HE PLAYS TO MAKE MUSIC FIRE: THE PYRAMIDS, AFRICA AND BEING A GRIOT OF OUR TIMES
THE LINER NOTES: STOP ERASING BLACK WOMEN FROM FREE JAZZ HISTORY
ODE TO NEW LIFE: WES FELTON ON THE FELTON ARTISTIC LEGACY
Issue 002
HOME RULE ZINE Celebrating Past Futures
HOME RULE ZINE
SUMMER 2023 | ISSUE 002
Issue 002
EDITOR-IN-CHIEF Jackson Sinnenberg
CREATIVE DIRECTOR Jamal Gray
ART DIRECTOR St. Clair Castro-Wright Jr.
PUBLISHER Home Rule Foundation
PRINTER
Heritage Printing
ASSISTANT EDITORS A.M. Wolfe, Jordan Handler
SPECIAL CONTRIBUTING WRITER Marcus J. Moore
CONTRIBUTING WRITERS Tommy Gartman, Leon Spinner, Brianna Thomas, Majeedah Johnson
TABLE OF CONTENTS
04. Editor‘s Letter 05. 2023 Sponsors 06. 2023 Artist Line Up 08. D.C. Jazz Fest Review 14. NextFest 19. Legendary Venues: Malcolm X Park 24. Sugar Bear 28. The Liner Notes: Stop Erasing Women from Free Jazz History 34. The Pyramids Box Set 42. Lou Stovall 48. Hilton & Wes Felton © 2023 Home Rule All Rights Reserved, Unauthorized Duplication Without Prior Consent is Prohibited. Summer 2023
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Letter From The Editor Even before we published the first issue of Home Rule Magazine back in June 2022 – to coincide with and serve as an expanded guide to the first Home Rule Music Festival – we knew we could not leave it as a one-off, one-issue publication. The work we did in pushing D.C. music history, vinyl culture and creative musicians to the forefront felt like necessary work, especially as more of that history is forgotten or destroyed by gentrification; AND there is a great resurgent interest in the music of D.C. thanks to reissue labels and the current vinyl culture. We worked over the last several months to dive into these topics more and flesh out these areas of interest more for this issue. The thread of legacy records prominently comes up in three pieces in this issue. Our feature story focuses on saxophonist and bandleader Idris Ackamoor, a Chicago-born, now Bay Area-based artistic polymath who led a pioneering Afrocentric, free jazz group out of Yellow Springs, Ohio – the Pyramids – in the early 1970s. The group’s first three albums are being celebrated now by Strut Records in a box set, Aomawa: The 1970s Recordings, made as part of the label’s celebration of Ackamoor’s catalog. The Pyramids’ and Idris’ story of being ahead of time, unacknowledged by the jazz hierarchy, relates very much to the stories we tell about D.C. jazz artists, especially those captured on the Black Fire label. In fact, Jimmy Gray included advertising about The Pyramids in the second issue of his own Black Fire Magazine. Tommy Gartman talked to Wes Felton, son of the great D.C. pianist Hilton Felton, about the renewed interest in his father’s work and his own part in channeling that artistic legacy. The third pillar in this issue’s focus on artistic legacies comes from the brilliant writer and curator
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Marcus J. Moore – a proud son of Prince George’s County – who is letting us reproduce entries from his sharp, insightful newsletter “The Liner Notes” (for the first time in print). In this entry, “Stop Erasing Women from Free Jazz History,” Moore looks at the recent reconsiderations and celebrations of
Blake Dickson Commercial Real Estate Abram Mamet Upper Georgia Avenue Main Street
free jazz and asks where are the myriads tributes, accolades and think pieces for women like June Tyson, Linda Sharrock and Margo Ackamoor like there are for their male contemporaries. We also dive into the recent and longer histories of live, public music festivals with a trio of fantastic pieces by historian Briana Thomas and writers Majeedah Johnson and Leon Spinner. Thomas, a historian of the U Street neighborhood, takes us through the history of Meridian Hill/Malcolm X Park as a space for music in the city, from its origins through CapitalBop’s second iteration of NEXTFest (which Spinner recaps) – as part of a regular series we will do every issue focusing on different legendary concert venues in the D.C. area. Johnson provides a splendid recap of the 18th annual D.C. Jazz Festival and looks at the legacy of Lou Stovall’s work as an artist who helped visually capture the mood of D.C. jazz in the 1970s. We also take a dive into the history of one of our headliners – E.U. – with an interview frontman Sugar Bear did with Dr. Bryan Jenkins for E.U.’s 50th anniversary and the first Home Rule Festival last year.
Dig in and stay curious,
Jackson Sinnenberg 04
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Friday 6/16
ARTIST LINEUP
Kassa Overall Foots X Coles DJ Underdog
HR Fest Launch
After party
Saturday 6/17 Brian Jackson E.U. featuring Sugar Bear Kahil El’Zabar Doug Carn with the Home rule band Mark Meadows and The Movement The Experience Band & Show DJ Aquarian Saturday 6/24 Hamid Drake’s Turiya Hear in Now Jamal R. Moore
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Home Rule Music Festival
HR Fest Closing Night
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ISSUE 002
Honoring The Spirit of Creativity: A Review of the 2022 D.C. Jazz Festival By Majeedah Johnson Christian McBride Insight Straight performs at the 2022 DC Jazz Festival Photo Credit: Jati Lindsay
THE D.C. JAZZ FESTIVAL, HELD THIS PAST LABOR DAY WEEKEND, DELIVERED A REMARKABLE LINEUP OF LIVE ENTERTAINMENT AND ENGAGING ACTIVITIES FOR FESTIVAL GOERS.
For its 18th year, the festival continued a legacy of honoring the spirit of creativity across multiple generations of innovators and visionaries; featuring some of the genre’s heavy hitters and esteemed newcomers. The return to in-person festival events – after two years of virtual offerings due to COVID-19 – attracted record-breaking numbers of attendance. The Wharf, where many of the events were held, offered a picturesque backdrop of activity on the marina and nearby restaurants and retail shops for a family-friendly weekend. From music performances to historical documentaries and ‘Meet the Artist’ sessions, the D.C. JazzFest provided for a weekend of community-building, artistic expression, and passion. The festival’s programs opened to a well-paced momentum of compelling events throughout the five days of gatherings. For its opening night at the notable Howard Theater, world-renowned and GRAMMY-award winning singer Kurt Elling performed heartfelt tunes; and Washingtonian juggernaut Christie Dashiell opened the concert, dazzling attendees with her captivating vocal performance.
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On Friday, September 2, Diane Reeves and Orrin Ev-
sages” - featuring Steve Wilson, Chris Potter, Ron Blake,
ans’ Captain Black Band performed to a sold-out audience
Thomas Enhco, Scott Colley, and EJ Strickland - Marc
at The Arena Stage. Regina Carter’s Gone in a Phrase of
Cary Trio, Dan Wilson Quartet, Donvonte McCoy, and Vox
Air and a concert by the same name was also featured
Sambou. Magnificent tunes from the Mambo Legends Or-
at the Arena Stage. The piece examines the loss of com-
chestra, led by John ‘Dandy’ Rodriguez, ignited the crowd
munity and businesses across the country, especially felt
to their feet with many attendees showing off their best
in communities with Black and brown people and fellow
dance moves. As former musicians of the Tito Puente Or-
neighbors who were disenfranchised. The post-panel dis-
chestra, the cohesiveness of these jazz masters rendered
cussion, led by Kymone Freeman, Co-Founder of We ACT
spirited tunes which were steeped in the history of mambo.
Radio, further engaged audience members on the impact of urban renewal.
On Sunday afternoon, among the crowd favorites,
Electrifying live performances at The Wharf on Satur-
Christian McBride & Inside Straight performed a series of
day, September 3rd included those from: Cindy Blackman
conversational jazz compositions featuring masterful solos
Santana, The Baylor Project, Chien Chien Lu, The Larnell
from Peter Martin (piano), Steve Wilson (alto and soprano
Lew Band featuring Joy Lapps, Giveton Gelin Quintet, and
sax), Carl Allen (drums) and bandstand leader and bassist
Heidi Martin Ensemble. On Sunday, September 4, festival
McBride as well as Baltimore’s own Warren Wolf on vibra-
goers enjoyed live sets by Emmet Cohen Trio, Dayramir
phone.
