The Black Chord | Visions of the Groove: Connections Between Afrobeats, Rhythm & Blues, Hip-Hop and More [hc ed.] 078930337X, 9780789303370

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k yCrusaders whose all-star cast included d-p-tfmmer Stix Hooper and saxophonist Wilton Felder, pianists Joe Sample and Larry Carlton. Col ll aborations with blues guitarist B.B. King and singers Bill Withers, Bobby Womack, and Randy Crawford plugged them into ever wider audiences during their thi rty -f ve-year career. Exquisite mood portraits like "Sketches of Spain" and "Kind of Blue," arranged by the whimsical, soft-spoken Canadian Gil Evans continued a progress of restless creativity. It took an abrupt turn when Miles married his second wife, the petite Betty Mabry, who commemorated their relationship in her track "He Was a Big Freak." An astro-gal long before Label e Mabry was an 1

:

,

1

,

old flame of psychedelic funk-rock guitarist. Jimi Hendrix. whose gaudy velvet sexuality and orgasmic guitar gave the ageing Davis pause for

thought. With a shock. Miles went electric in 1969 with his song "Bitches Brew" and jazz-rock emerged fully blown from his head, midwifed by Herbie Hancock, Wayne Shorter, Joe Zawinul. and drummer Tony Williams. When Miles started a new decade with "On The Corner," he relocated jazz to a contemporary urban address. His last recordings featured rappers on "Doo Bop," tying bow in the black chord. a beautiful Born suburban. Miles dug the jolt of the

tured his increasing interest in Africa, Asiaand the Beyond. "When we were playing with Miles," 72 recalled Herbie Hancock with a smile, "if any of us ever made a mistake, he would rather we kept the mistake." Hancock furthered the experimental spirit in the early days of video. At a time when MTV was not playing Black artists Hancock recorded the rap-flavored "Rockit" in 1983 and promoted it with futuristic video-minus an appearance by a droll the actual artist. Its success spawned a school of electro-jazz-funk. "The first time I was into synthesizer music was with Herbie Hancock's "Headhunters." said guitarist and producer Nile Rodgers. "I was listening to all that lush orchestration, and then I looked at the back of the sleeve-not one string! I said, Whoahhh...." A similar urge to explore moved the avantgarde into the decaying, gray, iron-clad canyons of post-industrial Manhattan in the early 1960s. They took advantage of the vast spaces and lowusually illegal-rents among the garment manufacturers and sweatshops south of Houston Street, an area that, decades later, would become fashionable Soho. There was a sense of liberty in this urban, wild frontier, though it was often chilly, shabby, and inconvenient. There were spaces like Ornette's loft on Broadway, which became a chic Calvin Klein store some decades later; Ali's Alley, the live/play space of drummer Rashied Al i and Sam and Bea Rivers's Studio Rivbea. Playing of all sorts happened around-the-clock. Amid this freewheeling semianarchy, Ornette honed harmolodics, a music in which each instrument pursues its own melody, ignoring the established structures of bars and chord changes that dictate when to shift gears. Many melodies become one as the musicians tune in deeply to one another. He's described the system as "removing the caste system from sound." "There is a way of getting the sounds that you want at the place that you want them with the results that you want. They are available, it's just about how you go travelling that road to find them," 73 Ornette explained. "Some rhythm sections eliminate the right to think and therefore you have to lock your ideas into their sound. Some people think this is a very good discipline for music, that you have a strict order of logic and you show how many variations this logic can mean to you emotionally. (But) that's all it's ever gonna do. It's not gonna free you from the cause of not needing." ;

streets-including the heroin that had become associated with jazzers like Charlie "Bird" Parker and dogged John Coltrane so badly that Miles fired him from the band, replacing him temporarily with the big-lung sound of "The Saxophone Colossus," Sonny Rollins. Tough love triggered a cleansing period for Coltrane, after which the saxophonist returned with a style called "sheets of sound." It was so different that whispers circulated about Coltrane selling his soul to the Devil for the sound-the same rumor that haunted blues-man Robert Johnson in the 1930s. Coltrane plunged into his most provocative "modal" music, approaching the scales from an unconventional angle that cap-

his

interviews encouraged him to put down the

pen

and pick up the sax.

