…
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Today would have been Martin Luther King Jr.’s 79th birthday if he were still alive, and his absence from American public life for the past 40 years remains as one of the great tragedies of our recent history. The official holiday commemorating his birth takes place next Monday, but in remembrance of his actual birthday I wanted to let readers and listeners take note of the 2006 Night Lights program Dear Martin: Jazz Tributes to Martin Luther King Jr.…
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On December 27, 1927, the Jerome Kern-Oscar Hammerstein musical Show Boat made its Broadway debut at the Ziegfield Theater. Show Boat, based on Edna Ferber’s novel, was one of the first musicals that wasn’t just a loose revue of unrelated songs; the songs in Show Boat actually helped establish characters and storylines. It also gave us songs like “Can’t Help Lovin Dat Man,” “Why Do I Love You,” “Bill,” and “Ol’ Man River.” The musical depicts life on the Mississippi, with a large cast of both white and African-American characters, and the song “Ol’ Man River,” which seeks to capture both the suffering of black laborers and the eternal spirit of the Mississippi…
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A couple of years ago I did a Night Lights show about Oscar Brown Jr., a singer and songwriter I’d long admired for his compositional skills, his vocal verve, and his cultural and political activism. With his hip, cocksure, proto-rap delivery and tunes such as “Mr. Kicks,” “Forty Acres and a Mule,” and “Bid ‘Em In” that combined humor and strong social messages, he was a pioneer of early-1960s vocal jazz. At the time I felt Brown was undercelebrated for his accomplishments, both as an artist and as a figure of inspiration. Several months after we aired the program…
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