Gonzalez & Habana enTRANCE, Patrick Zimmerli’s “Mes09
Drummer Cindy Blackman Santana performs at the 2022 DC Jazz Festival Photo Credit: Jati Lindsay
While Ron Carter’s Golden Striker Trio breathed new
Henri was not permitted to film Hargrove’s live perfor-
life into traditional and elegant jazz standards, the festival’s
mances abroad and therefore had to insert old footage
closeout performers, The Chuck Brown Band adjourned
from shows in the U.S. However, Henri’s limited access to
the evening with a series of body-moving go-go classics.
Roy for filming shaped the moments that were captured. Roy’s complicated relationship with his manager Larry
At the Arena Stage, the D.C. JazzFest hosted a screen-
Clothier lingers throughout the documentary with some
ing of Hargrove (2022), the documentary chronicling
former bandmates noting that their departure was influ-
Hargrove’s genius and inspirations, which focuses on the
enced because of Clothier.
last year of his life. The film, led by director Eliane Henri, includes interviews and conversations from Hargrove’s
The focus on Roy’s transformative impact on jazz, hip
comrades including Erykah Badu, Yasiin Bey, Sonny Roll-
hop, and fusion are among the remarkable highlights doc-
ins, Questlove, Marc Cary, and Christian McBride. The in-
umented. His gift of bridging artists from multiple genres
tricacies and obstacles surrounding Roy’s life, as covered
to create remarkable music will remain his legacy. Har-
in the documentary, can leave audience members feeling
grove’s passing at 49 was a tragic loss to the music world.
incomplete as Roy succumbed before the project’s completion.
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The Ron Carter Golden Stryker Trio performs at the 2022 DC Jazz Festival Photo Credit: Jati Lindsay
Among the face-to-face panels, This Woman’s Work,
The most recent DC JazzFest was an outstanding
held in the Meet the Artist tent, proved for insightful di-
presentation of community engagement in support of
alogue around the successes and obstacles that women
jazz performance. The compelling live offerings from jazz
experience in the jazz industry. Among the panelists, D.C.
legends and newcomers along with the Meet the Artist
JazzFest president and CEO Sunny Sumter shared about
sessions allowed audiences in-depth experiences with
her career within the world of jazz while festival publi-
their favorite artists. Post-event discussions encouraged
cist Lydia Liebman discussed her journey as a publicist
dialogue around the future of jazz performance and en-
and the value of artistic collaborations. The panel also
gaging new generations of artists and listeners. With the
discussed the uniqueness that women bring to projects
successes of this year, this year’s D.C. JazzFest promises
which includes leadership, nurturing, and innovation in
to work with musicians to show the further evolutions of
moving jazz forward. Audience members contributed to
jazz music.
the discussion in addressing additional measures where the public can further support inclusivity in the jazz community such as openly acknowledging women who are contributing to artistic projects and endorsing women for meaningful, professional opportunities.
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ISSUE 002
Washington is home to some of the finest musicians in the country, and CapitalBop’s mission is to ensure that the
NEXTFest’s second iteration continued to honor the continuum of Black music in D.C.
natives are aware of all its homegrown talent, especially in jazz, funk, soul, and D.C.’s creative imprint, Go-Go. In 2021, NEXTfest featured musicians responsible for establishing one of D.C.’s premier independent Black jazz record labels and those making their mark on the city’s contemporary scene. Among these artists was Richmond and D.C. legend Plunky Branch and his group Oneness of Juju and Jamal Gray [Disclosure: Home Rule Magazine’s Creative Director] who performed with his genre-blurring
By: Leon Spinner
ON SEPTEMBER 24 & 25 2022, SWARMS OF WASHINGTONIANS GATHERED AT THE HISTORIC MALCOLM X PARK IN THE COLUMBIA HEIGHTS NEIGHBORHOOD IN D.C. FOR CAPITALBOP’S SECOND ANNUAL MUSIC AND COMMUNITY FESTIVAL.
group, Nag-Champa Art Ensemble. The presence of these two groups made the festival, unintentionally, somewhat about the legacy of the D.C.-based independent music label, Black Fire Records. Plunky was one of the label’s more prominent artists and a co-founder, and Gray is the
NEXTFest, the organization’s free, two-day festival –
great jazz, funk, and instrumental music. The COVID-19
son of the label’s co-founder and executive, Jimmy Gray.
jam-packed with workshops, cultural programs, and some
pandemic delayed the idea of a festival by a couple of
In addition to witnessing Black Fire [and Black jazz] roy-
great music – welcomed D.C.-area residents to participate
years, but in 2021 NEXTfest blossomed into life with a suc-
alty, attendees also were able to see Idol Beings, a D.C.
in all the festivities at the twelve-acre park in the uptown
cessful turnout of more than 3,000 DMV residents in its
jazz/soul duo led by Akua Allrich (vocals) and Kris Funn
neighborhood of Columbia Heights.
inaugural year.
(instruments/producer), GoGo dignitaries, Marc Cary’s GoGo Project, and TOB Band & Show.
While the festival entered its second year of existence,
CapitalBop, for those unfamiliar, is a nonprofit organi-
NEXTfest 2021 accomplished one of its several purpos-
it has been an idea of the creators, Giovanni Russonello
zation “dedicated to preserving, promoting and presenting
es: to remind Washingtonians of the city’s musical history
and Luke Stewart, for years longer. Stewart, a renowned
jazz in Washington, D.C.,” taking great pride in building au-
and the musical tradition that continues to thrive with the
bassist and presence in the creative music world, and
diences and community around Black music because it is
district’s younger artists. Another festival objective was to
Russonello, a jazz writer for The New York Times, created
essential to the city’s historical identity, according to the
showcase the bridge between D.C.’s go-go and jazz scene
CapitalBop to give residents exposure to some of the best
organization’s mission statement.
and the genetic links in the culture. For the casual listen-
and boldest creatives, and revive the city’s enthusiasm for
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er, the two genres may seem worlds apart. However, the
Marc Cary Go Go Project NEXTfest 21 Photo Credit: Yusef Jones
Godfather of go-go, Chuck Brown, was a student of and honored D.C.’s rich jazz heritage with his funky guitar (i.e., Brown’s rendition of the Duke Ellington standard, “It Don’t Mean a Thing”). The love affair between jazz and go-go is deeper than admiration. One of Black Fire Records’ top acts, Experience Unlimited (shortened to E.U. sometime later), became go-go ambassadors, championing the style in some of its earliest recordings (see E.U.’s 1977 album Free Yourself). The 1970s was a period that saw a significant shift in music: Funk, soul, disco, and R&B replaced jazz in Black communities as the music of choice. In the nation’s capital, go-go was born out of this sudden shift. In its inaugural year, CapitalBop teamed up with Long Live Go-Go (aka Moechella) founder Justin “Yaddiya” Johnson to ensure that D.C.’s music had a place at the table. Johnson, an artist, and activist who works to challenge how city newcomers and local law enforcement handle go-go, has been a vital contributor to the festival’s success as a key sponsor, city advocate and performer.