Using plastic as well as more conventional instruments, Ornette staked a free jazz outpost. A school emerged around it, and prominent musicians, among whom were Anthony Braxton, who writes music in the form of diagrams, and saxophonist Sam Rivers. Rivers played with drummer Tony Williams who was a mature thirteen years old at the time. Rivers said, "[I] first got into the style I'm playing today as a player and became interested in free playing I a writer. from a classical point of view, abstraction, creating sound. That's different from Ornette's concept, which came out of the blues."

The horn is the closest instrument to the human voice, its vocabulary broadened by generations of players. The gutbucket, blues-based sound of a wailing horn section seasoned every 1960s and 1970s dance sound, from Clinton's Pfunk to the great R&B hit factories like Atlantic, Stax, Al Green, and Willie Mitchell's Hi Records, the Philly Sound, and Motown. Horn giants infused pop with jazzy breadth like Aretha's beloved King Curtis and Junior Walker, whose tenor sax colored hits by the Temptations

Williams grew up to play with Miles Davis and brought Rivers, his original mentor, into Davis' band. Rivers said, "Miles was still doing things that were ... pretty straight .... I kept stretching out and playing really long sol os .Mi es finally ended up playing free, but it was with static rhythm." 74 Much as London junglist Goldie exults in the five generations of music he draws from, saxophonist/clarinetist David Murray relishes his position in a tradition. Before founding the World Saxophone Quartet with Arthur Blythe, Oliver Lake, and Hamiett Bluiett, Murray was interviewing his musical heroes for a thesis on jazz, which he planned to make into a book until

Marvin Gaye, Smokey Robinson, Stevie Wonder, and Tammi Terrel Trumpeters take the tradition in different directions. "Romantic Defiance," is the name Terence Blanchard, composer of movie soundtracks for director Spike Lee among others, gives to his lyrical tone, steeped in the feel of his beloved New Orleans brass bands. In its freewheeling communality, panethnic visual panache, and cultural depth, Lester Bowie's Arts Ensemble of Chicago recalled the Sun Ra Arkestra. He also brought whimsicality to the mainstream with the "avantpop" ensemble Brass Fantasy, interpreting hits by Madonna, Marilyn Manson, and Michael Jackson. "When I played with a band called New York

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City in the mid-1970s, we supported the Jackson Five." recalled Nile Rodgers. "At soundcheck. they played "Dancing Machine." It was unbelievable. That's how magical the times were in those days. People were experimenting, coming up with new sounds, new grooves, new vibes. Disco became a great cultural divide. Racing at the speed of the amyl nitrate poppers beloved in its birthplace, gay clubs, disco was reviled by rock'n'roll DJs who led a national Disco Sucks movement. It was equally loathed by "deep soul" artists who felt their brand of intense reality was being sidelined by party-down inanities. They

made people want to hit the dance floor. We just didn't know how powerful that format was." Beyond the music. Chic's flip, bittersweet irony gave even such a seemingly superficial track as "Good Times" an edge: "You silly fool, you can't change your fate." Chic knew that the famous man in the moon eternally lifting a coke spoon to his nose who hung over the Studio 54 dance floor would sniff once too often and twirl out of control "Every big Chic song has a melancholy undercurrent. Though our band was making more money than you could imagine, we were in the .

apii felt disco's- rigid four-on-the-f oor beat was a fiendish, tyrannical rhythm that they were forced 1

play or die a commercial death. "Hmmm. Disco. lost my way there for a minute," 75 laughed Curtis Mayfield. "People called my band. Chic, a disco band: but we were- the furthest thing from disco. The disco genius I look to, who revolutionized dance music, was Giorgio Moroder, an Italian who had a hit in Germany with a Black American woman, Donna Summer. Nile Rodgers explained. "To be played in these new places of worship called discotheques we played faster. The disco format was a really catchy melody and a good beat-from around 110 to 130 beats per minute. [It] just to I

kind of

Cannes 1983

midst of the biggest recession of my lifetime in America. We were saying, OK, we know AIDS exists, people are having problems with money, and we know the hedonistic lifestyle we're leading is causing it on some level, but do we stop?" Rodgers laughed, as if the prospect was unlikely. Disco was important on more than a musical level to Rodgers. "For the first time in the history of Black music, we were not judged because we were Black. If you put that disco format on your record, you'd be on the radio just like the Bee Gee's." The same issues of access to the industry confronted African American or Black British bands who resented always having to be "soulful

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INDEX

References to photographs

James.

