Women In Jazz South Florida To Hold First Musicwoman Festival In Atlanta
A 3-Day Event with Performances by National and International Women Musicians Panel Discussions and Open Mic with Spoken Word Artists
[Atlanta, GA, June 4, 2024] Women in Jazz South Florida, Inc. (WIJSF), will hold its first Musicwoman Festival, featuring Jazz artists from around the world, during a three-day music weekend in Atlanta, GA., in mid-October.
An international 501(c)(3) nonprofit membership organization, with 441 members from 29 states and 22 countries, WIJSF’s mission is to promote women musicians, globally, through multimedia platforms and global events, and the Musicwoman Festival is its latest endeavor.
“We are extremely excited that the first Musicwoman Festival in Atlanta will make way for a series of festivals across the country, which we are developing,” said Media Director, Mimi Johnson. This will be the first in a series of Musicwoman Festivals, countrywide,” said founder and director, Dr. Joan Cartwright, a noted composer and educator. Cartwright is a retired Jazz and Blues performer.
“Since its inception in 2007, our mission at WIJSF has been to create a sisterhood and promote the excellence and artistry of women musicians, who are hidden gems in the $42 billion international music industry,” according to Dr. Cartwright. “It’s past time that these incredibly talented women musicians get the attention and accolades they deserve,” she said.
Taking place Thursday, October 17, through Saturday, October 19, 2024, the Musicwoman Festival will feature a number of events at various venues, including a kick-off party, workshops, and panel discussions. An open mic with talented, up-and-coming spoken word artists and poets, including Papadook The Poet and Abyss, will be held at The Core in East Point, Georgia, on October 17, 2024.
The main event will be at the HJC Bowden Center, 2885 Church Street, East Point, Georgia, featuring Jazz performances by musicians and vocalists. Headlining the festival is nationally-acclaimed flautist, composer, and WCLK Jazz 91.9 FM Radio Personality, Ragan Whiteside, the first WIJSF Musicwoman of the Year 2023. Other performers include vocalist and keyboardist, Carol Albert; the JCFI Music Ensemble from South Africa; bassist Kim Clark; vocalist Rita Graham; Steinway pianist Lenore Raphael; harpist Radha Botofasina; saxophonists Kim J and Eric Giles. The event will be hosted by Chrystal Doomes and Jarvis Evans.
Sponsors of the three-day event include Musicwoman and Musicman Magazines; WCLK Jazz 91.9 FM; The City of East Point; Atlanta Black Chamber of Commerce; Musicwoman Radio; FYI Communications, Inc.; Hype Magazine; Caustic Entertainment Group; MJTV Network; Women in Jazz Association, Inc.; Maverick Global Distribution; Clayton Signing Agent, LLC; CustoPrint; JT Design; Natural Creations, and The Core Total Body Salon and Wellness Spa.
“Over the past 17 years, WIJSF has appreciated, respected, and showcased the immense talent and artistry of women musicians. We want to assure that the world knows who they are by rectifying the inequality so many have experienced,” shared Mimi Johnson, daughter of Dr. Joan Cartwright and a musician, herself. “The creation and growth of the Musicwoman Festival will be the start of resolving this travesty, here in Atlanta, across the nation, and around the world,” she said.
Visit www.musicwomanfestival.eventbrite.com for more information about the 2024 Musicwoman Festival and tickets. For information about Women In Jazz South Florida, Inc., go to www.wijsf.org For media inquiries, contact Mimi Johnson at 404/974-5744; mimijohnson.wijsf@gmail.com
Founder/Executive Director: Dr. Joan Cartwright – director@wijsf.org
Creative Director: Dr. Joan Cartwright
Media Director: Mimi Johnson – media@wijsf.org
Social Media: Mimi Johnson, Marika Guyton
Editorial Staff: Dr. Joan Cartwright
Creative Team: Jodylynn Talevi, Graphic Designer
Contributing Writers: Dr. Joan Cartwright, Trenton Bailey, Michael “PoppaDukes” Serrano, Jagadeesh Ramanujam Mudambi, Dr. Gail Jhonson, Nestor Torres, Paula Flack, Atla DeChamplain, Jarvis Evans, Ralph Miles Jones, Jeanette Stephens-El
Social Media: www.facebook.com/wijsf Website: www.musicmanmagazine.com
Submissions: DISTRIBUTION
For sale at Publix Super Markets, Barnes and Nobles Bookstores, and at wijsf.org Complimentary issues can be found year-round at select high-traffic locations and high-profile events through South Florida. Check our website and fb pages for up-to-date lists of events.
From the International President
INTERNATIONAL PRESIDENT
15 April 2024
Dear WIJSF Members and Supporters,
I am writing to express my sincere gratitude for the honour of being appointed as the International President of Women in Jazz South Florida. It is with great humility and excitement that I accept this esteemed role, and I am deeply grateful for the trust and confidence placed in me by the organization’s leadership.
I am particularly thrilled about the opportunity to work alongside such dedicated individuals who share a common passion for Women in Jazz South Florida’s mission and vision. Together, I am confident that we are making meaningful strides toward advancing our goals and serving our global community.
In addition to my responsibilities as International President, I am excited to share some thrilling news with you. This October, we will host the inaugural Musicwomen Festival in Atlanta, a landmark event celebrating the extraordinary talent and contributions of women in the music industry. I am delighted to announce that my South African band, JCFI Music Ensemble, has been invited to perform at this momentous occasion.
Bringing JCFI Music Ensemble from Mamelodi, South Africa, to Atlanta, Georgia, for the Musicwoman Festival presents a unique opportunity to showcase the rich cultural heritage and artistic prowess of South Africa on an international stage. We are grateful for this opportunity.
Once again, thank you for bestowing upon me the honour of serving as International President. I am committed to upholding the values and principles of Women in Jazz South Florida with integrity, passion, and dedication, and we are excited to embark on this journey together.
Love and Music,
Sibongile Anna Buda
International President Women in Jazz South Florida, Inc.
Seventeen years of service is a long time. Volunteerism is the spirit of giving in action. At WIJSF, Inc., one person did the work for 13 years. As of August 1, 2020, she was joined by a staff of professionals, who moved this nonprofit organization forward. This showed us that teamwork is an essential part of any successful endeavor.
Sure, musicians practice and play their instrument, alone. But the real experience is joining with others to bring music to a listening audience. Not every musician has that goal. But, in the sphere of professional musicians who earn their livelihood from producing music, they understand the impact of working with other musicians.
Dr. Joan Cartwright Editor-in-Chief
Collaborative music is magical because it allows each musician’s gift to shine within the ensemble. The magic of music are musicians weaving sounds for those who listen. So, the audience is part of the team. Those who hear the music are blessed with it. It’s a chemical concoction – the musicians, the music, and the audience.
Teamwork is essential. At WIJSF, we publish Musicwoman and Musicman Magazines with the help of a graphic designer, other ad producers, editors, writers, photographers, painters, advertisers, printers, distributors, and our members, who share the magazines with their circle of friends. The best part is the array of instrumentalists, vocalists, composers, producers, promoters, DJs, filmmakers, writers, and educators, who bring the world their brand of music. The men in this issue have consciously collaborated with many women in their musical endeavors and our theme of Collaboration is brimming over in this issue!
In October 2024, WIJSF will present the first, annual Musicwoman Festival in Atlanta. This is our opportunity to showcase the variety of talented women and men who understand our mission to promote women musicians, globally. We’ve gathered young artists who have made themselves known in this very cultural community.