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According to CapitalBop organizers, 2022’s theme was
the makeup of the communities north of U Street. Accord-
D.C. Statehood, a politically charged theme as the nation’s
ing to many of the festival attendees, NEXTFest capital-
capital’s fight for statehood reemerges as a potential pos-
ized on the park’s location and the neighborhoods fun lov-
sibility. “It’s about pushing for the city to continue having
ing and overall celebratory spirit with its lineup of renown
a voice, and doing this through music, activism, and the
musicians and community activities. The music started on
arts.” Preserving and remembering native Washingtonians
September 24, and festival attendees were able to enjoy
fighting spirit is another key element of the festival’s pur-
an impressive lineup of talented artist including, legendary
pose and is factored into everything for the CapitalBop
Baltimore drummer Lenny Robinson, D.C.’s own Raw Po-
team, right down to the location of the festival, Malcolm
etic with Damu the Fudgemunk, New Impressionz, UCB,
X Park. This is a place that has been a significant site for
Cecily, as well as park staples like the Malcolm X Drum-
preserving what remains of Black Washington in its past.
mers & Dancers. On the following day attendees gath-
Today, the park is known for the historic Sunday drum cir-
ered near the Josephine Butler Parks Center for a bevy of
cles that date back to the late 60s, its beautiful views of
workshops, panel discussions, and cultural programming.
the uptown D.C. landscape, and oddly charming statues
Discussions and workshops that included DC Statehood
scattered throughout the square. Some who frequent the
NOW! with Eugene Kinlow and Dr. Maurice Jackson, “Go-
park may also point out the yoga circles, poetry readings,
Go as a Weapon of Culture” moderated by Dr. Jocelyn
and acoustic guitars littered throughout the area on any
Imani, and a viewing of Barry Farm: Community, Land
given weekend. Still, the park’s history of being a place
and Injustice in Washington D.C. September 25th was
for black citizens to protest and organize peacefully is
not absent of musical melody, though as Honest Politix
equally essential. In 1972, for example, Malcolm X Park
(a group formed by Justin Johnson of Long Live Go-Go)
was the starting point for the African Liberation Day pro-
held an interactive Go-Go workshop in the South Garden
test. Black Washingtonians organized a protest, rebelling
area of the park. According to CapitalBop staffers, lots of
against colonialism and white rule on the continent of
attendees attended both days of fun and celebration. Folks
Africa. The protest became a staple in the park, helping
received the workshops, lectures and discussion panels
usher in the post-colonial years. The circle drums stayed,
as receptive as they did the Go-Go, jazz, and funk just
even as Washington changed. The park has seen many
the day before, lending truth to the city’s seal “Justice [and
versions of “Chocolate City”: The decline and “decay” of
great music] for all.”
Member of Malcolm X Drummers and Dancers NEXTfest 21 Photo Credit: Jada Imani
MuMu Fresh @ NEXTfest 21 Photo Credit:Viva Ventura
the surrounding neighborhood in the 80s and 90s, and the gentrification after that. Malcolm X Park is a vital organ in
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ISSUE 002
D.C. Legendary Venues: Malcolm X Park By: Briana A. Thomas
MALCOLM X PARK HAS A LONG-ESTABLISHED MUSICAL HISTORY IN WASHINGTON, D.C. The Italian Renaissance-styled Park, nationally named
ities discussions. Blair Ruble, scholar at the Woodrow Wil-
Meridian Hill Park – but locally recognized as Malcolm X
son Center and co-editor of the book, DC Jazz: Stories
Park since Angela Davis called for it to be renamed such
of Jazz Music in Washington, says the park is one of the
in 1970 – is located in the Columbia Heights neighbor-
most essential meeting spaces in D.C. “Malcolm X Park
hood at 16th and W Streets NW. According to Washing-
remains a National Park, more like the National Mall than
ton Parks and People, Meridian Hill Park is America’s first
other neighborhood D.C. Parks run by the District,” Ruble
national park built for the performing arts. Since the park
explains in an email interview from September. “Nonethe-
was founded in 1936 by Mary Foote Henderson, concert
less, it never came to serve the national purpose Mrs. Hen-
ensembles, quartets, Broadway performers, jazz players,
derson foresaw as the neighborhood never became the
gospel choirs, go-go drummers, and military bands have
elegant Avenue of the Presidents she envisioned.” Accord-
all graced the open-air venue. From the Starlight Chamber
ing to Ruble, Mrs. Henderson, the wife of former Missouri
Music Series and the Washington Theatre Festival in the
Senator John Brooks Henderson, developed and financed
1940s to African Day and the Howard University concert
the construction of the park in respect to its close proxim-
series in the 1960s, the park has served as an historical
ity to the White House with the vision of creating a formal
music space for D.C. On September 24 and 25, Capi-
16th Street neighborhood that featured grand homes and
talBop’s NEXTfest will host a music and arts festival at
embassies.
the historic park. The event will include go-go and jazz performances, visual arts, film screenings, and human-
A crowd gathered for a program at Malcolm X (Meridian Hill) Park - Credit: The Washington Post
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The Avenue of Americas would transform 16th Street
ly 70s, it revives as a community arts space. There were
agencies created a plan to lure people back into the parks
as such, including populating the area with busts of every
drum circles. There were a lot of political meetings there
in 1968. “‘The Summer in the Parks Program’ was initiated
president and vice-president. “Instead,” says Ruble, “It was
against police brutality and other causes,” Sefton says in
during a time of social unrest in Washington, D.C. It was
used by neighboring communities. As those neighbor-
a phone interview from September. “And then at the be-
thought that urban park programming would help ease
hoods became more diverse over the past half-century,
ginning of Home Rule, that continued too. It resurrected
tensions in the city and bring people back into the parks,”
that diversity entered the park. It is now one of the most
itself really as a community space for political concerns,
Norquist says in an email to Home Rule Magazine. “Merid-
important meeting grounds among the city’s many com-
but also things like drum circles, dance performances, and
ian Hill Park was selected for the program’s kick-off party,
munities.” One of the most popular community gatherings
this tremendous kind of cultural flowering that happened
which featured performances by Pearl Bailey, Cab Callo-
at the park are the weekly Sunday drum circles, which
right around the time of Home Rule. All sorts of arts orga-
way, Hildegarde, The Soul King and the Invaders, the Afri-
Russel Wright, Pearl Baily, Cab Calloway, Pearl Mesta & Nash Castro NPS Photo Credit: W.H. Spradley
have a rich history dating back to the 1960s. “Following the
nizations sprang up and it rebooted the park.” Although
can Heritage Dancers and Drummers.” The unforgettable
at the time, Okyerema Asante, would go on to play with
assassination of Malcom X on Sunday, February 21, 1965,
the park was on the verge of a cultural renaissance during
evening on July 14, 1968 began and closed with fireworks,
Plunky Branch and Oneness of Juju and record an album
Howard Theater drummer Baba Ngoma took his drums
the early 1960s with a number of diverse political, universi-
and was hosted by world-renown D.C. party planner Perle
for Black Fire Records -who were credited with inspiring
to the park to express his grief. Drumming long has been
ty and religious groups requesting permits to host events
Mesta. There were 20,000 concertgoers in attendance and
the beats of early go-go music. Oneness of Juju and go-go
a way to express grief throughout the African Diaspora in
and concerts at the park, the continued increase in vio-
the Park Service would call the moment “spectacular.” In
pioneers Experience Unlimited would also play the park
the Americas as a tradition that enslaved persons brought
lence and vandalism in the park became a deterrent for
the 1970s, Malcolm X Park would see concerts by a host of
frequently on Malcolm X Day during that time period.
with them across the Atlantic,” Ruble explains. “Ngoma
visitors. In 1967, the U.S. Park Police considered Meridian
African performers like Hugh Masekela - his percussionist
returned the following Sunday, and the following Sunday
Hill Park the second most dangerous park in the city in
ridian Hill, have worked to help preserve and maintain the
and soon was joined by other drummers around town. The
terms of reported crime. It was not until the Summer of
park. The organization hosted a number of community
drum circle initially served as a spiritual release.” Ruble
1968, when Columbia Heights and the Greater U Street
and music events throughout recent years. The drum cir-
further explains that, overtime, the drum circles attracted
neighborhoods were in desperate need of rebuilding after
cles along with dancing, yoga, and athletic games are still
more participants, and as new residents moved into the
the civil uprising following Martin Luther King Jr.’s assassi-
held at the park on a regular basis.
area the drumming transcended from the original intent
nation – and the city was finally beginning to recover from
of spiritual release into a celebration of community. D.C.