Brown,

are printed in italics.

107.

140.

102.

106.

145.

144.

148 109-111

Jocelyn.

Brown,

Aaliyah, 62

Browne.

Abyssinians.

the.

Ade.

King Sunny,

Adu.

Sade.

Afrobeat.

Byrd.

127

Alemany, Jesus.

Anderson,

Vicki

Horace.

Andy.

Cape.

153

Anikulapo-Kuti

Fela.

.

Carnival.

apartheid. Arnaz

Castro.

98

Desi

.

Arrested Development.

114,

116 Artist,

60-61.

50

Fidel

Prince,

Charles.

Ray.

Don.

132

Cherry.

Eagle Eye,

Ayers.

Roy.

156.

169

Cherry,

Neneh,

B.,

Anthony.

B..

Eric.

Bad Brains,

Badu,

132

123.

Erykah.

32.

108,

36.

Civil

49 144-145. Banton,

Buju,

Prince,

Cole,

169

165,

Beverly,

Frankie.

Big Youth.

B.

Bootsy,

55,

148.

Fugees,

160

139,

Larry,

Art,

26.

-

Bobby

Mary J.

161

Blue,'

blaxploitation, .

162

33

Blanchard, Terence.

28

27.

114 78,

88-89,

77

blues,

Herman. 27.

See Ra. 60.

32,

37

64

Sam.

Bowie.

168

Lester. 67,

156.

Celia,

Cuba.

23,

Cu-bop,

Chuck,

Brown.

Dennis.

Brown,

Foxy,

145.

88

122,

158 99

159

115.

97.

46-47 28

funk.

145

15.

Gaines.

Gee.

Wi

1

the,

August

,

Goldie.

156.

Gordy,

and the Coconuts

gospel.

Miles,

Davis.

160,

Dawn.

P.

De

Soul

15,

26.

123,

Graham,

.

Rick,

74.

Al

,

159.

88 73

159.

169

32.

98,

26.

15.

115.

161

Prince.

108,

Wyclef.

118

169

144.

103

144,

26.

(also see Fugees)

Johnson,

Linton Kwesi 115,

118,

97,

.

123.

120 Robert,

Dekker,

Desmond,

158,

Denton,

Sandy,

griots.

66

55

Kid

32

56.

64,

145,

160

15-16.

67

27,

158

R..

98.

36.

71

61.

78.

77

Creole and the

156

156,

B.

King.

Ben

King.

Evelyn

27,

B.. E..

32,

60,

Marti

,

"Champagne,"

n

Luther,

36.

48

kora.

39.

55,

KRS-1. ,

Jr.

.

102

and the Gang,

Kool

44

56

76

78.

Kuti

18.

16.

60.

Chaka.

97.

54

97.

21

King.

King

43

141

23.

150

Salif.

55-56,

140,

168

156.

Coconuts,

17

15,

Marcia,

106-107,

Quincy,

Khan.

106

60,

Grace.

Jones,

Kelly.

156

150

40.

Jones,

kalimba.

98

26,

Larry,

.

106,

144.

37.

Eddy,

Griffiths, 56.

Cheryl

James,

145,

51

27.

Green, Al 169

142

James.

Keita,

Dizzy.

41.

153

88

150

62,

John,

119

.

39,

Savion,

144,

M. .114,

162

78

75,

Berry,

Grant,

166

145,

Marcus,

Spoonie.

Glover,

14

14.

.

Golden Arrow, .

122-123,

Johnson,

139.

15.

107

Marvin,

See also Kid Creole

La

1

88,

Gilmore, 62.

83,

140,

Gillespie.

145

Terence Trent,

77

56.

Jolly Boys. 29

Gaye,

98

64 1

103

62.

9.

88.

37,

36,

108-114.

Slim.

gay clubs,

23,

123.

56-57

.

Gaillard.

Garvey,

26

26.

D'Arby,

Bi

85

83. ,

Jamaica.

Jean.

19

142,

15,

108.

67.

Funi,

Mill

34

26.

117

Jazzy Jeff.

E.,

67

76

Jackson, Millie,

139,

36,

67.

