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10 notable Black albums of 2021

By JORDANNAH ELIZABETH

Special to the AmNews

2021 has been a trying year as the pandemic continues to affect the lives of human beings across the planet. It could be said that the saving grace of this year has been the incredible releases of Black new music across every genre and many generations.

With historical albums from Alice and John Coltrane and new studio albums from the world’s most powerful artists (for better or for worse (Kanye West and Drake)), music lovers have had many choices and opportunities to engage with many of their favorite artists’ new collections of music.

Here are 10 Notable Black Albums of 2021. May the new year continue to bring us music and inspire, invigorate and entertain us as much as the passing year.

Alice Coltrane, “Kirtan: Turiya Sings”

In 2004, Alice Coltrane’s son came across mixes of her music that he had never heard before; where, she is just singing and playing the Wurlitzer organ. Ravi, the producer of “Kirtan: Turiya Sings,” felt that this music needed to be shared with the world. The album is not considered to be jazz or improvisational music, but a solo effort of true love that highlights her spirituality, grace and wisdom. All of the lyrics are performed in Sanskrit and reveals how deeply connected Alice was to history and traditional spiritual songs.

John Coltrane, “Live in Seattle”

John Coltrane fans have a fresh opportunity to hear “A Love Supreme”, a live performance by the Impulse! record label. Uncovered and released is a 1965 full performance of the album which was recorded by a close friend of Coltrane’s, Joe Brazil, during a week long series of shows at the Penthouse in Seattle in 1965. “A Love Supreme” is the pinnacle of Coltrane’s spiritual search for musical inspiration and unwieldy deep expression.

The album finds Coltrane at his finest, refined, self-reflective and tightly connected to his band and to the experience of deep artistic exploration.

Brandee Younger, “Somewhere Different”

For jazz harpist, Brandee Younger’s Blue Note debut, ic storytelling of street life. This follow-up to last year’s Grammy-winning “King’s Disease,” follows Nas on his journey as a powerful, wise and experienced leader, lyricist and entrepreneur.

Esperanza Spalding, “Songwrights Apothecary Lab”

Jazz bassist aficionado, Esperanza Spalding has been able to combine neuroscience, music therapy, psychology, and ethnomusicology to

she offers lush musical landscapes that are ethereal and doused with hip hop sensibilities. Her fusion of beautiful strums from her harp with post-modern drumbeats makes the album unique and a joy to listen to. engage music lovers in ways and practices that they may never be exposed to otherwise. Listeners will be able to engage, interact, and learn from the music. The music on the album is sensual and viscerally experiential. multuous relationships and experiences in the follow-up to her 2019 debut, “Over It.” Walker’s beats are smooth and her voice silhouettes sound like milk and honey glazing over a silky surface. In her music, her life may be messy but her delivery makes her turmoil easy to digest.

Doja Cat, “Planet Her”

Hip hop, R&B maven, Doja Cat’s third album, “Planet Her” is a futuristic collection

of music that connects to the new generation’s thirst for unapologetic femme voices. The album can be considered marred by her collaboration with producer, Dr. Luke, who has been accused of sexual assault by pop star Kesha, but Doja Cat delivers an album that satisfies listener’s enthusiasm for new talent. The album’s pop sound infuses beat structures from around the world and is eclectic and bold. There are no apologies for Dr. Luke. It’s about Black women rising within the ranks of popular music and contributing to a new sound.

H.E.R., “Back of my Mind”

The ultra-talented singer/ songwriter H.E.R’s studio album debut, “Back of My Mind” creates a 21-track album, full of romantic and complex ballads that reflect her life’s highs and lows, losses, regrets and triumphs. H.E.R is a great musician who has had a hand in molding R&B’s modern sound. The album pulses and flows, and is just the beginning of the artist’s studio recording journey.

Drake, “Certified Lover Boy” (CLB)

CLB is not going to go down in history as one of Drake’s all-time best albums but it was a highlight of 2021 as his 6th studio album broke records for most streams. This 20+ song album covers much of the same ground as Drake has musically and lyrically explored over the years, but the album has glimmers of enjoyable tunes that wet the palette of his global following. In this followup to 2020’s “Dark Lane Demo Tapes” and 2018’s full studio album “Scorpion Drake,” he has proven himself to be consistent and generous with his output.

Kanye West, “Donda”

The controversial rapper and producer chose 2021 to be the year to release an ambitious 27 track album that continues to explore his relationship with God and Christianity, along with being an homage to his mother who passed away in 2007. Donda breathes life into Ye’s inner thoughts and frustrations, and features lyrical appearances by Jay Z and Lil Baby, who also contributed rhymes on Drake’s most recent release. “Donda” is a good album, but not the best in the storied catalog of the life that this artist has lived so far.