While my daughter, Mimi Johnson works branding, marketing, promotion, and social media, my granddaughter will host the festival, along with two rising stars. Their visibility on social media is phenomenal enough to attract a diverse generational audience to enjoy the music of our musicians and composers like Sibongile Anna Buda from Mamelodi South Africa, our International President, who is bringing the JCFI Music Ensemble to Atlanta on Saturday, October 19, 2024. Members from Florida, New York, North Carolina, California, and Georgia will perform. Two young men - Jarvis Evans (vocalist) and Eric Antoine Giles (sax) will be featured.
This is how we are celebrating longevity and teamwork!
Love and Music,
Dr. Joan Cartwright, publisher
LETTER FROM THE EDITOR
photo by: Leo Reinfeld
PHILIP MICHAEL THOMAS
Philip Michael Thomas: The Composer by Jeanette Stephens-El
This issue of Musicman Magazine is aptly titled because its cover features the incomparable Philip Michael Thomas. Born in Columbus, Ohio on May 26, 1949, Thomas was a precocious and energetic child who began exploring his musical imagination at age four, when his stepfather, welterweight boxer George William Liggins introduced him to the piano. His mother, Lula McMorris nurtured his musical attributes through the power of her remarkable soprano voice. This newfound freedom of artistic expression burst like a riot in his heart and soul, and his budding talent, tenacity, and quick wit was a winning formula for success that took Philip on the journey of a thousand seasons.
At 11, Thomas wrote his first song, Troubled Child, a harbinger of his future in music and performance. His first album, Living the Book of My Life (1985) opened the door for a look inside the house where he has lived his entire existence -- a cathedral with towering walls made of musical notes, melodies of Reggae, R&B, funk, gospel, jazz, hip-hop, rap, ballads, children’s sunshine, and musical theater.
While many came to know him as Ricardo Tubbs in the 1980s NBC television juggernaut Miami Vice, Thomas’ true love was music, from his childhood rendition of Rockin’ Robin in a talent show to serving as a fiery Pentecostal minister at 16. Thomas showed his musical prowess at 19, in the San Francisco production of the Broadway musical Hair.
Philip won critical acclaim in other dramatic Broadway plays, like Charles Gordon’s 1970 Pulitzer Prize winning No Place To Be Somebody. Thomas had a close association with Motown royalty Berry Gordy and Company, but the 1976 groundbreaking film Sparkle, where he starred opposite young Irene Cara, closely mirrored the depth of Thomas’ enthusiasm for music, all the while leading to more acting roles.
Years later, Thomas returned to New York to produce his original children’s play, Sacha On Broadway, co-written with Sandi Morais and showcasing his musical score.
In 1988, he released a second album, Somebody. Recorded in his Spaceship Records studio by Atlantic Records, that album featured music legends, including the late great Nick Ashford and his wife Valerie Simpson, and Amir Bayan, brother of Robert Kool Bell, who produced songs for the Somebody LP. Hitmaker Leroy Hutson produced Thomas singing the powerhouse love ballad Magic Man.
In 1991, the Diva -- Grammy Award winner Dionne Warwick spent days in Spaceship Records’ studio with Thomas as the executive producer of original compositions for her album, Love Is Dionne. That album of love
songs included the duet for which Philip and Dionne created their own magic with Love Wrote This Song, Bridge to Forever, Love Is, and Don’t (Touch Me Like This If You Don’t Mean It).
In 1998, Thomas and Warwick took their talents to South Africa where they met with Nelson Mandela. Thomas recorded his original Brother-2-Brother with jazz pioneer Hugh Masekela and an array of South African musicians. Written as an anthem for uniting people in an increasingly polarized world, Thomas combined various musical genres in this cohesive tune that would encourage anyone to find their groove.
“Music is my mistress” has been a theme of Thomas’ life journey for most of his career and his daughter Imaj followed in his footsteps, albeit in Country music. His compositions are celebrated for their timeless quality and unique approach, reflecting his deep-seated love for the art form. Thomas embodies each composition. With the reverence of an epic book, he challenges himself to condense the pages of a story into a three to fiveminute classic song that will resonate on a subliminal, mathematical, and creative level. Each note and lyric must elicit perfect pitch and passion, energizing the performers, inspiring them to infuse their heart and soul into every keystroke and beat. Thomas believes that his songs are like planted seeds, growing into orchards of lifetime experiences, dazzling one’s imagination and fueling a desire for creative collaboration.
Not concerned solely with his creative music projects, Thomas generously provided a platform for emerging artists to flourish by claiming ownership of a multiplex in North Miami that housed The Miamiway Theater and the state-of-the-art Spaceship Records recording studio. A true visionary, who just celebrated his 75th Diamond Jubilee Birthday on May 26, 2024, Thomas shows no signs of slowing down. A composer to the core, he uses his extensive knowledge of music in his compositions due to the span of time and genres experienced in his musical development. With a similar work ethic as the late virtuoso Prince, when Thomas isn’t sleeping, he’s making music.
To share in his wealth of musicology, one should take a listen and remember what he wrote in Brother-2-Brother:
We’ve got to be an example, so the little ones don’t fall. They’re the pioneers of tomorrow with a universal call. They ride the wings of time, developing their minds, Reaching into inner space, new discoveries they must face.
Brother-2-Brother
This is Philip Michael Thomas – a music maker and the ultimate Musicman.
Prepare yourself for the upcoming release from Philip Michael Thomas’ Spaceship Records label, featuring one of his signed artists performing Thomas’ first song, Troubled Child. The release of this heartfelt song marks the genesis of an inspiring music career, promising to deeply resonate and transform all listeners with its poignant message.
Sample more of Philip Michael Thomas’ music at https://www.philipmichaelthomas.info
Spaceship Records recording studio with Dionne Warwick and Jeanette Stephens-El
LeRoy Hutson, music producer, and Paxton Baker, former producer of the BET Awards
Recording with Nick Ashford in Spaceship Records recording studio
Music by Philip Michael Thomas | Lyrics by Philip Michael Thomas & Kassandra J. Thomas
We hold these truths to be self-evident
We hold these truths to be self-evident
We hold these truths to be self-evident
We hold these truths to be self-evident
Brother 2 brother, working side by side as friends
Harvesting crops for the betterment of man (horn solo)
Sister 2 Brother it’s time to stand up tall
Brother to Sister we can share it all
We’ve got to be an example
So the little ones won’t fall
They are the pioneers of tomorrow
With a universal call
They ride the wings of time
Developing their minds (horn solo)
Reaching into inners-pace
New discoveries they must face
(Chorus) Brother 2 Brother
Oh, it’s time to take a stand
(Chorus) Brother 2 Brother
You hold the key in your hand
(Chorus) Sister 2 Brother
Ooo…ooo…we all embrace
(Chorus) Sister 2 Brother
With love and understanding
For the whole human race
Brother 2 Brother
We’ve got to live by the golden rule
(Chorus) By the golden rule
Do unto others as you would have them to do unto you (horn solo)
(Chorus) (ooo…ooo…ooo)
Sister 2 Brother…we all embrace
With love and understanding
For the whole human race
We’ve got to be an example
So the little ones don’t fall
(Chorus) (haa…. aaah)
They are the pioneers of tomorrow
With a universal call
They ride the wings of time
Developing their minds
Reaching into inner-space
New discoveries they must face
You’ve got to love it to get it
You’ve got to give it to have it
Do you hear what I say?
(Chorus) (You’ve got to love is to get it.