100-101

145,

jazz. 27.

42

Abdullah.

Jarreau.

74,

27.

75,

Gregory,

Jazzbo,

Gap Band,

Culture Club, 78, 140 Dammers. Jerry. 118

159.

Dee Dee,

Brown,

26.

107

57

143

27.

32.

142,

64,

Whitney.

107.

97,

159

Aretha.

Doug

gangs,

Cruz.

70

Bridgewater,

Jayne,

160

32 Robert.

Darnel

123.

62.

Cray.

Sun

67

Boukman Eksperians. 133-134 Brandy,

Cooke.

dance.

Blind Boys of Alabama,

Blount,

159,

118.

145,

106

168

80

67

Phyllis,

Isaacs,

75.

83

Jackson, Michael

22

18.

39

Collins,

Lyn,

82

83,

159.

97.

60,

Brenda.

John Lee.

Ibrahim.

139.

144-145

John,

Ice T.

Ella.

See Smith,

Coltrane. John,

83.

27.

9.

Wilton.

Fresh Prince.

72

G.

Holt.

Hyman,

26

Band.

115,

124

I.

Missy.

102 Franklin, Kirk, 62,

9,

160-161

159.

Cortez.

Blackmon,

76

56.

163

103

107-108.

74.

142.

140.

Houston,

73

74.

102,

Fresh,

132

122,

157

148.

5

150.

67,

Houston. Cissy.

Duke,

Flavor Flav,

168

160.

160

.

Lauryn.

.

118.

43

62,

Kenneth

Franklin,

78

Natalie,

26,

53

32,

165

ige.

97,

1

Holloway.

"Sweets."

Grandmaster.

Albert.

Black Rock Coalition.

Black Uhuru,

George,

Collins,

See Notorious

Bl

1

169

158.

139,

161

Harry

Felder,

Collins.

Biggie Smalls.

Bland.

Jimmy,

139.

142.

122.

Fire,

Four Tops,

Coleman. Ornette,

114

Beenie Man, 83, 84 Belafonte, Harry, 98

Blakey,

127

I

hip-hop.

107.

Flash.

club music.

84

83,

and

Fitzgerald.

Rights Movement,

Clinton,

155

153.

Basement Five, Be,

142.

107,

162

Cliff,

142,

Wind,

Exodus Steel

106

Bambaataa, Afrika,

140.

88 Ellis. Alton. 78,

158

Chimurenga music,

150

165,

158.

Nona.

Hooker,

89,

163

158.

144.

Chic.

151

144.

142.

765 164

Cherry,

140.

148

40.

Elliott.

65

74,

156.

J

mi

85

83.

114,

Hendryx.

i

31

(also see Fugees)

140

150,

Isaac.

Hendrix. Hi

"Babyface,"

122.

63

23

Ellington.

107

Charles,

61

60.

32

23

.

35

26.

Sly.

Edmonds,

123

26,

123.

78.

Will.

139.

148,

Aswad.

the.

Fats,

Edison.

Kwame.

23.

162

76

78.

123.

23.

Hayes.

18.

Earth,

Stokeley.

Haiti.

169

Dunbar.

39. .

censorship,

23

.

dub.

40

See Toure.

97,

96

127.

112

106.

39.

Roy.

Herbie.

Downing,

28

26.

Carmichael

98

Beres.

Hancock.

drums.

Bobby,

calypso,

106

.

Hammond,

148.

Coxsone.

Domino.

18

.

Cachao.

23

142.

Maya.

Angel ou,

Burundi

disco. 127.

Burning

See Spear.

56

79

78.

168

159.

Guthrie, Gwen.

Dodd,

Burning Spear.

49

37,

55,

Tom.

76

78,

Desvarieux, Jacob. 123 Dioubate. Oumou. 56

16.

27

114.

Fela

.

118 See

145,

161

Anikulapo-Kuti L

L

Cool

Patti

Labelle.

Fela

.

Oney.

86

75.

J.

150.

.

38.

Lady Saw,

69

88.

Perry,

Poets,

Kim,

Lincoln,

Luciano. Maal.

98,

SO

40.

39.

Prince.

159

Bobby,

McGregor.

Freddie,

84

83,

Madame Chic-Choc. See SanOumou

Makeba.

43

32.

Miriam,

Mali.