By LINDA ARMSTRONG

Special to the AmNews

The 49th annual Vivian Robinson AUDELCO Recognition Awards for Excellence in Black Theatre were recently held at The Dwyer Cultural Center in Harlem and it was a glorious 49-year retrospective of Black Theater Excellence. For this unique awards presentation AUDELCO put together an impressive list of 27 theater companies, and each theater company on average had seven Black productions nominated. Members of AUDELCO voted for the best production that each of these 27 companies had blessed the stage with over the past 49 years; each show nominated had the year it was performed included. Just reading this list was a momentous, detailed history of Black creativity, passion and community! Inside the Dwyer Cultural Center there is a room beautifully decorated by Denise Graham of DBG Elegant Designs with plaques representing each theater company, and there were original cast photos from some of these classic productions that had everyone struck with pride and joy.

The evening of the Black Theater family was hosted by theater legend and multiple AUDELCO winner—Vinnie Burrows, the charming and hilarious Phyllis Stickney and Jrome Andre and there was delightful live music by The Phil Young Experience. Actor/Pastor Jerome Preston Bates started-off the evening with a spirited prayer, which was followed by the magnificent Tina Fabrique singing “Doctor Feel Good.” She truly blessed everyone in the room as her lovely vocal instrument rang out. That lady had everyone feeling good!

Twenty-seven theaters, is that phenomenal or what?! Please see the companies below in alphabetical order, along with the production that distinguished itself among the voters. Amas Musical Theatre (1968 to present): “Rollin on the T.O.B.A.” (1998-1999). Afro-American Studio/127th Street Repertory Ensemble: “Raisin in the Sun” (1979). Black Spectrum Theatre (1970 to present): “The Piano Lesson” (2003). Billie Holiday Theatre (1972 to present): “Brothers from the Bottom” (2015). Classical Theatre of Harlem (1999 to present): “Seed” (2011). Crossroads Theatre Company (1972 to present): “The Colored Museum” (1986). Frank Silvera Writers Workshop (1973 to present): “Fried Chicken and Invisibility” (1983). H.A.D.L.E.Y. Players (1979 to present): “Home” (2005). Harlem Repertory Theatre (2004 to present): “Dream Girls” (2012).

Harlem Theater Company (1987 to 2004): “Love Child” (2003). Layon Gray American Theater Company (2010 to present): “Kings of Harlem” (2014). Manhattan Theater Club (1970 to present): “Talented Tenth” (1998). National Black Theatre (1968 to present): There was a tie—“Do Wop Love” (1993) and “Iced Out, Shackled and Chained” (2010). Negro Ensemble Company (1967 to present): “Mississippi Delta” (1987). New Federal Theatre (1971 to present): “The Trial Of One Short Sighted Woman/Mammy Louise/ Safreeta Mae” (1999). New Heritage Theatre Group (1964 to present): “Woza Albert” (1984).

For New Lafayette Theatre (1968 to 1973) the honor was different as the VIV went to Ed Bullins as Best Playwright for the following works: “A Son Come Home” (1968); “In New England Winter” (1969); “House Party” (1973); “Malcolm” (1971); “Miss Marie” (1973); “The Pig Pen” (1970); and “We Righteous Bombers” (1968). Nuyorican Poets Cafe (1971 to present): “Don’t Explain” (1991). Playwrights Horizons: “Familiar” (2016). Richard Allen Center (1968 to present): “Voices of the Spirits in my Soul” (2006). Signature Theatre (1996 to present): “First Breeze of Summer” (2008). Take Wing And Soar Productions (2003 to present): “The Importance of Being Earnest” (2013). The Morningside Players: “Fences” (2015). The Movement Theatre Company, (2007 to present): “What To Send Up When It Goes Down” (2018). The Public Theater (1954 to present): “Bring In ’Da Noise/Bring In ’Da Funk” (1995). Ujamaa Black Theater, (1977 to present): “The Gospel of the Harlem Renaissance” (1982). Urban Arts Corp. (1967 to 1980s): “Don’t Bother Me, I Can’t Cope” (1971).

In categories for Solo Performances Female and Male. For Solo Performances (Female) the VIV went to “A Song For You”: Wendi Joy Franklin, 2008. For Solo Performances (Male) the VIV was awarded to “Lackawanna Blues”: Ruben Santiago-Hudson, 2001. Anybody who saw his recent Broadway debut of this poignant production could definitely understand why it won! Brilliant and in 2001, he delivered it with the same passion, love and beauty!