You’ve got to give it)
(Chorus) (Brother 2 brother)
Working side by side as friends (Chorus) (Brother 2 brother)
For the betterment of man (Chorus) (Sister 2 brother…
Sister 2 brother, it’s time to stand up tall (Chorus) (Sister 2 brother)…
Brother 2 sister can share it all
(Rap)
We hold these truths to be self-evident
That all men and women are created equal
To have life, Liberty and the pursuit of happiness
Mothers and fathers…daughters and sons
Loving each other in unity as one
(Eight bars of music)
(Chorus) (Brother 2 Brother.)
Oh…. ooo its time to take control (Chorus) (Brother 2 brother)
Let the revelation of God fill your soul (Chorus) (Sister 2 brother)
Sisters, friends and mothers… (Chorus) (Sisters to brothers)
We have to respect each other
Oh…ooo…Fathers and mothers
You’re the procreators of lovers
(Chorus) (Brother 2 brother)
Ooo …ooo…ooo…yes you are Ooo …ooo…ooo …yeah
(Chorus) (Sister 2 brother)
Ooo…ooo… yeah… yeah…sidd..did…. it.
(Scat and ad lib out)
Thomas’ English Muffin promotion
6TH ANNUAL PALM BEACH
INTERNATIONAL JAZZ FESTIVAL
4.28.24 W. PALM BEACH, FL
photos by: Jacek Gancarz
SURYA BOTOFASINA
Surya Botofasina by Dr. Joan Cartwright
I If sitting at the foot of greatness produces prodigies, then, Surya Botofasina got his musical prowess from two prolific women in music. His mother, Radha Botofasina, studied harp with the infamous Swamini Turiyasangitananda or simply Turiya, better known as Alice Coltrane to the world. Surya’s earliest musical memories were from three years old, listening to mantras on his mother’s lap. His musical training began at eight with pianist Aunt Ellen, his mother’s dear friend. Much later, he embraced music theory at the New School of Jazz and Contemporary Music, founded by bassist Reggie Workman, in Manhattan, New York, in 1986.
Needless to say, the young pianist chosen to accompany André 3000 on his New Blue Sun Tour found his universal flavor at the knee of Radha, Alice, Reggie, and other profound musicians from the U.S. and India. Throughout his life, he traveled with his mother to Delhi, Bangalore, and other provinces in India to visit the avatar Sai Baba at various ashrams. He in California, where he ran track and played basketball in high school. But music was the calling that led him to his residence in New York City.
I asked why he loved working with his mother so much. He said, “I know that being able to work with my parents may not be possible every day of my life. So, I want to take advantage of the time that we still have the ability, agility, and mobility to work, be in contact, and collaborate with each other. That’s what I’m going to hold on to and that’s what my children will be able to hold on to. I’d like to know that for one day, one hour, one week, one concert, or one album we did that together.”
Surya Botofasina by Dr. Joan Cartwright (con’t)
Surya’s musical catalogue includes thousands of songs. His publishing company is Cali Mandir Child Music with SESAC. He composed music for commercials, films, and albums. Two of his CDs were produced by Carlos Niño, who is also on the tour. Surya recorded four collaborations, two features, and one album with his mother in 2010, Aspirations of the Heart. “I work with my mother. I’m nothing without her. I always enjoy making music with her. We take advantage of our time together.”
Other women who graced projects with Surya are saxophonist Lakeshia Benjamin and harpist Brandee Younger. Radha provided vocals for some of his recordings, as well. He engaged other women on his recordings who were not on stage with him but who embellished the music he composed.
His experiences with Radha and Swamini made him cognizant of the underestimation of women in the music industry. “There’s no words for the amount of dynamic action they both put into their own albums and other music that they were responsible for or influenced,” Surya contended. He called the women he made music with “My sisters in the battle,” stating that “Lakeshia and Brandee are dynamic musicians on their own and they don’t need any validation from anybody. Yet, I’ve seen both of them underestimated and marginalized at different times.”
While many young musicians avoid the same stages as their parents, for Surya, “I realized early on that competition is an extension of my ego. I’ve been given life and breath, and I give my all to redeem that.”
Surya said the New Blue Sun Tour brought him to Atlanta to perform for the first time in his career. He acknowledged that “there’s a lot of civil rights history, here. A lot of blood has been taken in lynching trees and Stone Mountain atrocities.”
He’s also aware that Hip Hop producers exposed a lot of that history to the younger generations. Surya suggested that young musicians must, “believe in yourself at all costs. Don’t listen to anyone who says you’re not doing this right. Do it your way and you will be fine.” He said that’s the best advice he ever got from one of his mentors.
Surya Botofasina
KIM WATERS
The King of Collaboration! Kim Waters by Dr. Joan Cartwright
Kim Waters has produced over 25 solo albums that contain half of his collection of original compositions. But his astonishing record for performing and collaborating with other musicians, especially women, is outstanding.
Kim didn’t just collaborate with women vocalists and instrumentalists, he sired a prodigy, Kayla Waters, whose song Full Bloom holds the record for the longest #1 song on the Billboard National Airplay Chart, six weeks! Kayla Waters is a prodigy sired by a prodigy. And Kayla has a twin, Kimberly, which sounds like a double bonus!
Kim began violin lessons at seven. He studied theory and, by 11, switched to saxophone. The TV maestro Lawrence Welk has saxophones in his band and that caught Kim’s attention. By 13, he was a known prodigy at Peabody School of Music, Harford Community College, and in very short notice, in New York City. He even played with Ray Charles at Pier 6 in Baltimore. Kim and his brothers Eric (drums) and James (bass) were joined by Cyrus Chestnut on piano, while accompanying vocalists Byrd Pressley and Phil Perry (pictured below), on many occasions as the house band for the Playboy Club in Great Gorge, New Jersey.
On weekends, they took gigs at jazz spots around the city. From 1984 on, the band played at Birdland, uptown at Small’s Paradise Lounge, Minton’s, and the Blue Note. Kim’s soulful smooth jazz captured the hearts of audiences, quickly. He performed for Jazzmobile at Bryant Park and on the Round-the-City Jazz Cruise.
During his breaks, Kim took advantage of the jazz giants living in his midst for mentoring, including tenor men Gary Bartz and Mickey Fields, who Kim drove around when he was only 16 years old. The tri-state area leant a rich background for Kim’s musical grooming. Hailing from Belair, Maryland, just outside of Baltimore, Kim also performed in Pennsylvania, New Jersey, and New York. He lived in Austin, Texas, for nine years and his travel abroad began with a trip to Tokyo, Japan, where he eventually appeared at the infamous Blue Note.
By 1991, Kim was touring Europe at the Montreux Jazz Festival in Switzerland, Ronnie Scott’s in Londoon, and festivals in Lago Maggiore, Italy, in Algarve, Portugal, and in Madrid and Barcelona, Spain.
His latest collaboration is with our WIJSF member and magazine contributor Gail Jhonson. During this interview, he mentioned that they just dropped Glow, yesterday. Ironically, Gail texted me the link, this morning, and I listened to it. Little did I know they worked together.
Kim’s most important collaboration is with his daughter Kayla Waters on piano. Kayla is a classically-trained pianist and composer. Together, they are a dynamic duo. I suggest you view this video: https://youtu.be/ eqDl5nfZQzU?si=Qveeluc0i35MSpi6
Kim Waters by Dr. Joan Cartwright (con’t)
Kim works, regularly with sultry singer Maysa Leak (Incognito). He’s collaborated with Lisa Fisher, most noted for performing with the Rolling Stones. Kim has toured with Chante Moore and Karen Briggs on violin, rounding out his life in music. Listen to Glow with Gail Jhonson at this link: https://youtu.be/-recWqG6RTk?si=xZPTd_HGuIyazHPi
The gentility of Kim’s manner shines through in his music. From R Kelly’s Step in the Name of Love to Mariah Carey’s Vision of Love, Kim covers every song he plays as if it were his own composition. He’s incorporated the chops of a jazz giant into contemporary music softly and gently, adding flavor to a gasping industry.
