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THE NEW YORK AMSTERDAM NEWS & E N T E R T A I N
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January 20, 2022 - January 26, 2022 • 21
MTUME MUSICIAN, SONGWRITER, ACTIVIST DIES AT 76; THOUGHTS ON SIDNEY POITIER nized the first Black National ConvenAfter Davis he formed his band tion, which was held in Gary, Indiana. Mtume with guitarist Reggie Lucas, At the time of his death, Mtume was who died in 2018, and vocalist serving on the organizing committee Tawatha Agee. Together they released of the 50th Anniversary Black Nation- five albums through 1986, injecting al Convention, which is to be held at the bandleader’s innovative style he James Mtume, the Grammy award- NJIT in Newark from Aug. 4 to 7. A me- called “sophistifunk,” a blend of jazz, winning percussionist/pianist, song- morial tribute to Mtume will be held at funk and R&B music. The band scored writer and activist whose music in jazz the convention. modest R&B hits with “Give It On Up and R&B was just as stimulating as his Ironically, Baraka and Mtume both (If You Want To)” and “So You Want To long stint as a fiery informative radio died on Jan. 9; Baraka in 2014. Be A Star” in 1980, before hitting gold host, died on January 9, at his home in South Orange, N.J. He was 76. His death was confirmed in a statement by his family. His publicist Angelo Ellerbee said the cause of death was cancer. “When I heard the news ‘MTUME’s gone’ I stopped what I was doing and began flashing back through my mind of images and remembrances of this musical genius-cultural-political media warrior,” said Imhotep Gary Byrd, The Radio Griot. “From the first time we met-we were kindred spiritsbrothers of the battlefield, where art & activism meet.” The South Orange resident was entrenched in the African roots of music as a record producer, composer of film scores (“Native Son,” 1986) and James Mtume (Photo courtesy of Double XXposure, Inc. Media) music supervisor for television series like “New York Undercover.” When he Mtume was born James Forman on with the “Juicy Fruit” album in 1983, wasn’t deep in music, he was sparking Jan. 3, 1946, in Philadelphia. His bio- the title song hit No. 1 on the R&B Billchange as an activist in the communi- logical father was Jimmy Heath, the board charts for eight weeks and the ty and his adopted city of Newark. tenor saxophonist, who died in 2020 next year the album spawned another His activism began in 1966, as a stu- and his uncles were bassist and drum- hit with “You, Me and He.” dent at Pasadena City College (on mer Percy and Albert “Tootie” Heath. In 1994, Bad Boy records executive a swimming scholarship) where he He was raised by his mother Bertha Sean “Puffy” Combs sampled “Juicy became interested in the Black Power Forman and stepfather James Forman, Fruit” in Notorious B.I.G.’s “Juicy.” Movement and joined the US Orga- a former pianist in Charlie Parker’s “Juicy Fruit” has been sampled on nization, founded by Ron Karenga. band. As a youngster, musicians such more than 100 songs by Mariah Carey, Mtume means “messenger” in Swahili. as Dizzy Gillespie, John Coltrane and Nicki Minaj, and Alicia Keys, among The musician was part of the original Thelonious Monk would stop by the others. Ironically, the Wrigley Gum corgroup which celebrated the first Kwan- family’s house for dinner, as Mtume poration filed a lawsuit against Mtume zaa in 1966. Throughout the years he recalled in a 2014 interview with Red for using the name “Juicy Fruit” but the remained devoted to the holiday and Bull Music Academy. “I never was hip evidence didn’t support their claim. hosted a major family Kwanzaa cele- enough to know just how brilliant a sitThe Mtume co-songwriting team bration at his house in New Jersey for uation that was, but what I did know and band members Lucas and over 50 years. about jazz musicians were they were Mtume enjoyed writing hits for other Mtume was able to broaden his an extraordinary group.” artists like Stephanie Mills’ top-ten fan base once he became a weekly As a teenager, Mtume’s early com- single “Never Knew Love Like This (Sunday morning, 1995 to 2013) talk positions were featured on his bass- Before” (for which they both reshow host on “Open Line” dissecting ist uncle Tootie’s album “Kawaida” in ceived a