Biz.

144.

Marley,

Bob,

9,

127.

Wynton,

Masekela,

Hugh,

Mitchell Monica.

27.

106

Murray,

David.

161.

Rhodesia.

Neville.

Aaron,

New Jack Swing, New Orleans, New York.

Nigeria,

168

127

Sam.

Max.

23,

23

Notorious

83

Run

30

G.

,

83,

89 103

Babatunde,

pan,

108.

Steel

Pulse,

171

60

56,

Tosh,

145.

Virginia,

23.

28

56,

Toure\

Sekou,

55-56

tribute songs, Tricky.

Oumou. 10

Seko,

87

Turner. Turner,

56

Ulmer, Gil.

97.

120

Mobutu Sese,

153

39

159

145. 75

Tina,

James

156

75,

77

'Blood,'

43 U-Roy.

10

Ike,

98

56

142,

18,

Trouble Funk,

Sade 88.

140,

142.

125

Vance Ensemble,

27,

36

9

37,

128-129

Kwame,

Trinidad.

sapeurs.

122,

Toure,

Toussaint, Allen,

166

32

Sangare,

106

56 Peter,

152

Pepa.

114

106,

62,

,

Toots and the Maytals,

173

See Adu,

Taj

40

the,

Tammi

151

N'

27

"The Door of No Return,"

168

159.

75,

Sonny,

16,

23

Terrell.

Smokey, Nile,

Sun

See Mahal.

Temptations, See

144

Foday Musa.

techno music.

168

131

32.

32,

40

27

Bill,

74,

73

62,

64.

Stevie,

106,

60,

10

123

Zulu Nation,

123.

Gang,

Mahal.

tanbour,

69

zouk,

39

123

Susa.

62,

50

39,

29

Bobby,

Tang Clan,

Zaire,

77

75,

88,

68

Wonder, Wu

See also Ra.

150.

the,

114,

29

37,

and his Arkestra,

Ra

Sus.

Taj

36,

75

,

18,

Sugar Hill

142,

118, 18

steel

165,

1

Black,

169

73

74.

Burning,

Stalin.

Cassandra,

Winans,

118

98,

15,

Ronnie,

97

Wilson,

Womack,

169

144,

,

Tony,

,

Withers,

Will

South Africa.

Sun

Marcus,

Scott-Heron,

97. .

75

Smith,

144.

Sade.

movement,

108,

118.

9.

121

122,

85

J

Michael.

60,

Salt

I.

Cool

L

DMC,

RZA.

26

B.

Rollins,

L

Smith.

Spector,

161,

roots music,

56

55

Northern Soul

161

Roaring

Rodriquez,

26,

Willi ams

98

162,

160,

18,

the,

62,

See

159,

Lionel,

Robinson,

58

158,

James Todd.

26-27

Teddy.

Rodgers, 16,

Smith,

Phi

139,

62,

59

See also

74

23,

Roberts.

120

Youssou,

123,

48

36.

Neville Brothers,

Olatunji

Vernon,

156 60,

150

36.

religion.

Barry,

26,

Spector,

140

89.

10

Randy,

Maurice,

reggae.

Reid,

107

122.

139,

Papa,

57

75.

41

Wild Magnolias,

Dianne.

A..

Wemba.

the. 32,

White,

Bernice Johnson,

L.

Junior,

60

Reeves,

Reid.

Biggie.

Spear,

83,

Wells,

White,

144-145

40,

'Guitar,'

90

36

Reagan,

Lion,

Mutabaruka,

Odetta,

36.

56

Johnny

Weston,

145

81

57

55,

139

Roach,

60

74.

75,

27,

107.

83,

Martha,

Carrie.

142.

83.

142.

Roaring Lion. Judy,

N'Dour,

161.

18,

67,

64

Dionne,

Weather Girls, 10,

168

Bessie,

158

Rastafarian.

Rivers,

67.

11

Motown,

88.

62

60,

55.

9,

6.

83,

161.

Smith.

Ernest.

75.

Ritchie,

130

127

slavery.

158

127,

123

122.

Smith.

151

139,

Riley.

91

122,

Willie,

,

9,

74,

122

74-75.

Mowatt,

36,

67,

72

162,

Jacob,

142

Skatalites.

Clara.