I asked Kim, “So, you collaborated with Kayla Waters, Dana Waters, Gail Jhonson, Lisa Fisher, Chante Moore, Maysa Leak, and Karen Briggs?”
Kim responded, “Yes, I did, and also with Phil Perry, Issac Hayes, Kenny Lattimore, James Lloyd, Pieces of a Dream, Chuck Loeb, Gerald Veasley. I can’t think of all of them. Oh, Kirk Whalum, Everette Harp, Najee, and Norman Brown.”
Kim Waters Discography
1. 1989 Sweet and Saxy
2. 1990 All Because of You
3. 1991 Sax Appeal
4. 1992 Tribute
5. 1993 Peaceful Journey
6. 1994 It’s Time for Love
7. 1994 Home for Christmas
8. 1996 You Are Not Alone
9. 1998 Love’s Melody
10. 1999 One Special Moment
He said they need to “write their own music!”
Kayla Waters
That’s an amazing roster of collaborations with unforgettable artists. Kim’s journey continues with more recordings, performances, and projects with talented and creative musicians in all the genres. Kayla’s classical training meshes with her father’s inimitable prowess on saxophone to open doors for new generations of music lovers. Kim’s musical family tradition should spill over onto the whole world to lighten it up a bit!
Kim advises young musicians to “hone their skills, be a musician that embraces all styles and genres, and be prepared because you never know when you will get the call.” He said they need to “write their own music!”
11. 2001 From the Heart
12. 2002 Someone to Love You
13. 2004 In the Name of Love
14. 2005 All for Love
15. 2007 You Are My Lady
16. 2008 I Want You: Love in the Spirit of Marvin Gaye
Earth, Wind, & Fire (EWF) is one of the most successful bands in the history of popular music. Since the band’s inception in 1970, they have sold more than ninety million records. This achievement makes EWF one of the bestselling bands of all time. They have also won numerous prestigious awards, including six Grammy Awards, four American Music Awards, and three Lifetime Achievement honors. EWF is one of the first African-American popular music bands to have mass crossover appeal. In 1975, the band became the first African-American music act to reach number one on Billboard’s pop album and singles charts, simultaneously. This was accomplished when their signature hit song Shining Star and the album That’s the Way of the World both climbed to the top of the charts. In 2019, EWF became the first AfricanAmerican band or group to be honored by the Kennedy Center.
Earth, Wind & Fire came of age in the early 1970s, as black pride became a central element of African-American popular music. This was a time when many African Americans were no longer marching and protesting to gain equality as they had during the African-American Civil Rights Movement of the 1960s. Instead, several AfricanAmerican artists used music to combat the harsh reality of American society. Earth, Wind & Fire became known for their unique sound and inspirational lyrics. The band experienced its classic period from 1973 to 1983. This is when they were most successful and popular. During this time, EWF had several hits on the music charts, sold millions of records, sold out large concert venues, and won several awards. Most of the songs the band released as singles during this period became hit records, including Shining Star, Serpentine Fire, September, Boogie Wonderland, After the Love Has Gone, and Let’s Groove.
In Do You Remember? Celebrating Fifty Years of Earth, Wind & Fire, Dr. Trenton Bailey traces the humble beginning of Maurice White, his development as a musician, and his formation of Earth, Wind & Fire, a band that became a global phenomenon in the 1970s. EWF stood apart from other funk and soul bands with their philosophical lyrics and extravagant visual art that added to their unique style and mysticism. The visual art is studied in this biography, including album covers, concerts, and music videos. The lyrics of hit songs are examined alongside an analysis of the band’s chart success. EWF has produced twenty-one studio albums and several compilation albums. Each album is analyzed for content and quality. Earth, Wind & Fire is known for using ancient Egyptian symbols. Phillip Bailey details those symbols and Maurice White’s fascination with Egyptology, thoroughly.
By the early 1980s, the music industry was changing, and Maurice White had grown weary, after working, constantly, for more than a decade. He decided to put Earth, Wind & Fire on hiatus for more than three years. The band made a comeback in 1987, but White’s health crisis soon forced EWF to tour without him. During the twenty-first century, EWF received numerous accolades and lifetime achievement and hall of fame awards. The band remains relevant, today, collaborating with younger artists and maintaining their classic sound. After
The Big Apple Gets a Little Greener: New York’s Marijuana Makeover!
By Michael “PoppaDukes” Serrano
Picture this, a sunny afternoon in the neighborhood park, me with a fine sativa strain and guess who joins me. My neighbor, a jazz maestro from the funky 70s and 80s, trumpet in one hand, bass guitar in the other sat there with me, basking in the new day of legal wake and bakes and chuckling over how times have changed. Back in his day, this musician and his bandmates ducked behind venues, taking paranoid peeks over each other’s shoulders, just to share a secretive puff. Now, it’s all out in the open!
Let’s roll back the tape to the days when legends like Louis Armstrong (yes, Satchmo himself!) were bending the rules for a bit of herbal relief. Back then, Mary Jane was a hush-hush companion for many in the limelight, easing nerves and sparking creativity. Fast forward and everyone from old-school jazz cats to hotshot new artists are lighting up, freely, as they jam.
It’s 2021, and New York has turned over a new leaf, literally. Since marijuana legalization, our city streets hum a different tune. Stroll down any sidewalk and you’re hit with the new, yet familiar, scent of what some call “devil’s lettuce.” It’s a fragrant revolution, masking even the less pleasant smells in subway corners, while weaving its way into the fabric of New York life.
Cultural and economic shifts are sprouting up like weeds! The vibe is positively electrifying. Each puff seems to spark a bit of community with locals and visitors bonding over shared spliffs. And let’s talk about April 20, 2024, when 420 Day turns New York into a veritable pot paradise. Picture Washington Square Park, clouds of camaraderie floating above a sea of happy, coughing New Yorkers. What a scene!
Now, a nod to the trailblazers making it big in the green scene. Coss Marte of CONBUD is a local hero who opened up shop and is setting records with two dispensaries in six months! His success is a beacon for minority entrepreneurs aiming to plant their flags in this budding industry.
It’s not just about lighting up. It’s about lighting the way. Today’s cannabis culture isn’t hiding in the shadows; it’s about health, education, and the best strains your heart could desire. It’s about community. So, here we are, in New York, puffing our way to a brighter, greener future. Every concert, every festival, every little gathering could soon be 420-friendly (if it isn’t already). New York’s not just getting high—it’s riding high.
And, hey, if you’re in the city, remember, you might not even need to light up to join the party. Just take a deep breath. Welcome to the new New York, where the community is just a puff away.
PoppaDukes is an advocate and activist in the New York State cannabis scene. He hosts a bi-monthly podcast The OG Social Network Podcast streaming on YouTube and hosts monthly zoom conferences on various topics. He has been a dedicated pothead since 1978.
Please Follow Us On Instagram @nyctalentcollective @theogsocialnetwork genres of music, especially Bob Marley’s Exodus, Movement of Jah’s People.