the effects of city planning urban renewal and highway
Preservation League trustee and co-chair of the Land-
development projects that displaced a number of Black
mark’s Committee, Peter Sefton, says he can remember
residents – that the park sees large performances again
hearing the beats and rhythms of the drum circles when
like the concerts that took place in its heyday early years.
he lived on 16th Street in the 1970s and 1980s (Sefton is
Historian Elise Norquist, who wrote The Meridian Hill
the author of the new book, Sixteenth Street NW: Wash-
Park African American Experiences Since the Civil War:
ington, DC’s Avenue of Ambitions). “In the 60s and ear-
A Special Resource Study, says parks and recreation
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Russel Wright Photo Credit: UNKNOWN
Since the 1990s, community coalition, Friends of Me-
Briana A. Thomas is a Washington, D.C.-based historian, journalist and tour guide who specializes in African American research. She is the author of the Greater U Street area history book, Black Broadway in Washington, D.C. Find her book and her tours at blackbroadwaywashingtondc.com
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Upper Georgia Avenue Main Street is a proud sponsor of the Home Rule Music Festival! Sign up for our online newsletter to see other events on our Main Street. Scan the code below with your smartphone to subscribe or go to tinyurl.com/UGAMSNewsletter
WARD 4 FACES AND PLACES Upper Georgia Avenue Main Street needs your help identifying subjects for a commemorative work in Ward 4!
Learn more at uppergeorgiaave.org/commemorative-works or scan the QR code with your smartphone.
www.uppergeorgiaave.org
ISSUE 002
“The Beat and the Party”:
Sugar Bear on E.U., go-go and D.C. Interview Conducted By: Dr. Bryan Jenkins Edited By: A.M. Wolfe
THE BAND EXPERIENCE UNLIMITED – OR E.U. AS IT’S KNOWN THE WORLD OVER NOW – IS PIVOTAL TO THE STORY OF BLACK MUSIC IN WASHINGTON, D.C. Experience Unlimited - Promo Shot in front of “The House of Peace” Mid 1970s
An early breakout of Black Fire Records, which was putting out the soundtrack to Black activism in 1970s D.C., and
Bryan Jenkins: Touching back on Black Fire, can
happen, man. It was beautiful. And the first time we ever
mentored by Chuck Brown, the group turned its Jimi Hendrix-meets-George Clinton sound into early go-go as the
you speak to the importance of Black Fire Records
went to the studio was Q in Falls Church – and it’s still
1980s hit. Then the group was tapped by director Spike Lee to record the Marcus Miller-penned party jam “Da Butt”
for not just E.U., but Black music, D.C. music as a
there, in Falls Church, Q studios.
for School Daze and the group has never truly left the collective identity of music culture. In fact, front man and bassist
whole? What did that record label mean for you?
Gregory “Sugar Bear” Elliott (who performs with a collection of go-go bands across the city) became a national symbol
BJ: What do you remember being the initial reception
of the “Don’t Mute D.C.” movement when he joined fellow Washingtonian Regina Hall to perform a medley of “Da Butt,”
Sugar Bear: For us, it was like we were signing with Mo-
to go-go, when it first was birthed?
“Run Joe” and “Do You Know What Time It Is?” at the 2019 BET Awards in Los Angeles. Ahead of last year’s Home Rule
town. It was our way out. Our soul searching paid off. We
SB: My first introduction was that we wanted a change.
Festival, Sugar Bear sat down with Dr. Bryan Jenkins, a post-doctoral researcher at Howard University, to discuss go-go
got a chance to sign with a record company, which was
Remember, E.U. was E.U. We were playing Rock and Roll,
and D.C. music. It felt like the best way to introduce him to this year’s festival goers too.
unheard of in D.C. during that time. So, we came out and
everything and anything we wanted to play.
they allowed us to record our own LP. Nobody from the
But we were pretty much playing for ourselves, more so
outside was writing but we were writing as E.U. And that
than for other people. If I can say that. But of course, if you
was another blessing.
wanted to play for people, they had to end up liking what
And then Jimmy Gray, Charles Stephenson, everybody
we were doing.
This interview has been edited for length and clarity.
contributed. And we were teenagers. And we made this
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kept going. There was a lot of resistance in my band. They
I’m saying? They use that, they use our go-go arena for
braced us and we embraced them. And that helped keep
weren’t feeling it because they thought it was a sellout. But
their political games.
our go-go music evolving around the world on a national stage, and we needed that injection. We needed that. That
that’s what we wanted. We wanted to sell out.
BJ: What do you think it is about go-go that just really
BJ: Right, right. To speak to the people. So that’s the
helped us sustain.
way to get them on.
BJ: So now, go-go is the official music of D.C. How have you seen the energy around it since that was
spoke to people? Especially D.C. like, whatv is it that you think about that really connects to them?
SB: They know it’s the way to get them to come out and
made official?
represent whatever they’re trying to stand for.
SB: Since the mayor proclaimed go-go music the official music of Washington, D.C., people now receive it from dif-
SB: The beat. The party. It’s the only place in the world
Experience Unlimited Album Art
We ended up winning the talent show at Ballou High School. And the winner of the talent show got to open up for Chuck Brown and the Soul Searchers at the Panorama Room: the biggest party, probably, in Washington, D.C. You can only get like six, seven, 800 people in there. But it was to the brim. And we opened up. People could see that we could play but nobody was dancing. Nobody was partying. [laughs]. So, Chuck Brown pulled me to the side and said, “Son, you got a lot of talent.”
He said, “You’ve got to play what people want to hear. I’m telling you; it’ll work. You got the talent. Just play more of what people want to hear.” That was a Saturday night. Monday, we changed the whole format around, and it worked. Now, I’m telling you, that’s the truth. Now it wasn’t hard, because honestly for the stuff we were doing, you’d already heard it on the radio. We just put a beat behind it. So, that made it easy. We learned the format and just 26
where you can become a part of the party as soon as
BJ: How have you seen go-go evolve? From when it’s
ferent demographics. And they know it’s good party mu-
you walk in the door. [imitating go-go call and response]
first introduced to the late 80s, early 90s, and even
sic, nothing but party music, good music. You come out
“Where y’all from? *Uptown* *Southeast* *Northeast*”
now. How is go-go changing?
have functions and have a good time. So now, everybody
The party! It’s all fun and love. It’s great. There’s nowhere
SB: Ever since “Bustin’ Loose” came out, with Chuck
receives it. So, I think on that level, I think it’s all good.
in the country – and I’ve seen it, I’ve toured a lot of places
Brown, a lot of bands started playing more original songs,
BJ: The last thing I wanted to ask you was about EU’s
– no place like D.C. No place.
party songs. Rare Essence with “Body Moves,” Junkyard
50th anniversary, which happened this year.
with “Sardines,” Trouble Funk with “E Flat Boogie” and stuff
SB: That’s that passion [laughs]. That’s that passion.
BJ: Let’s talk about the way the city was reacting to
like that. So now, the movement is coming. So, watch this:
Go-go. The people were feeling go-go, but how was
Just the same time we come in, here comes hip-hop and
BJ: How does it feel, as you imagine back when
the city, how were the politicians, reacting to the
rap. [laughter]. It’s like, whoa. So of course, rap dominated
you’re in high school and you’re just getting started
movement?
our culture. You feel me? Not in a bad way. We came out
playing, to 50 years later, and you’re still going with
on a national level at the same time, and rap won.
this legendary band?
SB: I can only speak on behalf of what I know. Marion Bar-
So, what happened with us, you got to reinvent. And by the
SB: Yeah, I never could even imagine going that long, and
ry embraced our go-go music. And all the politicians, from
grace of God, Kurtis Blow, we did a collaboration with him,
still going right now. But it’s my passion. I’m gonna keep
his lead, now would call E.U., they would call Chuck Brown
Grace Jones, “Slave to the Rhythm,” Salt-N-Pepa, “Shake
doing it until the Good Lord says, “Okay, that’s enough.”
and the Soul Searchers, Rare Essence, Trouble Funk, etc.