Marvelously also, there were categories for musicals, broken by time periods. Musical (1970s to 1999)—and the VIV goes to: “Bessie Smith Empress of the Blues” (Frank Silvera Writers Workshop-1979), the amazing cast included Eboni JoAnn Allen Taylor, Brel Clarke, Chuck Wise, Gardenia Cole, Jerry Sheldon and Yvette Erwin. Musicals (2000s to 2019) was the next group honored and the VIV was awarded to: “Great Men of Gospel” (New Federal Theatre, 2004), which boasts a cast that included Richard Bellazzin, Jeff Bolding, Ralph Carter, Cliff Terry, Gary Vincent, and Montroville Williams.

AUDELCO has been there for 49 years to acknowledge what our people are doing and to say, job well done to so many of our Black Theater community family and it continues to do so. This year’s recipients of the Legacy Award were Mary B. Davis, playwrights J.e. Franklin and Lawrence Holder. J.e. Franklin humbly accepted this recognition and cherished that her daughter and grandson were in the room to be a witness. Holder thanked Elizabeth Van Dyke and Woodie King Jr. among others. Lifetime Achievement Awards were bestowed upon Marjorie Moon (former executive director of the Billie Holiday Theatre) and Carl Clay (founder of Black Spectrum Theatre), which recently celebrated 52 years of providing thriving theater to the Queens community. Moon, via Zoom, thanked the Audelcos for this honor and thanked the loyal, skilled staff that had worked with her over the decades. Clay also joined via Zoom and thanked everyone who has worked with the company over the years, especially stage manager extraordinaire Bette Howard. He also thanked his mentor Cliff Frazier, the late Dick Gregory, playwright PJ Gibson and proclaimed, “We are alive and well in Queens! We in theater have to stick together!” Pioneer Award recipients were Lynda Gravatt, Ebony Jo-Ann, Ron Cephas Jones and Shirley Faison. Jo-Ann Zoomed live and spoke of her appreciation for this honor and how important it is that we tell our stories. She humorously recalled the advice of her acting teacher Wayne Jones as he admonished her to remain in theater, “You must act, you have to give voice to all those people who live inside you or else you’re going to go crazy,” JoAnn shared. Talking about our theater, JoAnn stated, “Black Theater is the purest theater there is. I love you all and I’m truly honored you remember me and I thank God for all of you,” she remarked. Outstanding Achievement Awards were received by Jackie Alexander and Lawrence Evans. Alexander had been on the stage earlier, also receiving the VIV for his play “Brothers from the Bottom,” performed at the Billie Holiday Theatre. Jackie Alexander truly deserved this honor as this gentleman is in charge of the National Black Theatre Festival in Winston Salem and the North Carolina Black Repertory Company. He is a dynamically gifted and creative individual whose work I have admired for decades. Lawrence Evans is a casting director/ actor and has a prominent role at the National Black Theatre Festival as well. Special Achievement Awards were given to Sade Lythcott (National Black Theatre) and Ty Jones (Classical Theatre of Harlem). Anyone who has been to the National Black Theatre knows that it is precious to the Harlem Community. There is an ancestral richness you experience when you walk through the doors, Ms. Lythcott is carrying on the tradition of quality theater that her mother the late, great Dr. Barbara Ann Teer created. Ty Jones is talent extraordinaire and Classical Theatre of Harlem is a shining gem in the community. Both are inspirational! Board of Directors honors went to Don Hayden, Charles White and Linda Stewart. A special tribute to Woodie King Jr. included the revealing of a glorious bust of him.

Support our people in theater. Become a member of AUDELCO, go to see plays and hear our stories! To find out more about AUDELCO go to its website a www.audelco.org.

(Linda Armstrong photos)

Co-hosts Phyllis Stickney and Vinnie Burrows with Audelco honoree Woodie King Jr. Several honorees for the amazing evening

By JORDANNAH ELIZABETH

Special to the AmNews

It is with a heavy heart and the deepest sadness to report that the trailblazing Black feminist author, bell hooks has died at her home in Berea, Kentucky at 69 years old. hooks was the voice of a generation as she wrote in-depth on a myriad of topics from race and gender to feminism, always speaking for the working class Black community and decentralizing the middle and upper middle-class conversation and examination of the Black experience.