During my visit with my son, Michael, in the Bronx, we drove an hour and half to Milton in upstate New York. This trip was to meet with Gail and Amy Hepworth to discuss the Cannabis Tours my son is hosting. What a delightful way to spend a Sunday afternoon on the Hudson River, far from the sirens of the city. More than that, I was able to purchase some of the products branded by Hepworth Farms to relieve arthritic pain. I got four items that I have been using since our visit and I can testify to the healing properties of CBD and THC. Even more soothing is the scent of lavender that is in complete contrast to other analgesics I have been using to ease my pain. I just rub the THC balm on my knees and legs in the morning, and the CBD balm in the afternoon. If I get any pangs, I rub a little THC oil on the area. Also, I’m taking two capsules of CBD, daily. I have been feeling some relief and will continue this regimen for the next 30 days. Visit www.hepworthfarms.com
With love and music,
Dr. Joan Cartwright, Editor-in-Chief Founder/Executive Director
Women in Jazz South Florida, Inc.
http://wijsf.org
by Shanta Lana Hereford
We are excited to support the Musicwoman Festival and its mission to amplify the voices of female musicians and industry leaders. This event aligns perfectly with our values of diversity and empowerment, and we are honored to be a part of it.”
~ Her Excellency Shanta Lana Hereford, Co-Founder and Managing Partner of Maverick Global Distribution
In light of its innovative approach and commitment to artist empowerment, Maverick Global Distribution has formed a strategic partnership with Musicwoman Magazine. As the Official Music Distribution Partner for the upcoming Musicwoman Festival, Maverick Global Distribution will play a pivotal role in supporting female musicians and industry leaders. The partnership underscores both organizations' shared values of diversity, inclusion, and empowerment, as they work together to create opportunities for underrepresented voices and musicians in the music industry.
Moreover, Maverick Global Distribution's sponsorship of the Musicwoman Festival highlights its dedication to supporting emerging talents and fostering creativity and innovation in the music industry. From October 17-19, 2024, the first annual Musicwoman Festival in Atlanta, Georgia, will feature live performances, workshops, and networking events aimed at empowering women in music and celebrating their contributions to the industry. As a festival sponsor, Maverick Global Distribution reaffirms its commitment to championing diversity, creativity, and excellence in music.
In today's digital age, independent musicians face numerous challenges with distributing their music. Traditional distribution models favor established artists and labels, leaving emerging talents struggling to gain visibility and access to global markets. Limited resources, complex contracts, and lack of transparency further exacerbate these issues, hindering the growth and success of independent artists, worldwide.
Amidst these challenges, a new giant in the music industry is emerging on the distribution landscape. Maverick Global Distribution is a trailblazer, redefining the way music is distributed and empowering independent artists to take control of their careers. Unlike traditional distributors, Maverick Global Distribution offers a fresh approach that prioritizes transparency, accessibility, and artist empowerment.
At the core of Maverick Global Distribution's ethos is a commitment to provide artists with tools and resources to succeed. Through its innovative platform, artists can easily distribute their music to major streaming platforms and online stores to reach audiences on a global scale. With user-friendly interfaces and no contracts, Maverick Global Distribution removes the barriers that hinder independent musicians from accessing distribution services.
Furthermore, Maverick Global Distribution's emphasis on education and support sets it apart from other distributors. The company offers comprehensive support and access to performance opportunities, one-on-one consultations, and other support to help artists navigate the intricacies of the music industry and maximize their potential. By empowering artists with knowledge and expertise, Maverick Global Distribution equips them to make informed decisions and chart their own paths to success.
Greetings from our board members!
Benefits of a WIJSF Membership
WIJSF connects musicians. A member and songwriter was seeking a piano player in her area. Through WIJSF she met a piano player and they worked on 3 new songs. Membership provides you with a database of exceptional professional women in jazz. Your $60 annual dues comes with a subscription to Musicwoman Magazine. Go to http://www.wijsf.com/join.htm
Women in Jazz
You are a woman that composes, performs, produces music or you enjoy women musicians in concert. You're a perfect candidate for membership in our organization that promotes women musicians, globally. Membership is $60 annually and benefits include:
• Listing on www.wijsf.com/musicians.htm or www.wijsf.com/members.htm
• Announcements and events in www.wijsf.com/newsletter/newsletter.htm
• Submit a song to compilation CD distributed to Radio DJs www.wijsf.com/compcds.htm
• Features, articles, and discounted ads in MUSICWOMAN/MUSICMAN Magazine (2023)
• Interviews on MUSICWOMAN RADIO www.wijsf.com/radio.htm
• Affiliations: Donne in Musica in Rome, Women in Jazz in Serbia, and instrumental Women Association with women musicians, worldwide
• Connection with the South Florida Jazz List
Thanks for all of your support in our mission to promote women musicians, globally! Dr. Joan Cartwright, Founder/Director,
SouthSinceflorida 2007
Karthik Mani – Percussion | Jagadeesh M.R – Electric & Nylon Guitars and Scat
Madhuri Jagadeesh – Vocals and Poetic Narration | Phil Scarff – Saxophone
Collaborations with Phil Scarff (USA) in January and May 2024
by Jagadeesh Ramanujam Mudambi
Core to our own growth as musicians, our ensemble, MoonArra welcomes collaborating, a refreshing initiative for each musician to explore other musical ideas and skills and present a confluence to the audience. As a musical entity, we explore similarities rather than differences. We have a unique way to present our music live or recorded. Over the years, we have collaborated with musicians from Asia, Europe, and Africa.
Phil Scarff, a saxophonist from Philadelphia, Pennsylvania, U.S.A., has had a long association with India and Indian Classical music. In December 2023, Phil wrote me about his tour of India in January 2024, and how he was keen to perform concerts with us in Bengaluru. It set us to thinking about a series of collaborative concerts.
Co-founder of MoonArra, Madhuri Jagadeesh is a vocalist and composer who conceptualised a production around the theme of how we are strongly connected to the environment. Since Phil comes from both Jazz and Indian classical backgrounds, his music resonated with our background.
April is Jazz Appreciation Month, and we endeavour to break stereotypes surrounding Jazz, particularly, here in India. The general perception even from serious musicians of other genres is that Jazz is some sort of simplistic form of music, not worthy of grand stages.
While using and sometimes even plagiarising from Jazz, Indian Cinema has done its level best to not show Jazz as an art form, not even as quality entertainment but as something having no depth, fit for bordellos. Classical musicians and audiences are too high brow for Jazz or any other form of music.
Hence, our constant endeavour is to present Indian Opera and MoonJazz in live and recorded formats to showcase Jazz as a musical form that takes in everything and is played in night clubs and concert halls. During our trip to Europe in May 2024, we will explore existing partnerships and establish future collaborations.
April ended with our annual International Jazz Day celebrations, over three days – one for the very young, one for the pros, and one day when we present lecture demonstrations using our own compositions and those of Dr. Prakash Sontakke, a renowned slide guitar player and vocalist with whom we have collaborated, in the past. Our projects bring together musical forms to highlight our contributions to Jazz in the context of India and the stylistic innovations we made to create a synthesis. Jazz is a musical form that is evolving every moment, posing new challenges to the East and West.
Jagadeesh Ramanujam Mudambi Founder, Composer, Guitarist - MoonArra World Fusion Director - The Bangalore School of Music (RT Nagar) Whitefield, Bengaluru, INDIA 9844245577
www.moonarra.com
NESTOR TORRES
Photos by: Pilar Andujar
Nestor Torres in Peru with Cesar Peredo on Quena flute and Checho Cuadros on Andean flute
On The Value of Collaboration by Nestor Torres
Collaboration in music, especially in the realm of Jazz, can serve as the perfect blueprint for a life well lived. Jazz artists must know how to work with other musicians by developing active listening and adaptation skills in different musical contexts. These skills are extremely valuable tools in a musical or artistic setting and in our daily lives.