Your Thing”: “owww” [laughs]. I can say that helped us
That’s just me. I love entertaining. I love making people
and ask us to be a part of the political arena to help them
sustain and, and marinate with the other hip-hop artists
smile, and party. I love that.
get votes, help people come out, because they knew that
that were breaking the wall: Run DMC, LL Cool J, Tribe
was the thing.
Called Quest, Eric B. and Rakim, MC Hammer, we were
And they still do that to this day, in 2022. You follow what
all up in there. And we all toured together. So, they em-
27
mained connected, even in the wake of John’s death from
ISSUE NO 002
liver cancer in 1967. Alice’s most revered album, Journey
The Liner Notes: Stop Erasing Black Women From Free Jazz History
in Satchidananda, was conceptualized as therapy to help her cope with her husband’s passing. Not surprisingly, Fire Music rightfully plays up John’s stature as a father to free jazz, but to not even acknowledge Alice’s impact on him or his music is a glaring omission that a cursory Google GRONINGEN, NETHERLANDS - 18th APRIL: American jazz singer Linda Sharrock performs live on stage at the Oosterpoort in Groningen, Netherlands on 18th April 1987. (photo by Frans Schellekens/Redferns)
A RECENT DOCUMENTARY, “FIRE MUSIC”, DOES A DISSERVICE TO BLACK WOMEN‘S ROLE IN SHAPING THE SUBGENRE.
1970’s Monkey-Pockie-Boo, whose shrill upper register
By: Marcus J. Moore
York. When coupled with Sonny’s breakneck guitar riffs,
search could have rectified.
and intense primal screams garnered acclaim in New
Linda properly conveyed the angst of living while Black Not long ago, I watched the documentary Fire Music
Johannesburg & Triptych” with Max Roach. If you take
in the Civil Rights era. In the ‘90s, Sharrock released more
at the behest of a friend whose opinion I trust. We have the
Fire Music at its word, you’d think Black women weren’t
contemporary-sounding R&B before returning to the
same taste in music, and he’s one of the few people I can
around at all, that singers June Tyson, Jeanne Lee and
avant-garde singing for which she was known. Alice Col-
speak with about the connection between underground
Linda Sharrock, and flutist Margaux Simmons weren’t
trane had the biggest shadow to endure.
rap and Black Liberation jazz. I had heard about the film
integral to underground jazz, that they didn’t endure the
Her husband was the most famous supporter of the
from other friends who thought I’d be into it. Fire Music
same struggles as their male counterparts. Truth is, they
free jazz movement, and is credited with giving the scene’s
delves into the impact of free jazz pioneers Sun Ra, Cecil
likely had it even harder. As a creator myself, I hesitate to
biggest names — players like Albert Ayler, Pharoah Sand-
Taylor and others, briefly mentioning how rising rents de-
criticize another person’s art, but the blindspots here are
ers and Archie Shepp — more visibility through album
railed the loft jazz scene in lower Manhattan. For the most
just too egregious. Even the European free jazz movement
features and recording contracts with Impulse! Records.
part, it carefully unpacks the style of jazz I prefer.
was discussed before the contributions of Black women to
Before then, John Coltrane was a superstar bandleader
a Black American art form.
who honed his skills playing alongside Miles Davis in his
As much as I wanted to like the doc, I was angered
First Great Quintet before releasing his first classic album,
by the dearth of Black women in it. Not even a cursory
I’ve written about Sharrock and Coltrane in The Liner
mention of Alice Coltrane, John Coltrane’s widow, a noted
Notes before, so I won’t belabor their stories. But it seems
spiritual jazz luminary in her own right. Or Abbey Lincoln,
their music has suffered due to the seismic impact of what
John underwent a spiritual catharsis in the mid ‘60s, yet
who didn’t perform avant-garde jazz, but didn’t mind go-
their spouses created. Sharrock was the lead vocalist of
it was a journey that he and Alice faced together. The cou-
ing there from time to time – like in the piece “Tears For
her husband’s first two albums, 1969’s Black Woman and
ple traveled the world, got married, had children and re-
28
Giant Steps, in 1960.
UNSPECIFIED - CIRCA 1970: Photo of Alice Coltrane Photo by Michael Ochs Archives/Getty Images
29
June Tyson was the most important member of the Sun Ra Arkestra sans Sun Ra. In fact, she was the only
“When there are clouds in the sky, you’ll get by,” she sings. “Light up your face with gladness.”
woman to have joined his band, a roving collective that sometimes included 22 members.
While Sun Ra gets rightful credit as an experimental jazz visionary, Tyson was the heartbeat of his Arkes-
From 1968 to her passing in 1992, Tyson sang, wrote
tra. Without her as a guiding force, I’m not sure the band
and recited poetry, did choreography, designed costumes
makes the same seismic impact on music and Black the-
and managed the band’s money. On songs like “Enlight-
ater.
enment” and “Space Is The Place,” her vocals added light flourishes to Sun Ra’s cosmic-themed compositions, which often swirled in a massive cyclone of horns, drums and synthesizers without centering on a clear groove.
That sometimes made his music tough to decipher, but Tyson’s life-affirming messages of love and peace anchored his art to this planet, even as she reached for others. My favorite Tyson appearance (or at least my favorite right now) is “Outer Space Is A Pleasant Place,” a stripped-down version of “Space Is The Place” that allows her vocals to shine. “
There’s no limit to the things that you can do,” she sings over a light bells and percussion. “Your thought is free, and your life is worthwhile.” At a time when the daily news cycle offers unrelenting despair, Tyson’s lyrics remind us to ascend.
She offered a similar message on “Smile,” a swanky track with sporadic horn blasts and rhythmic piano chords.
30
June Tyson and Sun Ra performing at The Venue, London on 27 July 1982. (Photo by David Corio/Redferns)
Jeanne Lee was also a strong presence in the New
Her magnum opus was the 1974 album, Conspiracy,
York avant-garde jazz scene. The singer and poet per-
an uncompromising trek through a cappella poetry, soul
formed with the likes of Mal Waldron, William Parker and
music and free jazz that she released through her own
Marion Brown, adding abstract vocals to their work along-
label, EarthForms Records. In the 20 years since her pass-
side her own iconoclastic blend of soul and jazz. Much
ing, Lee has become something of a luminary in the an-
like Sharrock and Tyson, Lee’s music wasn’t understood
nals of avant-garde jazz, a beacon for artists like Angel Bat
beyond the community and never reached mainstream
Dawid and Moor Mother to forge new terrain.
acceptance. But she was a superstar in her own right.
The flutist Margaux Simmons is perhaps the least
“She had a sensibility for all of the music but was able to
known of these artists, yet she’s no less impactful. From
maintain her individuality,” Parker once told me for a Band-
the early to mid 1970s, she played percussive jazz, first with
camp Daily feature – “The Sonic Innovation of Late Jazz
the Ohio-based band the Collective, then most notably as
Artist Jeanne Lee” – that “She used her voice as a horn
a lead member of the Pyramids until the group’s split in
and could manipulate words. She was a master of scatting
1977. Where others in the free jazz were only beginning to
and stretching sounds.”
blend African rhythms into their music, she and the Pyra-
Ultimately, Fire Music dilutes the voices of Black women in a subgenre still fighting for greater recognition. While oversights can
mids spent seven months on the continent in 1972, taking
happen when creating a film of this magnitude, it feels like the director didn’t even try to include these women, even as he shed
in the culture, buying instruments, and changing their per-
proper light on musicians who never got the respect they deserved. But in his pursuit to correct Ken Burns’ jazz documentary (which
formance to a full-on theatrical set with ornate costumes
barely mentions free jazz at all), he presents a myopic view of free jazz, eschewing important voices. While Fire Music should be
and dancing. Much like Tyson, Simmons held various roles
applauded for bringing the likes of Sun Ra and Cecil Taylor to the big screen, the lack of deference to Black women overshadows the
in the band; her movement and high-pitched flute solos
project’s intent. They deserve our highest regard, not the silent treatment.