Grammy Award for Best politics, culture and music with his 1969, the group included saxophonist R&B Song Writing and Producing), co-hosts radio personality Bob Slade Jimmy Heath, pianist Herbie Hancock, Mills and Teddy Pendergrass’ “Two and Dr. Bob Pickett, on WRKS-FM trumpeter Don Cherry with Mtume on Hearts,” Phyllis Hyman’s “You Know and later on WBLS-FM. The hard-hit- congas. After college, he returned to How To Love Me,” and the Roberta ting talk show was a jewel in the ear- the East Coast and began his profes- Flack/Donny Hathaway hit singles lier tradition of committed legendary sional career playing with musicians “The Closer I Get to You” and “Back radio personalities Bob Law, Ken Riley like pianist McCoy Tyner and trumpet- Together Again.” During an interand Imhotep Gary Byrd. Through his er Freddie Hubbard. Miles Davis hired view with the “Breakfast Club” some relationship with Minister Louis Far- Mtume as a percussionist after seeing years ago Mtume noted, “I never crerakhan, he traveled to Cuba, Libya, him perform at the Village Vanguard in ated music for the awards, I made Sudan and South Africa. 1972. He immediately recorded Miles’ music for the rewards. We share the After college he arrived in Newark, jazz fusion album “On the Corner” and rewards when people like my music where he met the poet and playwright, “Get Up With It,” during his five-year and share in my creativity.” author and activist Amiri Baraka. They stint (1971-75). While with Davis, he After his band Mtume, the percusworked together to get Ken Gibson released his first solo album, “Alkebu- sionist seamlessly segued into his elected as Newark’s first Black mayor Lan: Land of the Blacks” (Strata East fruitful production and songwriting in 1972. That same year, Baraka orga- Records, 1972). career, which included R. Kelly’s “Freak
Tonight” and producing Mary J. Blige’s album, “Share My World.” The first time Mtume heard hip hop he said to his son Faulu, “What is that music you’re listening to the piano is out of tune.” Once the songwriter sat down with his young son and they began listening together he got the flow. “My father was always in tune to what was coming next with the younger generation. He understood the sound of music was changing and sampling was the new form,” said Faulu. “Once he heard Public Enemy and Chuck D., he was all in, for him it was another expression of Black consciousness.” As the music supervisor for the television police-drama series “New York Undercover” that aired on the Fox television network from 1994 to 1999, Mtume used this opportunity to close the music and cultural gap. He was able to fuse hip hop, jazz and funk under the Black music banner. “Music must address the look and feel of the show,” said Mtume during an interview in 1994. Mtume developed Natalie’s, the fictional nightclub in the show, into a hangout that helped bridge the generational music gap. New York Undercover was recently picked up by BET and is now running weekly. “I am glad it landed at BET,” said Faulu. “This is another way for my father’s contribution to be carried on.” Mtume is survived by his wife, Kamili; two sons, Faulu Mtume and Richard Johnson; four daughters, Benin Mtume, Eshe King, Ife Mtume, and Sandra Lee; a brother, Jeffrey Forman, and six grandchildren. Due to COVID restrictions, the funeral will be private. Condolences from around the world keep coming for actor and author Sidney Poitier. Without being redundant, what more can be said that watching his memorable movie “To Sir, With Love” made it clear. He was his character “Sir,” a charismatic teacher, who offered sincerity, wisdom, and advice; never judgmental, forever eloquent in his dress with thought-provoking words wrapped in a distinct proper accent demanding we listen without hesitation. It was Sir Sidney Poitier speaking, acting a role on a stage that commanded attention; his erect stature, his stroll that said he was in control, he was acting in real time for the entire world to witness in captivation and discuss. He, without raising a fist or shouting Black Power, was the Hollywood man of the hour, a Black man in America on a tightrope, persevering, decisive, the eternal mentor. We are better that Sir Sidney crossed our path, whether in person or on the big screen. The memories will live on.