Collaboration is essential for a successful and happy life. Life is collaboration. It is an endless and intricate series of collaborative interactions. In life, everything is happening all of the time without pause. For human beings, the foundation of any collaboration is dialogue.
Collaboration is defined as “a partnership; a union; the act of producing or making something together. Collaboration can take place between two people or many people, strangers, or best friends. To collaborate is to commit to the possibility of producing an outcome greater than that which could be developed on one’s own.”
Dialogue is “focused conversation, engaged in intentionally with the goal of increasing understanding, addressing problems, and questioning thoughts and actions. It engages the heart as well as the mind.”
A theme I use in my lectures and master classes is Music Is Life and Life Is Music. Students discuss how Training (learning basic skills), Preparation (developing the ability to be ready for whatever comes), Improvisation (creating and responding spontaneously), and Expression (the ability to express what we feel) are required for a successful collaboration. Rather than teaching students, or imparting knowledge and information in a oneway fashion, I conduct my classes, lectures, and workshops, through dialogue.
Whether we are on stage performing with other musicians, at home with our families, or at the negotiation table closing a deal, or agreeing to a cease-fire, dialogue is the foundation of effective and value-creating collaboration.
Of course, genuine dialogue and collaboration can be very difficult, for it requires trust and respect for self and others. Dialogue and collaboration are risky propositions indeed!
The philosopher and educator Dr. Daisaku Ikeda said, “Dialogue is the initial step in the creation of value. Dialogue is the starting point and unifying force in all human relationships.”
From a Jazz performance perspective, it could be said that dialogue and collaboration are one and the same. An article from the Buddhist publication, World Tribune, was about how “Jazz improvisation is like a dialogue between performer and audience, and among musicians. Improvisation necessitates listening with the same intensity as playing. Our determination and efforts to create the greatest possible value in each situation are vital to musical improvisation, interpersonal dialogues, and even life itself. Whether the tune of life is upbeat or down, we can develop the improvisational skills to create harmony and peace wherever we are” (WT, 5/17/2024, p. 10).
I encourage you, dear reader, to live your life engaged in dialogues and collaborations as if you’re in a Jazz Jam session. In Reaching Beyond: Improvisations on Jazz, Buddhism, and a Joyful Life by Herbie Hancock, Jazz icon Wayne Shorter said, “Playing Jazz gives us the courage to challenge and conquer difficulties, even under unexpected circumstances” (Hancock, p. 10).
icon Wayne Shorter said, “Playing Jazz gives us the courage to challenge and conquer difficulties, even under unexpected circumstances” (Hancock, p. 10).
DENNIS ROWE
Filmmaker Dennis Rowe by Dr. Gail Jhonson
My musical collaboration with writer and director, Dennis Rowe, began 25 years ago, in California, at the First Baptist Church of North Hollywood, a progressive church filled with talented artists, singers, musicians, set designers, writers, and producers. We combined our talents to produce musical and dramatic shows for holiday events. Our shared passion for the arts inspired us to pursue our artistic dreams and shape our careers.
Dennis Rowe grew up in Indio, California. He established Dennis Rowe Entertainment/Productions (DRE) as a multimedia company that has produced theatrical stage productions for over 30 years. DRE owns eight stage productions and has expanded into film and television. Today, DRE is proud to present its newest endeavor, Z’Rowe TV, a streaming network on Roku.
Rowe co-produced the television series Millennials on the ALLBLK television network. Not a stranger to tackling new challenges, Dennis jumped into the film arena with his works, If Not For His Grace and Jonin’ written by Gerard Brown, who penned the movie Juice. Currently, Rowe is in pre-production for the films The Poe Consequence and Port Chicago 50. Also, he created the television series, Inc. Dennis has an extensive theater background. He wrote, produced, developed, and directed over eight shows, including his play Port Chicago 50 staged off-Broadway, in 2023, 2022 and 2017, which he is preparing to open on Broadway.
At the same time, Rowe will stage his musical Shades in Europe in the Fall of 2024. He co-produced the musical God’s Trying To Tell You Something at the Hollywood Palladium and toured in 175 cities, starring Grammy Award winners Shirley Caesar, Edwin Hawkins, nominee Douglas Miller, and Dennis Edwards from The Temptations. Dennis authored three books and produced the radio soap opera Trials.
When I shared my background with Rowe as a professional musician and a graduate of Berklee College of Music in composition with aspirations to write music for film, theater, and TV, he encouraged me to compose music for his stage plays, drawing from my experiences on productions with Hollywood actor and director Lincoln Kilpatrick. I became deeply involved in theater, after numerous script changes and rehearsals with the cast that included my late son, Aaron “Vein” Jones as Dogg and my daughter, Tamina as Jacqueline in Saving Grace.
I continued scoring music for several of Rowe’s productions. I was the music director of including The Wiz and Black Nativity at the Common Ground Theatre in San Diego, a training ground for Hollywood actors. I enjoy working with Dennis because his passion for theatre and his ability to bring life to the stage intrigues me. My creative energy follows his vision so easily. Our current project is a musical, Philly, a Philadelphia story about the 1985 bombing of the MOVE-African Liberation Movement home in West Philadelphia. It tells the historical events of a tragedy that unfolds in an urban city, depicting the pain of a family and the social dynamics that surrounded them. It amplifies the role of the first African-American mayor, W. Wilson Goode in this tragic event.
Dennis Rowe continues to develop a new show, annually. He is destined to succeed, bringing real-life stories to the stage for theatre-goers to enjoy for many years to come and I plan to continue to collaborate with him.
VINX
A Pattern of Collaboration: Vinx by Paula Flack
As an independent artist, Vinx carved his own path in music. From his first summer job, performing with Oleta Adams in the pop-soul era that introduced him to the most eloquent lounge singer he’s ever been around to touring and performing with Sting, Stewart Copeland, Cassandra Wilson, Carmen Bradford, N’Dea Davenport, The Spin Doctors, and Chaka Khan, his collaborations reflect his love of all styles.
Vinx wrote songs with Cher, Allyson Williams, Beth Nielsen Chapman, and Tracy Chapman. His song Touch My Heart was recorded by Tom Jones. Vinx collaborated on several Grammywinning projects like Ernie Watts’ Musician and Cassandra Wilson’s Blue Light ‘Til Dawn. For Vinx, “working with Cassandra was a match made in Jazz heaven and I was not arrested by the Jazz police.”
His debut album Rooms In My Fatha’s House featured Taj Mahal, Herbie Hancock, Sheryl Crow, Branford Marsalis, Sting, the late Roscoe Brown and Mother’s Finest. Vinx said he “loves to collaborate with fluent artists who love a great musical conversation.”
Vinx collaborated with Patrice Rushen on his recording of Touch My Heart, where Vinx’s voice and Patrice’s keys created an extensive conversation piece. “She finished my sentences like she knew the punchline,” Vinx asserted. Cassandra Wilson recorded a duet with Vinx on his song I Will Always Care, and Stevie Wonder played that song on Chick Corea’s Bösendorfer piano.
Vinx worked with Stevie Wonder and Herbie Hancock on piano, but Patrice Rushen taught him that the sexiest part of a woman is her heart. “No artist connected me to my feminine side the way Patrice did on Touch My Heart,” said Vinx, who writes songs for women, acting as a translator for men. Porchlight and I Should Have Told Her are examples of this.
Vinx was a professor at Berklee College of Music in Boston. His college curriculum is the centrepiece of his creativity workshops. Vinx organizes workshops, clinics, and festivals for audiences to discover young and upcoming artists. At his Soul Kitchen Creativity Workshops, he mentored American singer and Grammy winner Anna Wise, who wrote songs for Kendrick Lamarr; saxophonist Grace Kelly; and rising star at European Jazz Festivals, Amma Whatt. He teaches students the craft of songwriting, inspiring them to give themselves permission to be themselves by writing and performing their own songs.