Margaux Simmons (Courtesy of University of Orange)
were vital to the group’s vitality. Nowadays, Simmons teaches at the University of Orange and tours occasionally.
A boxed set of the Pyramids’ first three albums —
Lalibela, King of Kings, and Birth/Speed/Merging — is out now on Strut records. I had the honor of speaking with Simmons for a New York Times feature, “Revisiting the AMSTERDAM, NETHERLANDS - OCTOBER 27: singer Jeanne Lee performs live on stage at Meervaart in Amsterdam, Netherlands on October 27 1984 (photo by Frans Schellekens/Redferns)
Marcus J. Moore is a writer, editor and curator based in New York City. This piece originally appeared in his newsletter “The Liner Notes.” You can subscribe at thelinernotes.bulletin.com or on Tidal.com
Pyramids’ ‘Avant-Garde African Jazz,’ Four Decades Later.” [Note: there is also a piece on The Pyramids written by our own Jackson Sinnenberg in this issue of our publication].
32
33
ISSUE NO 002
He Plays to Make Music Fire IDRIS ACKAMOOR ON THE PYRAMIDS, AFRICA AND BEING A GRIOT OF OUR TIMES By: Jackson Sinnenberg In the early 1970s, while the AACM [Association for
those guys became a part of my ongoing...development,”
the Advancement of Creative Musicians] was carrying on
Ackamoor, 71, tells Home Rule over a Zoom call from his
its revolution in Chicago, as the Black Artists Group was
Bay-area home in August. “However, my early composi-
reaching its zenith in St. Louis, and the stage was being
tions, were mostly influenced by my own inner self.”
set in New York City for the “loft jazz” scene, a group of
The music that the band made at that time – between
musicians at Antioch College in Yellow Springs, Ohio was
1972 and 1976 – was captured on three studio albums
creating equally challenging and creative work. Led by
that Ackamoor put out on his own, private press label,
saxophonist Idris Ackamoor, that group – The Pyramids
Pyramids Records. The original pressings are artifacts
– was making music that similarly pushed past the bop
in the vinyl collector’s world, and while the records have
limits on tonality and form in jazz and Black American mu-
been repressed a couple of times in the 21st century, they
sic. It was the spiritual jazz sound – of chants, bells and
are receiving a heroic, grand reissue this year by Acka-
rattles – of Archie Shepp and Pharoah Sanders, and the
moor’s new label, Strut – which also puts out the reissues
playful but deeply historical-vision of the Art Ensemble;
for D.C.’s Black Fire Records – in a four LP box set, Aoma-
but rather than reference those things, this music sprang
wa: The 1970s Recordings.
independently from the mind, the soul of Ackamoor. “I grew up with some of those guys...Chico [Hamilton] and [Famoudou Don] Moye and Roscoe [Mitchell], 34
Pyramids King Of Kings album shoot, Glen Nature Preserve, Yellow
Springs, Ohio, 1974
further shaped by studying under and playing with saxophonist Charles Tyler – Albert Ayler’s go-to alto player – in Los Angeles on a work study trip, as well as a visiting professor in the ’71-’72 school year: pianist and Avant Garde pioneer Cecil Taylor. For nine months, Taylor led an incarnation of his Black Music Ensemble at the school – mostly featuring musicians at the college but also some traveling disciples – and taught a class, Music and the Black Aesthetic. Ackamoor explains:
Margaux Simmons & Idris Ackamoor, Birth : Speed : Merging rehearsals San Francisco 1975
“I think Idris’ story is quite a unique one actually, in mu-
who was famous for playing with swing bandleader Jim-
sic,” says Quinton Scott, the head of Strut Records, who
mie Lunceford, jazz piano pioneer Jelly Roll Morton and
spoke to Home Rule over Zoom in August. “I think it’s a dif-
others. King, who also mentored musicians who were
ficult one reissuing one artist, because you have to stretch
members of the AACM, unofficially began Ackamoor’s
it out over years, essentially, because you just can’t satu-
path into the Avant Garde. “I knew what I wanted to do
rate the market with lots of particular albums. But it’s all
and that was to deal with the Black, Avant Garde jazz tra-
amazing stuff. He’s been involved in a lot of great things in
dition that African Americans had created. Because it was
his solo career as well, you know, lots of interesting collab-
in my soul.” explains Ackamoor, recalling his thought pro-
orations and solo albums.”
cess as a 20-year-old at Antioch College.
Ackamoor was born in January 1951, in Chicago. He
“Clifford could create any animal on his clarinet that
started taking music lessons at age seven before settling
you could want: a bear, a cat, a dog. That’s what those
on the saxophone. As a teenager, he began taking lessons
guys in the 20s and 30s knew how to do, they were doing
with Clifford King, a veteran of the music’s first decades
all these sound effects. What became known as “circus
36
Margaux Simmons & Idris Ackamoor with Kings Drummers Of Tamale, Tamale, Ghana 1973
tricks” on the instruments, they made part of their oeuvre, part of their technique. So, Clifford King was teaching me that ‘out’ stuff, in a way, even back then from the technical side.” The young musician would land at Antioch College in
Idris Ackamoor, The Collective Antioch 1970
the fall of 1970, coming under the wing of Music Department chair John Ronsheim, professor and pianist Lester Knibbs – with whom Ackamoor would begin exploring his original compositions in a free, modal jazz group called The Collective – and a fellow student, from D.C., named Bill Brower, whose record collection would help shape Ackamoor’s sonic palette for the Black aesthetic. For Ackamoor, that mindset in the Black Aesthetic would be 37
“Cecil was never a jazz ayatollah, which later some musicians may have become, I speak of Wynton [Marsalis],” Ackamoor adds.
The Black Aesthetic, according to Cecil, emanated from Africa; from the
Following the year with Cecil Taylor, Ackamoor, with his musical partner Margo, a flautist (also then-girlfriend and
beginning. For me, I think I can say that Cecil played the piano [keys] like
now wife) and friend and bassist Kwame Kimathi Asante, spent a year studying abroad; first spending the summer
they were 88 tuned drums. That’s how he played the piano. And most
playing as a band in Europe then studying in Ghana, Kenya and Ethiopia. These three became the core of The Pyramids
of his detractors were always talking about how un-Black Cecil was.... It
as the band appears on Aomawa and started playing under that name in Europe. Africa helped further Ackamoor’s musical and spiritual vision: “You could not be in Africa and not think about the connection between music, community
wasn’t the celebration of Duke Ellington or Fletcher Henderson. Although
and history.” Idris and Margo traveled all over Ghana learning from and playing with the masters of drums and rhythms.
Cecil knew that and was all a part of that, Cecil was Cecil; but he always
He recalls:
felt part of the tradition. Cecil loved Duke; Cecil loved Fletcher. But also,
It was as if we went back 500 years in the history of
Cecil loved Michael Jackson, The Temptations, the whole line – the whole
Africa. We went up to the place of kings, where they
time-line – emanating from Africa and going throughout the African dia-
had court musicians, the griots. We studied with the
spora, whether it was New Orleans, Chicago and evolving to where Cecil
talking drummers in Tamale, the Dagomba people,
was.
who were part of the Mossi empire. Went up north and met the Frafra people, and they were more in the animus, more like the juju worshipers. We played and performed with the prayer drummers of the Dagomba people and performed the second burial of the Frafra king.
Kimathi Asante, Rioki Coffee Estate, Kiambu, Kenya, 1973
38
39
Ackamoor recorded these performances and rituals, as
moor says now, “To be musicians in the real world.
ten, private press oddity. They’re more important than that.