50

37, 37,

Junior,

Watson,

29

123,

78,

103

106.

97.

40,

the.

Warwick, Wash,

123

147

144.

122-123.

103

140,

Mzwakhe,

45

159.

Curtis.

114.

Method Man.

78.

150.

74.

123,

123.

98,

Massive Attack,

Miller,

56,

48

36,

Marsalis.

,

37,

122.

117

158.

10.

Shabba.

Ranks.

37,

36,

107.

Nina.

Roni.

Walker,

118

108,

Sly and the Family Stone,

the

123

142.

114,

126-127

Rita,

Mayfield.

156

36,

106.

158.

Marley,

106.

Sun,

rap.

127

Markie.

97.

122

118,

See

Finley,

Ranglin, Nelson,

Mapfumo. Thomas.

83.

rock.

Rakim.

56

Mandela,

wassoullou,

Size.

Sun Ra and his Arkestra

56,

9.

103

98.

punk

Ra.

Simone.

Smalls.

122

Quaye.

Taj.

.

Ward.

Prince

Puma,

Bunny.

Sharpeville Massacre, 98 shebeens, 140 Shinehead. 142, 170

55

97.

23,

139,

Ska,

Public Enemy.

16

15.

voodoo,

Wailers,

107

73

74,

106

Wailer, Roxanne,

See

See Artist,

140,

Shante,

118

Jazzbo,

Betty.

McFerrin,

gare.

poetry,

Robbie,

148

41

32

15,

Vietnam War,

Tupac,

'Scratch'

Lee

Prince Jazzbo.

18,

20

27.

Mabry.

26,

'Scratch,'

praise song.

16.

9,

Pinetop.

Luther,

Vandross,

15

148

140.

Shakur.

113

106.

Jah.

Shakespeare.

Papa

146

Perry,

102

132

123.

Baaba,

Maceo.

Pipecock Jackson.

106

88.

Abbey,

172

139.

See Wemba.

Courtney.

Pine.

Shaka,

120

118.

.

Lee

140,

10

Roaring,

Lion.

116

115.

L'Authenticite',

Mbuli

Augustus.

Perkins.

16

15.

Mahal

Pablo.

Parker.

Ladysmith Black Mambazo.

L"11

Oku.

Papa Wemba

163

Last

Shabalala. Joseph,

8

Onura.

145

74,

115 144

SKS2W

ENDNOTES

Ml

persons not cited have

cally for the making of

Oct.

this book.

19.

Introduction Papa Wemba.

CD notes

Paul

Bradshaw.

Emotion.

Real

World Records.

1.

for

1995.

Mi,

^fttijlts & Culture 2. Mil^6 pavis with Quincy lfc

1976.

9.

Vivien Goldman.

"That's

."

March

Y'All

.

1976.

20.

Barney Hoskyns.

SchustenV

Jali Kunda.

40.

Robert Katz

"The 41.

(producer).

'70s." VH1.

"The

43.

"Resur-

Maker. 58.

60.

his Message to the World,"

the Score."

Emerge.

61.

25.

1997.

Epic Records press 1986.

45.

in

Jammin'

(Ellipsis Arts).

24.

Sept.

Mimi

interview

Video Magazine,

Oct. 46.

47.

"Things

.

Adler.

Por-

Rap:

"Over the Edge." Essence.

traits and Lyrics of

5.

Jali Kunda.

July 1996.

eration of Black Rockers

6.

Paolo Hewitt.

Vivien Goldman,

Block With Quincy Jones."

"Johnny Be Baaad." Mojo.

48.

Straight No Chaser.

May

1995.

molodic Harlem."

26.

"Johnny Be Baaad."

Voice.

27.

Interview with Vivien

49.

7.

Vivien Goldman,

"Wyclef

Jean Knows the Score."

Rhythm Music. Oct. /Nov.

Goldman on the MTV special "Ain't Nothing but a She

Vol.

1997.

Thing." Good Karma Produc-

50.

tions,

8.

"Wyclef Jean Knows the

Score." 9.

Miles Davis.

10.

Ben Sidran.

B.

B.

King with David

Blues all Around Me

Ritz,

(Hodder & Stoughton). 13.

Vivien Goldman.

Rebel.

14.

Soul

and

St.

Stepping," NME.

Feb.