In summer, Vinx will ignite the passion for song in Southern Italy at a week-long retreat in Calabria. In the Fall, Vinx will collaborate with the Apollo Theater in Harlem to bring the Soul Kitchen Creativity Bootcamp to New York City for the first time in many years. Vinx gathered the world’s greatest pop percussionists for this new collaboration, a live show to support the future of live music as the challenge of AI grows. He’s commissioned percussionists from the world’s biggest touring artists, including Janet Jackson, Prince, Michael Jackson, Shakira, James Taylor, and Shakira to join him for concerts and a documentary.
Vinx said, “Repeating what others have done has never been my calling. My goal is to be the spice that has its own bottle and can only be consumed by a chef who can nurture a gourmet table.”
My collaboration with Matt DeChamplain started at The Greater Hartford Academy of the Arts in Hartford, Connecticut (2001). At 15 and 16, we were immersed in jazz, driven by a deep passion for the history, culture, and music. We gigged at senior homes and restaurants, building our repertoire and the art of preparing a captivating set. These early gigs laid a unique foundation for our musical endeavors and solidified a close bond, personally and professionally.
After high school, I went to the University of Toledo to study with jazz luminary Jon Hendricks, while Matt attended The Jackie McLean Institute of Jazz at the Hartt School of Music. Despite the physical distance, we stayed together and got married after graduation.
The music at our wedding was important to us. We had a hard time picking our song because we had a deep, romantic connection with so many songs like Too Young by Nat King Cole, I’m Old Fashioned by John Coltrane, and The Very Thought of You by Ella Fitzgerald. Every song we thought of, we’d say, “That’s it!” Then, we’d think of 10 more. Eventually, Matt sang a few lines of This is Always to me and I was sold.
When we had the opportunity to go back to school, we returned to the University of Toledo, mentored by Jon Hendricks, to earn our Masters in Music, Jazz Performance. It was amazing to have access to one of our heroes and be mentored together!
We had a residency at a beautiful hotel in downtown Toledo. When Jon Hendrix showed up, Matt wanted to ask, “Why are you even here?” But that was Jon! He was generous with his time and very encouraging. He took the time to look up our gigs, and he’d sit in, so we could experience his mastery. I’ll never forget how I felt when he appeared. Alarm, smiles, and pure joy. Jon brought out the best in us.
Following graduation, we recorded our first album together, Pause (2015) The album is a time capsule of our collaborative journey, with recordings with various ensembles, over eight years. As a couple, musical collaboration requires conscious effort and balance. We support each other’s development without directing it. We have one CD player and one speaker in the kitchen! We prioritize having separate time and space. Our one-car garage is a studio. We each have time by ourselves to work. Although we focus on growing in our own directions, our musical identities complement each other.
Performing together brings an incredible sense of intimacy. On stage, communication through eye contact and body language is second nature to us because of our deep connection. Often, I hear other wives say their husbands don’t listen to them, but that’s impossible on stage! Matt’s attentiveness and support as a pianist are unparalleled, making him the best musical partner I could ask for. His ability to listen and respond to me, and his bandmates is humbling and inspiring.
When you’re performing improvised music, you’re compelled to respond to each other in the most empathetic way. This responsibility to the music transcends personal challenges we have. Once our feet hit the bandstand, we’re serving the music and it’s such a gift to do this together. Making music together is the cornerstone of our journey, shaping our marriage, parenting, and lifestyle. We have learned the importance of mutual growth, deep listening, and unwavering support for one another.
www.atlaandmatt.com
DECHAMPLAINS
JARVIS EVANS
Barbara Evans
Barbara & Quincy Jones
Tiffany Evans
Tiffany & Jarvis
south florida since 2007
Collaborations on My Musical Journey by Jarvis Evans
Music has always been my sanctuary and my expression, weaving through my life like a melodious thread, coloring my experiences with its vibrant tones. From my early days of humming along with classics in the living room to becoming a semi-finalist on American Idol, every note has shaped me. I am Jarvis Evans, an emerging artist with dreams not just to perform, but to inspire.
The genesis of my professional journey was significantly marked by joining forces with Caustic Entertainment. Under the aegis of Mimi Johnson, an astute founder and fellow artist, I found a platform that resonated with my artistic vision and ethos. My affiliation with Musicwoman Magazine further sculpted my niche in this melodic world, providing me with opportunities to voice my thoughts and share my musical aspirations, one of which was vividly highlighted in my recent interview on the Musicwoman Radio podcast.
On another note, my Aunt Barbara Evans, who performed extensively in Italy, before returning to South Florida, where she sings, regularly, is a member of Women in Jazz South Florida, too. Dr. Cartwright, Mimi Johnson, and I had a fantastic phone call from Atlanta with Aunt Barbara, the evening that I discovered she had joined WIJSF almost 10 years ago! It’s a small world and we are all in the exact place we need to be!
The realm of music is communal, and nothing exemplifies this more than my upcoming project in August, a music video shoot for my song Ride The Ride with my incredibly talented cousin, Tiffany Evans. Known for her hit Promise Ring recorded with Ciara, Tiffany brings a dynamic energy that complements my style. Aside from being a family reunion, this collaboration is a fusion of artistic spirits, creating something phenomenal.
This video is a narrative of resilience, hope, and the sheer joy of music. It encapsulates our shared dreams and the vibrancy of our voices together. We are filming this video in the warmth of August to capture the visuals and the essence of what music means to us, an eternal promise ring of harmony and inspiration.
To all my supporters and future fans, this music video is just the beginning. With every lyric and every beat, I strive to reach hearts and stir souls. So, keep your eyes and ears open because exciting projects are on the horizon, and I am just getting started on this incredible musical voyage.
Be on the lookout. Great things are coming!
I Took The A Train: Day Dreamin Bout Duke
by Ralph Miles Jones
As I sat on the crowded A-train to Harlem, I slipped in and out of a daydream. Anxious about my meeting with the Maestro, Duke Ellington, thoughts, emotions, and questions raced through my head. I sorted the events that I imagined and hoped would transpire from my mystical luncheon with Duke, one the great spirits that I wanted to dialogue with.
I had questions about his personal, philosophical, musical, historical, political, and money-earning experiences, leading a large ensemble on the road, 350 days every year. I didn’t want to appear un-hip, with the one who created the word and stretched the meaning to heights of hipness never felt before.
As an aspiring educator and student of African American musical history, I sought interpretations coming from the mouths of those who created the music. In my dream state, I reflected on Duke’s influences like Oliver “Doc“ Perry, a Washington D.C. bandleader, whom Duke referred to as his piano parent. Pianist Louis Brown influenced Duke with poise, manners, discipline musical skills, and broadmindedness. Duke was snared by the music and musicians he saw. In his memories, he wrote, “Music is everything and the scope of music is immense and infinite.”
The train stopped at West 4th Street, and I saw the blank faces that rode this train, day after day, never thinking about the composer of the song about the train they rode. But they knew they were headed up to Harlem. Duke loved his people and his family. He understood that struggle was their constant companion. He wore the badge of courage and dignity.
In 1919, Duke witnessed a summer of interracial strife, when scores of blacks were killed and lynched countrywide. The count was 76, but most were unreported. He saw armed soldiers and sailors attack unarmed Black civilians. This was a painful time, a time to cross bridges in his life’s journey.