As an author she wrote nearly 40 books including her feministic 1981 debut “Ain’t I a Woman?: Black women and feminism.” In the book, she writes, “A devaluation of Black womanhood occurred as a result of the sexual exploitation of Black women during slavery that has not altered in the course of hundreds of years.” She never shied away from expressing empowering truth-telling manifestos as her books are enlightening, emotionally intelligent and searingly realistic, giving voice to Black women all over the world who felt alienated, alone and misunderstood. She also explored and celebrated Black men with her book “We Real Cool: Black Men and Masculinity” writing about the injustices against our communities and the men who withstood great challenges and targeting by white oppressors. hooks, whose given name was Gloria Jean Watkins, began her teaching career as an English professor and ethnic studies senior lecturer at the University of Southern California in 1976. While

Musical inspired by Nona Simone’s life

to make NYC run Laiona Michelle

“Little Girl Blue” (LGB), a musical inspired by Nina Simone’s life, written by and starring Laiona Michelle (“Amazing Grace,” “Book of Mormon,” “American Hero”), will open Off-Broadway at the Shubert Organization’s New World Stages (Stage 5) Feb. 28, 2022, it was announced by the show’s lead producer, Rashad V. Chambers (co-producer of “American Son,” Tony Award-winning “Ain’t Too Proud – The Life and Times of The Temptations,” the critically acclaimed 2019 revival of “Betrayal,” and “The Inheritance”).

Michelle has been garnering rave reviews for her performance as the iconic singer/songwriter/musician/civil rights activist, since the show premiered to sold-out audiences and nightly standing ovations, at George Street Playhouse in early 2019. This past summer, “Little Girl Blue” continued wowing audiences when it ran as part of “Goodspeed” by the River series in East Haddam, Connecticut, outdoors, under a big tent. One critic referred to the production as “a tour-de-force presentation of Simone come to life.”

Even as COVID-19 shut down Broadway, Chambers kept things moving, preparing for the return of live theater. “Now that New York has begun to safely reopen, and Broadway has made its successful return, we are thrilled to announce ‘Little Girl Blue’s’ New York run. It has been what we’ve all been working toward,” said Chambers.

In addition to Michelle in the title role, the company’s original cast and director are returning, including the exceptional trio of musicians that accompany Michelle on stage—Kenn Salters, Saadi Zain, and pianist Mark Fifer who is also the production’s music director and arranger, as well as director Devanand Janki. The production will also have an all female BIPOC design team that includes Shoko Kambura (scenic design), Ari Fulton (costume design), Dawn Chiang (lighting design), Twi McCallum (sound design), and Earon Nealey (wig design). Jason Styres/The Casting Collaborative is in charge of casting, Ernie Fimbres is the production stage manager, MZQ Productions is the management firm for this production, and Lisa Dozier/LDK Productions, will serve as the production’s general manager.

Previews begin Feb. 19 with the official press opening Feb. 28. Performances for “Little Girl Blue” are scheduled on Mondays and Wednesdays at 7 p.m., Thursdays at 2 p.m. & 7 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. & 8 p.m., and Sundays at 3 p.m..

Tickets are priced from $50-$99. A student lottery will be announced at a later date.

Tickets are available for purchase at Telecharge. teaching she published her first book, a collection of poems entitled “And There We Wept” in 1978. Over the years she would teach at several educational institutions including Yale, San Francisco State University, Oberlin College and City College of New York.

As a distinguished intellectual and cultural critic, hooks was offered priceless thoughts and information that will go on to be groundwork to Black fem-

inist theory offering From the AmNews’ Nov. 21, 1992 issue herself as a guide and invaluable voice for marginalized communities. The undertaking was huge and she was nothing but graceful while being a strong and effective activist. There will never be anyone like bell hooks whose clear and poetic fusion of writing and nonfiction intelligence was unique and extremely profound. She was born Sept. 25, 1952, in Hopkinsville, Kentucky. The New York Times writes, “Though her childhood in the semirural South exposed her to vicious examples of white supremacy, her tightknit Black community in Hopkinsville showed her the possibility of resistance from the margins, of finding community among the oppressed and drawing power from those connections—a theme to which she would return frequently in her work.” bell hooks gave her entire life to the movement. Now, the movement must live on, continuing the conversations her large catalog of work has set forth.

THROUGH JANUARY 9 ONLY “THE PLAY OF THE MOMENT.

SHEER CRACKLING TIMELINESS. IT’S GETTING THE ATTENTION IT DESERVES.”

–JESSE GREEN, THE NEW YORK TIMES

“GLORIOUS

TO BEHOLD . ”

–TERRY TEACHOUT, THE WALL STREET JOURNAL “A MONUMENTAL WORK. ”

–LINDA ARMSTRONG, NEW YORK AMSTERDAM NEWS

LACHANZE

BY ALICE CHILDRESS DIRECTED BY CHARLES RANDOLPH-WRIGHT