Vivien Goldman,

"Don't

Nov.

13,

Harder.

"

Larry Birnbaum,

Maya Angel ou, a

Pulse.

Labelle with Randolph,

Don't Block the Blessings

The Heart

Woman (Bantam)

"The

Vivien Goldman.

Pop

I

"The

69.

Republic Takes on

34.

70.

"The Rascal

1980.

Republic

The Heart of

a

38.

Tom Terrel

"The

King's Queens:

1

,

Woman.

James

Brown's Original

Funky

Feb.

3.

1979.

Kathryn Willgress,

"World Jazz Griot."

Winter

71. TV interview on "Sunday Morning," CBS. October

Explorers Vivien Goldman.

"On

57.

37.

"A

1990.

Feeling Human." New Musical

"African Ambassador.' "African Ambassador.'

1981.

Straight No Chaser.

Takes on the World."

56.

36.

July 4.

Pioneer Returns." Melody Maker.

18.

"He No

New Musical

Vivien Goldman.

Express.

"African Ambassador." "African Ambassador.'

35.

,"

the World," New Musical Oct.

Rhino Records.

1997.

Express,

Vivien Goldman,

CD booklet

68.

Goldman on the program "African Ambassador." BBC

eds..

for fifty Years of Genius

5.

Musical Express. Jan.

55.

Interview with Vivien

David Ritz and Julie

Stover,

and Soul,

1992.

Vivien Goldman,

Rascal 31.

"Voodoo

1985.

).

Black Music

"Talking

Lion of Zimbabwe." New

1997.

"Women Have Got to Work

Inside My Life

(Hamlyn)

Patti

Laura B.

53.

(McGraw Hill

eds..

1980.

66.

1977.

Smith.

A

Joyful Noise.

Sounds.

Nov.

David Ritz.

Allan Lewis and Gavin

film).

1.

"Movement of Jah People."

I

33.

Petrie.

Robert Mugge

(producer/director).

on the Jukebox."

1978.

17.

1979.

Sleeping with Everyone and God Knows Don't Want to

F.U.N.K." Sounds. June 24, Smokey Robinson with

Melody Maker, March 10.

Joyful Noise (documentary

3.

Vivien Goldman, May 29.

"Mau-

rice White's Banc of Hope,"

64.

Revo-

1978.

Vivien Goldman.

52.

Spellbound Pictures. Arena. 1985.

16.

63.

than Men or They End Up

of

Leave Home Without your

25.

(Bolevard Book).

32.

15.

Issue

Follow." Melody Maker.

Nov.

A

Rolling Stone.

"Free

Will

67.

Revol ution

Heart and Soul

"Full

C.

June 24.

Vivien Goldman.

Summer 1987.

"The 1981.

Tom Terell,

no.

62.

65.

54.

Spear Guide to Higher

"Har-

Village 1996.

C.

Sounds.

Have Got to Work Harder

"Women

1981).

Vivien Goldman.

1991).

3.

2,

,"

to Youssou." Africa Beat.

30.

Martins

Sept.

lution," XXL,

51.

Vivien Goldman,

29.

Do That,"

Natural Mystic

Pie

(Eel

Press,

a

She Thing."

Talking

Jazz (Da Capo) 11. Jali Kunda 12.

1995.

"Ain't Nothing but

28.

Vivien Goldman,

Gen-

a

Martin's Press.

(St.

"Don't

Your Mind Your Accountant

Jali Kunda.

25.

Vivien Goldman.

Leave Home without Your 1978.

"Ressurection of MayBill

"Wyclef Jean Knows

F.U.N.K.

Vibe.

1995.

field's Soul

Esther Iverem,

"A

1992.

Valdes.

Done Changed."

Vivien Goldman and

23.

Donnelly.

B.

4.

1990.

1981.

21,

Gravegiggaz EPK (press release)

Voice from the Hood Takes

1991.

Spring

Feb. 59.

44.

Jan.

"A Big

down," New Musical Express,

1992.

Sally

1978.

23.

rection of Mayfield's

West Africa and Beyond

"On the

Dec.

Vivien Goldman.

Big Sound System Splash-

Vivien Goldman.

Oct.

Name is Pipecock Jackson." Melody Maker. July 1997. 58. Vivien Goldman,

"Freedom into Form." Melody

1997.