I thought about Duke’s compositions and what it meant to have an ensemble of great musicians express his musical thoughts and feelings. Will Marion Cook told Duke “First, you find the logical way. When you find it, avoid it, and let your inner self break through. Don’t try to be anyone but yourself.“ Duke lived by these words of wisdom, during his time on Earth.
Ralph Miles Jones (con’t)
A composer is like a scientist. Duke measured and mixed notes and textures like a black culinary genius, down home in the kitchen. He blended harmonies and, like a black seamstress, he wove musical ideas. Duke composed a mood of indigo and sentimentality, a place like Mississippi Moan, a Memphis Wail, or a tribute to a special type of charming woman who was a sophisticated satin doll, as elusive as a black butterfly. He wrote tributes to his dear friend and musical partner, Swee-pee.
At 42nd Street, the screeching sounds of metal hypnotized me. I thought about going places, taking a band around the world to be loved abroad. The responsibility of a bandleader, moving 15 to 20 musicians with crew from place to place, making sure they get paid, stay in good health, and eat well is a huge job. You’re supporting their families, spouses, children, and lovers. But what a blessing, “having all the kicks,“ as Duke often said. They make all the money but “the kick was having world-class musicians play your music, night after night. They played their personalities and experiences. What a blending.”
Duke’s music was personalized and written to suit the character of the instrumentalist and vocalist. A core of musicians stayed for many years. There was Rabbit, Cootie, Stuff, Con Carney, and Bubba. They breathed the music and phrases as extensions of The Duke.
At 57th Street and Carnegie Hall, I thought of Black, Brown and Beige. Duke wanted the William Morris Agency to premiere his original work at Carnegie hall. This exceptional work was a tone parallel to the history of the American Negro that embodied Duke’s criticism of his race and its caste system. Since the premiere of Jump for Joy in Los Angeles met with artistic success but financial disaster, Duke was subtle in his approach saying, “I think a statement of social protest in the theater should be made without saying it.”
Black, Brown, and Beige documented Black contributions to Amerikan his-story and its involvement in wars. It received mixed reactions not new to Duke. Critics thought they knew what direction he should take his music, but they were a small voice in the scheme of musical things.
Black, Brown, and Beige was a success and selections extracted from the score became popular. This performance led to several appearances at Carnegie Hall. Each performance required a major work, allowing Duke to express himself about problems confronting Blacks. His works Blutopia, The Deep South Suite, Harlem, and New World A-Comin heralded Black ambitions and aspirations.
As I slipped in and out of my dream state, we stopped at Central Park, the only concentrated greenery in the city. I panicked, wondering would I get there in time to speak with Duke. I dozed off, thinking about how Duke defied category. He never liked the term Jazz, and used it with caution. In his spiritual life, he opposed categorization. He walked among Catholics, Muslims,, Methodists, Episcopalians, Unitarians, Pentecostals, and Baptists. He had close relations with a few Rabbis.
Hard times bring one closer to God. In 1951, Duke experienced artistic success. But he was not earning enough money to sustain the band. He had management problems and public recognition diminished. Then, in 1956, came the Newport Jazz Festival, Diminuendo and Crescendo in Blue, and the cover of Time Magazine. Duke’s faith, patience, and wisdom had paid off.
At 110th Street, I thought about In the Beginning. I heard the majestic voice of Sister Mahalia Jackson singing How Great Thou Art. These sacred concerts featured Duke’s first improvisational and sacred music. He said, “Now, I can say openly what I say on my knees. How can anyone expect to be understood unless he presents his or her thoughts with complete honesty. This situation is unfair because it asks too much of the world. In effect, we say, I don’t dare show you what I am because I don’t trust you for a minute, but please love me anyway because I need you, too. Of course, if you don’t love me, you’re a dirty dog, just as I suspected. So, I was right in the first place. Yet, every time GOD’s Children have thrown away fear in pursuit of honesty, trying to communicate themselves, understood or not, miracles have happened. So, be wise and satisfied with the joy
Ralph Miles Jones (con’t)
that comes to you through the reflection and miracle of GOD, such as all the wonder and beauty we live with and are exposed to while on Earth.”
As these words trailed off into my subconscious, the A train pulled into the 125th Street station. I gathered my notebooks and recorder, and hit the stairs, heading for Roscoe’s, where we were to meet. Totally out of breath, I opened the door and stepped inside, asking the waitress of cocoa brown hue, with a killer smile and fine brown frame, “Was an elderly, elegant, and regal gentleman here?“
She said, “Oh, you mean mister Duke, baby?” She smiled with a soft sensuousness that melted my heart strings and said, “Mister Duke regretted that he had to leave. He said he’d be on the road for a long time.”
My heart sank in deep disappointment. She continued, “He didn’t leave any forwarding information, but he asked me to give you this letter and some music he left for you.”
I took the note which was on a napkin and some music paper with music, untitled, written in a style I had never seen before. It was written neatly and clearly. It had no notes, only symbols and arrows pointing to a heart that said “LOVE GOD!!!” I looked at the napkin and it touched my heart to the core. “Be yourself. Love You Madly!“
Signed, Duke Ellington
Ralph Miles Jones Aerophonist, Ethnomusicologist, Instantaneous Composer, Educator Ralph was born, raised and mentored in the musical womb of Detroit. He has been active as a performance artist in the African American Instantaneous Compositional tradition for over 40 years. As an internationally recognized artist, he toured, performed and recorded with Dr. Yusef Lateef, Pharoah Sanders, Wadada Leo Smith, Issa Abramaleem, Norman Connors, Kenn Cox, The MC5, Wayne Kramer, Adam Rudolph’s Moving Pictures and Go Organic Orchestra, and his ensemble, Seekers of Truth Revolutionary Ensemble (SOTRE), among many other stellar artists.
He was a featured soloist in the world premiere of Yusef Lateef’s African American Epic Suite with the WDR Radio Orchestra, and the Atlanta and Detroit Symphonies. Ralph was a founding member of the world music ensemble Eternal Wind, along with Dr. Charles Moore, Adam Rudolph and Federico Ramos. His most recent releases are Woodwinds with Yusef Lateef, Ye-Yi duos with Adam Rudolph, the Karuna Ensemble and Yusef Lateef’s MetaMusic, performed by Eternal Wind.
Ralph earned his Master’s degree in African American Studies and his B.A. in Ethnomusicology, from U.C.L.A. He taught for 19 years in the CSSSA summer program at Cal-Arts, five years at Oberlin College, and four years at Spelman College. Ralph has taught master classes in musical concepts and performance in Rio De Janeiro, Brazil, among other schools throughout the world. Ralph composed original music for the award winning documentary, Tell Me Cuba. In 2020, Ralph founded Aesthetically Speaking Music (ASM), a Zoom meeting that explores African and African
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The Strolling 20s’
Musical variety tribute to the“Harlem Renaissance”
George Kirby, Sidney Poitier, Gloria Lynne, Langston Hughes, Harry Belafonte, Joe Williams, Diahann Carroll, Nipsey Russell, Paula Kelly & Duke Ellington (1966)
Dr. Joan Cartwright, Founder and Director 954-740-3398 | info@wijsf.org
January 22, 2024
Chris Lewis Conquest Graphics 3900-A Carolina Avenue , Richmond, VA 23222
This letter is to affirm that our organization accepted the award of $1,050 in Free Printing from your company. We so appreciative of this grant that enables us to print the sixth issue of Musicwoman Magazine and the fifth issue of Musicman Magazine!
It is special to be recipients of this grant for the ninth year in a row. Your generosity helps us further our mission to promote women musicians, globally! The men we feature are special too! On to 2025!
