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.
Showing posts with label bebop revolution. Show all posts
Showing posts with label bebop revolution. Show all posts
ARGUABLY the most influential trombonist of the bebop revolution of the 1940s/50s, composer, including scores for films, and arranger
(JJ Johnson Sextet, “Shutterbug” [personnel: Johnson, trombone; Freddie Hubbard, trumpet; Clifford Jordan, tenor saxophone; Cedar Walton, piano; Arthur Harper, bass; Albert Heath, drums; recorded: Columbia Records, New York, US, 1 & 3 August 1960])
(Born 21 October 1917, Cheraw, South Carolina, US)
TRUMPET VIRTUOSO who, with alto saxophonist Charlie Parker, plays a vanguard role in the bebop revolution in jazz in the 1940s/early 1950s and whose creative genius has influenced a stretch of trumpet luminaries subsequently: Fats Navarro, Miles Davis, Clifford Brown, Booker Little, Donald Bryd, Kenny Dorham, Lee Morgan, Art Farmer, Clarence Shaw, Richard Williams, Nat Adderley, Ted Curson, Johnny Coles, Woody Shaw, Lester Bowie, Don Cherry, Alan Shorter, Donald Ayler, Dizzy Reece, Freddie Hubbard, Jon Faddis, Wynton Marsalis, Terence Blanchard
(Charlie Parker Quintet plays Tadd Dameron’s classic composition, “Hot House” [personnel: Parker, alto saxophone; Gillespie, trumpet; Dick Hyman, piano; Sandy Block, bass; Charlie Smith, drums; recorded: Dumont Television Studios, New York, US, 24 February 1952])
(The Giants of Jazz,Live album, Copenhagen [personnel: Gillespie, trumpet; Kai Winding, trombone; Sonny Stitt, alto saxophone, tenor saxophone; Thelonious Monk, piano; Al McKibbon, bass; Art Blakey, drums; recorded: live, Tivoli, Copenhagen, Denmark, 9 November 1971])
Alto saxophonist genius and composer who plays an instrumental role in inaugurating the bebop revolution in jazz in the 1940s/early 1950s, channelling its creativity and outcomes crucially to this epoch of African American freedom quest
(Charlie Parker and Dizzy Gillespie, “Hot house” [personnel: Parker, alto saxophone; Gillespie, trumpet; Dick Hyman, piano; Sandy Block, bass; Charlie Smith, drums; recorded: DuMont television network, New York, US, 24 February 1952])
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).