'70s."

"Black in the USA." Spin.

Janette Beckman,

Griots of

"The King's Queens."

Soul." Daily Telegraph.

release.

&

Stirrer." Mojo.

Vivien Goldman,

22.

Foday Musa Susa.

47.

no.

39.

"Ressurection of Mayfield's Soul ."

1995.

The Autobiography~yii^Kh;

stone/Simon

Divas," Seconds,

42.

"The Soul Jan.

Troupe, Mi te^JJ^v

3.

Sounds.

27.

21.

%,

"Soul

Searching." Melody Maker.

All

W

Vivien Goldman.

18.

been interviewed specifi-

Express.

July 10.

1982.

Vivien Goldman,

Perry Has

"Lee

Found God and His

1998.

Feeling Human."

72.

"On

73.

Robert Palmer.

Downbeat. 74.

Mayf ield 75.

1975.

"Ressurection of 's

Soul

.

"Ressurection of

Mayfield's Soul

."

DAVID CORIO has been

twenty years.

photographer for more than

a

and England on more than one hundred

the U.S.

record sleeves as well the

appeared throughout

His work has

Face.

Rolling Stone.

Mojo,

the Source,

the New York

in

as

Times.

New Musical Express, the

London,

Times in

Entertainment Weekly.

Vibe,

and more.

VIVIEN GOLDMAN is an author who has been chronicling Black music and culture for twenty-five years.

appeared throughout the

Her journalism has

England,

and

France in publications such as

Rolling Stone,

the

Village Voice,

U.S..

Bi

1

the Daily

and

lboard.

ISAAC HAYES is

i

s

Telegraph in London.

legendary musician and radio

a

Hayes

personality.

Metropol

Marie Claire. British Elle.

Harper's Bazaar.

also the voice of Chef on

is

the popular animated

series "South Park."

ADVANCE PRAISE FOR THE BLACK CHORD: history tradition to rap

From the African oral

culture.

Goldman weaves the musical

Black music into

thread of

brilliant tapestry that's

a

globally signi ficant .-Deborah Gregory,

Essence

The story of David Corio and Vivien Goldman's

Black Chord is the centuri es

- 1

ong

drive to bring good out of evil,

The

saga of the as

the people of

the Black Diaspora discovered the power of cul-

rescue the downtrodden.

ture to fortify and

learn that by keeping pride in one's

self-criticism the

We

roots and

one's process while embracing

in

best aspects of societies that were often

pitted against them,

the ancient traditions

of

juba dances and slave chants endured due to the struggles of Curtis Mayfield and Bob Marley,

and

they thrive in the kindred spirits of Cassandra

Wilson and Lauryn Hill-ultimately turning antipathy

lonely adversity

into admiration and

into

triumph.

communal

The greatest myth of the modern music

business is that it derives its importance from the money

reveals,

makes.

it

strength,

The Black Chord

as

has

love

is

it

will

matters most:

in

-Timothy White.

power,

human dignity is

and

always prosper where it really

the hearts and minds of humanity.

Editor

In

Chief.

author of the international Fire:

the courage to

teaching that tenderness is

renew itself,

priceless,

But

long as music

so

Billboard:

bestseller Catch

a

The Life of Bob Marley

Published by Universe Publ ishing A Division of Rizzoli

International Publications.

300 Park Ave South

New York,

Di

NY 10010

stribuied to the U.S.

St.

Martin's

Distributed

Press. in

trade by

New York

Canada by McClelland

Printed in Italy

&

Stewart

Inc.

^^^H

Roy Ayers Erykah Badu

Brandy

Ray Charles Celia Cruz

*

Earth Wind & Fire

Fugees

Doug

E.

Fresh

Gmilan

Marvin Gaye

immond

Phyllis Ice

Hyman

T

Rick James

ick v

rtis

R.Kelly

Chaka Khan

Fela Kuti

Patti Label'

Mambazo Mayfield

Notorious

B.I.G.

Pinetop Perkins Finley

Quaye

JJjgnne Reeves

Miriam Mak&ba

Aaron

Hm"~

,

*

Oku Onura ; Public Enefny

SunRa Ronnie Spector

tations

Peter Tosh

"Turner

LiflMr Vandross

j„

^zVittwM Winans

Bobby^Womack