Ackamoor is not stopping as a creative force, nor as
That’s what we’ll be doing over the next few years, just
someone who seeks to represent his community or his
trying to keep that legacy going.”
world.
well as Maasai and Kikuyu traditional performers in Kenya
...We ran smack dab into the idea that you had to make
and ceremonies in Lalibela, Ethiopia; the site of the iconic
a living.” Idris and Margo continued to make music and
rock churches. Strut plans on releasing these tapes over
art – she would also get her PhD in composition – for de-
the coming years as well, part of Ackamoor’s six-figure
cades, also forming the 501c3 non-profit Cultural Odyssey
As for the future, since 2016 Strut has released three
chronicler of our times. And that can be anything from the
deal with the label for his entire catalog and archive. These
to support their work and the work of other emerging and
new albums by The Pyramids, with a new line-up under
social aspects, the political aspects, the spiritual aspects,
experiences helped indirectly and directly shape the sound
established community-focused artists.
Idris and Margo as founding members: We Be All Africans,
you know, the historical aspects and the future aspects.”
“I want to be a griot in this traditional African sense, a
An Angel Fell and Shaman!. All were recorded analog on
and direction of The Pyramids. On the band’s first album,
tape at Malcolm Catto’s studio in London.
Lalibela – named for the place in Ethiopia – the record be-
Back in the late-aughts, with vinyl collecting culture
gins with a Ghanaian rhythm taught to the band in Accra;
beginning to rise on the internet, as well as more journal-
the composition “Rock Churches,” part four of the “Lalibela
istic, scholarly and historical information about artists like
A new album, Afrofuturistic Dream, came out on Strut
Opus,” features Ackamoor playing a crying melody on the
The Pyramids spreading, Ackamoor began to get renewed
this past spring, following the November 2022 double-LP
alto saxophone, transcribed from the chants of the priests
interest and inquiry into the band’s 1970s output and cur-
reissue of an album of material by Ackamoor’s first band,
in the rock churches.
rent status. The band reformed at the 2007 San Francisco
The Collective. “He is, you know, for his advancing years,
International Arts Festival; the albums were reissued by
he’s got the energy of a teenager,” says Scott. “He’s unbe-
This sound, combining the forceful, intense playing on
Ikef in 2009; and the band began touring again in 2010.
lievable...I can’t believe his energy. I mean, he’s just worked
saxophone, bass and other traditional jazz instruments –
Disko B put out reissues of the 70s albums again in 2012
on his best sort of new recording since the 70s, in my view
pushing them to sonic peaks – with rhythms and melodies
and 2013, but Ackamoor began working with Strut around
of it. It’s just really intricate and very, very well scored [Ed.
of Africa in an almost ritualistic, talking drum-style com-
that time to start talking about his catalog and looking to
Note, Ackamoor said wrote for string quartet and voice on this] and
munal performance, would define The Pyramids sound
the future.
thought out and it’s just, you know, it’s a great piece of work.” “I’m in the future, man. The past is the past. I love
over the group’s first three albums: Lalibela, King of Kings and Birth / Speed / Merging. “It’s just a very unique listen,
“Because of the 10 years the band toured from 2010
the past but...It’s like Duke said, ‘I want to be remembered
those early albums by The Pyramids,” says Scott. “There’s
until 2020, now that we have more visibility, more oppor-
by the next album I do’,” Idris Ackamoor says with a chuck-
not really any other music like it. I think it’s very freeform...
tunity, and a solid record company behind us in Strut Re-
le. “I believe the music I’m playing now is the music I’ve
you could hear the Cecil Taylor; you could hear the African
cords, it has just catapulted our ability to reach with this
always wanted to play; more than the early pyramid stuff,
influence from their trip to Africa.” This mentality – “about
new reissue,” Ackamoor excitedly explains. “I think they
in a way. the music that I’m playing now is what I’ve always
feeling good as a community, making music” – informs
deserved the box-set treatment as a band,” explains Scott.
wanted to play, that is a result of my entire life.”
Ackamoor to this day.
“What we’re trying to do is position them as one of the
The Pyramids broke up in 1976, unprepared, as Acka-
40
Margaux Simmons, Idris Ackamoor Kimathi Asante Amsterdam 1972
serious jazz acts at the time, rather than slightly forgot-
41
ISSUE NO 002
Looking in Communal Togetherness: The Lou Stovall, The Workshop By: Majeedah Johnson Lou Stovall is a renowned visionary who evolved the
lection was “Sundrinkers are we” (1972) a silkscreen of
arts and activist community in Washington, D.C., and
vivid shades of violet, sapphire, and lime. Another, “Love
across the globe, through his visionary printmaking. He
Festival” (1970), was rendered for a poster to protest the
was given some prominent, and overdue, feature in the
infamous Three Sisters Bridge, which was proposed to be
fine art world of Washington D.C. with “The Museum
constructed over the Potomac River in the 1960s. Due to
Workshop” at The Phillips Collection which ran last year
increased pressure and community protests, plans for the
from July 23 until October 9. The exhibit honored the leg-
bridge were ultimately canceled. “Glazing” (1972) utilizes
acy of the DuPont Center, an artist’s museum which was
brilliant shades of citrine and tangerine with a backdrop of
founded in 1969 by Stovall and curator Walter Hopps. The
greys and whites—exuding a meditative image of moun-
collection—arranged in collaboration with Lou’s son, art-
tainous terrains and warmth of the sun.
ist Will Stovall—included an array of silkscreen prints, ink
But to get a deeper understanding of the man behind
drawings, photographs, playing cards, and a short film
some of ‘60s D.C.’s most vibrant art, Home Rule spoke with
examining Stovall’s artistic process, his inspirations, and
Will Stovall about his father’s legacy, and his own inspira-
leadership.
tions as curator along with the purpose of selecting specif-
The works also feature Stovall’s collaborations with fellow artists: including wife Di Stovall, Gaston Neal, Walter
ic pieces for this exhibit. This interview has been lightly edited for clarity
Hops, and artist-musician Lloyd McNeil. Among the captivating gems showcased in the col-
42
Roberta Flack Day (ON RIGHT)
43
Home Rule: Walk us through how the period of the
When I moved back to D.C. in 2017, I knew I wanted to
60s and 70s was selected for the collection.
work on this project. This is my third or fourth exhibit of my dad’s work that I’ve curated, but this is the one I’ve always
Will Stovall: I’ve been thinking about exhibiting my dad’s
wanted to do.
work since I was a kid. He had helpers who were collaborative. When he was making prints, he had people assist-
HR: As there are many creations featured in the ex-
ing and moving paper. They would rack the paper to dry. I
hibit, can you talk about some of the ones that have
wanted to be part of the action. I would be around thinking
influenced you more than others?
about the work. Stovall: There’s so many. There’s the Peace poster, and One constant has been that I was always hearing stories
when I began archiving my dad’s work, my parents didn’t
from that era. It was this period that seemed most interest-
think there were other letters. The A is for Art. It took a
ing because it was when my dad and mom were making
few years to find the C and the P. This was a monumental
posters for Roberta Flack, Miles Davis, Sam Gilliam, and
thing. The other community posters, like the small ones
Jean Davis. I was excited these were happening at the
including the red and blue poster created for Roberta
same time and wanted to know more about it.
Flack, they were just so beautiful. [Ed note: community posters are poster Stovall made for activists, venues, events and other local
HR: Can you share with us how the idea for The Museum Workshop came about?
Stovall: The most compelling force or catalyst came when I learned about the actual workshop, where they were at the time. The Dupont Center was at one time a museum—a gallery of modern art. I was surprised and impressed that my parents were working in a studio, and one in a fine arts museum. I wanted to get close to that energy and the story.
44
happenings in D.C.]
Then there’s my dad’s drawings...which were in boxes and hidden.
When I look at the prints in the collection, it’s an invitation to see through my dad’s eye and stand next to him wheth-
My mom has a wonderful poster that just says “Love.” In
er he’s there or not. You’re looking with your own set of
the exhibit, I call it an “Artist’s Poster” because it’s done
eyes and looking in a communal way and togetherness
more as the celebration of love and culture, and celebra-
with my dad. That’s something that I just returned to and
tion of an emotion or feeling. It could be used at events at
strive for when I’m thinking about the frame or painting, in
Bohemian Caverns or Peace Corp. that have text to com-
my case. I ask what’s going in.
municate, but this one has that feeling. That is still so special to me.
