Rethinking Africa is a forward looking blog dedicated to the exchange of innovative thinking on issues affecting the advancement of African peoples wherever they are. We provide rigorous and insightful analyses on the issues affecting Africans and their vision of the world.
VERSATILE tenor saxophonist, composer and bandleader, collaborates with a number of distinguished artists (especially alto saxophonists Ornette Coleman and Prince Lasha, trumpeter Don Cherry, pianists Cecil Taylor and Keith Jarrett, guitarist Pat Metheny, bassist Charlie Haden, drummers Ed Blackwell, Paul Motian, Charles Moffett, Elvin Jones) in groundbreaking recordings (1960s-1990s), plays in the celebrated Jarrett’s American Quartet of the 1970s particularly in the ensemble’s exquisite composition, The Survivors’ Suite (1976), father of the equally brilliant and accomplished tenorist Joshua Redman
(Ornette Coleman Septet, “Happy house” [personnel:Coleman, alto saxophone;Don Cherry, pocket trumpet; Bobby Bradford, trumpet; Redman, tenor saxophone, musette;Charlie Haden, bass;Billy Higgins, drums; Ed Blackwell, drums; recorded: Columbia Studios E, New York, UK, 9 September 1971])
ONE OF THE most inventive saxophonists (tenor, soprano, alto) and composers of his generation and son of Dewey Redman, the versatile tenor saxophonist, composer and bandleader
(Joshua Redman Quartet, “Mischief” [personnel: Redman, tenor saxophone; Brad Mehldau, piano; Christian McBride, bass; Brian Blade, drums; recorded: Power Station, New York, US, 8/9/10 March 1994])
Versatile tenor saxophonist, composer and bandleader, collaborates with a number of distinguished artists (especially alto saxophonists Ornette Coleman and Prince Lasha, trumpeter Don Cherry, pianists Cecil Taylor and Keith Jarrett, guitarist Pat Metheny, bassist Charlie Haden, drummers Ed Blackwell, Paul Motian, Charles Moffett, Elvin Jones) in groundbreaking recordings (1960s-1990s), plays in the celebrated Jarrett’s American Quartet of the 1970s particularly in the ensemble’s exquisite composition, The Survivors’ Suite (1976), father of the equally brilliant and accomplished tenorist Joshua Redman
(Ornette Coleman Septet, “Happy house” [personnel:Coleman, alto saxophone;Don Cherry, pocket trumpet; Bobby Bradford, trumpet; Redman, tenor saxophone, musette;Charlie Haden, bass;Billy Higgins, drums; Ed Blackwell, drums; recorded: Columbia Studios E, New York, UK, 9 September 1971])
Versatile tenor saxophonist, composer and bandleader, collaborates with a number of distinguished artists (especially alto saxophonists Ornette Coleman and Prince Lasha, trumpeter Don Cherry, pianists Cecil Taylor and Keith Jarrett, guitarist Pat Metheny, bassist Charlie Haden, drummers Ed Blackwell, Paul Motian, Charles Moffett, Elvin Jones) in groundbreaking recordings (1960s-1990s), plays in the celebrated Jarrett’s American Quartet of the 1970s particularly in the ensemble’s exquisite composition, The Survivors’ Suite (1976), father of the equally brilliant and accomplished tenorist Joshua Redman
(Ornette Coleman Septet, “Happy house” [personnel:Coleman, alto saxophone;Don Cherry, pocket trumpet; Bobby Bradford, trumpet; Redman, tenor saxophone, musette;Charlie Haden, bass;Billy Higgins, drums; Ed Blackwell, drums; recorded: Columbia Studios E, New York, UK, 9 September 1971])
Versatile tenor saxophonist, composer and bandleader, collaborates with a number of distinguished artists (especially alto saxophonists Ornette Coleman and Prince Lasha, trumpeter Don Cherry, pianists Cecil Taylor and Keith Jarrett, guitarist Pat Metheny, bassist Charlie Haden, drummers Ed Blackwell, Paul Motian, Charles Moffett, Elvin Jones) in groundbreaking recordings (1960s-1990s), plays in the celebrated Jarrett’s American Quartet of the 1970s particularly in the ensemble’s exquisite composition, The Survivors’ Suite (1976), father of the equally brilliant and accomplished tenorist Joshua Redman
(Dewey Redman and Ed Blackwell, Red
and Black in Willisau [personnel: Redman,
tenor saxophone, musette; Blackwell,
drums; recorded: live, Willisau Jazz Festival, Switzerland, 31 August 1980])
Versatile
tenor saxophonist, composer and bandleader, collaborates with a number of
distinguished artists (especially alto saxophonists Ornette Coleman and Prince
Lasha, trumpeter Don Cherry, pianists Cecil Taylor and Keith Jarrett, guitarist
Pat Metheny, bassist Charlie Haden, drummers Ed Blackwell, Paul Motian, Charles
Moffett, Elvin Jones) in groundbreaking recordings (1960s-1990s), plays in the
celebrated Jarrett’s American Quartet of the 1970s particularly in the
ensemble’s exquisite composition, The Survivors’ Suite (1976), father of the
equally brilliant and accomplished tenorist Joshua Redman Twitter @HerbertEkweEkwe
Herbert Ekwe-Ekwe is specialist on the state and on genocide & wars in Africa in the post-1966 epoch – beginning with the Igbo genocide, 29 May 1966-present day, the foundational and most gruesome genocide of post-(European)conquest Africa. 3.1 million Igbo or 25 per cent of this nation’s population were murdered by Nigeria and its allies, principally Britain. Africa and the rest of the world largely stood by and watched as the perpetrators enacted this horror most ruthlessly. The world could have stopped this genocide; the world should have stopped this genocide. This genocide inaugurated Africa’s current age of pestilence. During the period, 12 million additional Africans have been murdered in further genocide in Rwanda (1994), Zaïre/DRCongo (variously, since the late 1990s) and Darfur – west of the Sudan – (since 2004) and in other wars in Africa. African peoples have, presently, no other choice but exit/dismantle the extant genocide-state (the bane of their existence & progress) & construct own nation-centred states that serve their interests. He is author of several books & papers on the subject and his new book is entitled The longest genocide – since 29 May 1966 (2019).
