The next show will air on Sunday, August 10, 2014 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of the program will feature an interview with Rickey Vincent, author of Funk: The Music, the People, and the Rhythm of the One discussing his latest book, Party Music: The Inside Story of the Black Panthers’ Band and How Black Power Transformed Soul Music. You can hear a short preview of the show below.
Party Music by Rickey Vincent, is an exploration of the intersection of Black Power and Soul Music. Party Music features the story of the Black Panther Party’s own funk band The Lumpen. Vincent takes us into the Oakland based Black Panther Party in 1970, in which Minister of Culture Emory Douglas and Panther Party leaders had asked their rank-and-file members to produce a high performance band that could play the beats on the street and reach the people on the dancefloor – with the Party’s message of revolution.
In addition to the story of The Lumpen, Party Music goes in-depth into the Black Power Movement and explores the many ways that Soul and Black Power overlapped and converged during that turbulent time.
In this show, we’ll explore Vincent’s book and the fascinating story of a band that most people have never heard of and make connections to other popular music of late 1960s and early 70s that provided inspiration for The Lumpen. We promise that it’s gonna be a funky good time!
Show engineered and edited by Joyce Jones. Produced and hosted by Joyce Jones and Hank Williams. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.
Listen to The Lumpen’s song “Free Bobby Now”, which was released as a 45 single.
The next show will air on Sunday February 3, 2013 from 11:00pm – 1:00am Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of Suga’ will feature one of the 2013 NEA Jazz Master recipients, alto saxophonist Lou Donaldson. This program originally aired in May 2009 and focused on recordings that were sampled by hip hop artists to lead up to the June Hip Hop Takeover.
You can hear a 30-second preview below.
Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.
Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the ’50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-’50s up until the present.
Donaldson’s early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of “Alligator Boogaloo” in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent. These particular Blue Note recordings were often sampled by hip hop artists.