My goals are to create this kind of connection point between natural and spiritual, and then use that to be some-
That was a big aspect of my parent’s workshops, where
thing that I’m connecting with other people through a feel-
they were just kind of interested in a vibe. It was kind of
ing of intimacy.
participatory fun and exciting, but also kind of a rigorous kind of mood. They were really sharing their message with students, kids, and older people.
HR: Can you share with us your approach to your artistic creations? How does your father’s work inspire your art?
Stovall: For me it’s a few things: the first is my dad is really into his visual work and particularly the work that addresses a landscape. There’s this sense of intimacy and this sense of wanting to create a view into nature, which can really possibly feel like you’re present in the moment. On one hand, it feels like this opening into the natural world and the space. On the other hand, it’s filled with a spiritual Bohemian Caverns (ABOVE)
46
and other worldly connection.
47
he heard each Sunday. By age nine, he was the organist
album, We The People. Wes Felton sees this as the “cul-
at Rising Sun Baptist – his father’s church – and already
mination of his journey in D.C. as a young music teacher,
Ode To New Life: Wes Felton on the Felton Artistic Legacy and Carrying the Torch “for all Reasons”
refining a technical ability across genres that would be-
as a student at Howard, and as a husband and father.” It’s
come famous among those who knew him and heard him
just one of many ways, too, that Hilton Felton’s fingerprints
play. At 18 and newly married, he moved north to Washing-
remain all over the District’s music scene and history.
By: Thomas Gartman
ISSUE NO 002
“Legacy is a choice.”
ton, D.C. to study music at Howard University. But as Wes
Hilton Felton developed a reputation as a technically
Felton tells it – in a conversation in Malcolm X Park this
skilled and sought-after pianist, resulting in regular dates
past August – his education was deeply intertwined with
at the Mayflower Hotel, cocktail bars, and clubs around
other experiences in his new city: “When he first came
the city, as well as touring and recording jobs with artists
here, his abilities were so ahead of others his age that he
George Benson, Eva Cassidy, and Fats Theus, among oth-
actually began to teach music at Dunbar High. That was
ers. But Felton was more than a practiced and versatile
If there is one thing Wes Felton wanted to get across,
with his father, Hilton Clay Felton, Jr. Hilton Felton was
his first real introduction to the sounds of the city – being
musician – he was a composer who had spent decades
this is it. “In this society, legacy is the closest thing to
born on New Year’s Day, 1947, in Norfolk, Virginia. The son
embedded in the community, teaching kids and engaging
creating a sound influenced by everything around him –
generational wealth someone can have. It’s like Game
of a prominent pastor, Felton grew up in and around the
with parents. For those who really understand culture, it’s
from the Baptist Church, to the bebop jazz he grew up on,
of Thrones,” he says, laughing. “Even if you’re not in the
church, soaking in gospel music and the instrumentation
not just the things that a culture produces, but being in the
to the music playing on D.C. ‘s streets.
castle, you have that recognition and you represent an
community itself,” Felton explains, sitting on a Malcolm X
important house. But there’s a process, and urgency, and
Park bench in the late summer D.C. heat.
In 1971 he took a chance that few others would have, creating his own label, “Hilton’s Concept, Inc.” to publish
real work that goes into it.” Wes Felton is a D.C. native,
Throughout the 1960s and into the 1970s, Hilton Felton
his own music. In all, “Hilton’s Concept” published around
multidisciplinary artist for whom the term “renaissance
further entrenched himself as a fixture of the District’s mu-
twenty-five releases of Felton’s music from the early 1970s
man” doesn’t even begin to cover it. He’s the son of D.C.
sic scene, taking regular gigs at Bohemian Caverns and
into the mid-1980s – everything from the sweeping soul
jazz pianist Hilton Felton, and grew up with a backstage
playing all up and down U Street.
jazz found on Family and Friends to the funk-inflected
seat to performances by some of the region’s greatest jazz
From his days as an organist in his father’s church, he
tracks on A Man For All Reasons, with some gospel sin-
players. He’s a musician, writer, emcee, visual artist, actor,
developed a connection to the sound of the Hammond
gles featuring the booming voice of his brother, the Rever-
and activist who cut his teeth as a teenager on U Street,
B-3 Organ, carrying the 450-pound behemoth to most ev-
end Leonard R. Felton, “to add a bit of that oratorical pres-
sneaking into bars to read poetry and hosting open mic
ery gig he got in DC. It was that organ that helped Hilton
ence to production,” Wes Felton says with a grin. For Wes
nights, before going on to perform with acts like Mos Def
Felton get noticed by Chuck Brown, the Godfather of go-
Felton, the blueprint his father created in “Hilton’s Con-
go music, as he was putting together his group the Soul
cept” has been the single-most influential factor in his own
Searchers. He was hired to join the group, contributing
journey as an artist and creative: “Everyone who knows
his signature Hammond B-3 sound to the group’s debut
me knows I self-record, produce, and publish. That’s just
and De La Soul and record dozens of albums, both individually and with D.C. native Raheem DeVaughn as “The CrossRhodes.” The legacy Felton refers to, though, began
48
Hilton Felton (ABOVE)
49
the example I had from my dad – he showed me the im-
with a 7” release of the track “Bee Bop Boogie.” When the
portance of owning what you create,” Felton says. “And on
Record Store Day release list came out, there was Hil-
top of that, he showed me that you have to have faith in it.”
ton Felton’s name, alongside those of Ed Sheeran, Ariana
Even today, Wes Felton still publishes his own music un-
Grande, and many other top-selling artists of the moment.
der Hilton’s Concept, keeping his father’s vision alive in his
“For him to be on that list,” Wes Felton says, “it felt like
own musical output. This foundation laid in Hilton’s Con-
he really was a contemporary artist and that people could
cept – the foresight Hilton had to own his music and retain
discover his music or finally have access to it again. That
publishing and licensing rights for his family, his prolific
felt like stamping a period closed.”
and eclectic output on the label, and his son’s reverence
As for what the next period holds, Wes Felton has no
for and safeguarding of it all – has seen the past ten years
shortage of ideas. Regarding his father’s catalog, there’s
of the younger Felton’s life increasingly focused on re-re-
some reel-to-reels in his step-mother’s basement that he
leasing and licensing his father’s catalog.
hopes to have a producer – “someone like Kenny Dope”
and it’s just a reminder that often the dreams of your family or the dreams of your ancestors are manifested in your own life. When you’ve chosen legacy, that’s always going to be the case.”
THE LOVESEED “LOVESEED / BEING ALONE” ULTRA RARE HILTON FELTON PRIVATE PRESS SOUL FUNK 7” PG. 50
Wes Felton says this effort really began in 2012, five
– remaster and remix for a new release. He’s also work-
years after his father’s passing and after a period of mourn-
ing to gain a larger digital distribution of Hilton Felton’s re-
ing, when he could subsequently engage his father’s work
cordings through a joint partnership between Now-Again
more seriously. He got a call from D.C. music historian Kev-
Records and his own company, Art! Hurts. In his own ca-
in Coombe, telling him about some interest by Jazzman
reer, Felton continues to see his father’s legacy as an in-
of his journey in re-releasing his father’s music, Wes Felton
Records in creating a “Best Of” compilation of Hilton
tegral source of inspiration, too: “I think this next chapter
spoke about one opportunity that saw so many pieces of
Felton’s music. The final product wasn’t as extensive as
will involve taking some ideas my dad had for things like
Hilton Felton, both the man and musician, manifest them-
both Felton and Coombe hoped it would be, but crucially,
movie scripts and turning them into a reality, now that I
selves. In 2019, working with Now-Again Records, Wes
it gave Felton confirmation that there was true contempo-
have more access and knowledge of that industry,” Felton
Felton was able to get Hilton Felton’s song “Dream Come
rary interest in his father’s music. After that, Felton says, he
explains. “I’m also doing more visual art, which was some-
True” prominent placement in the Bryan Stevenson biopic,
was inspired to make Hilton Felton a contemporary artist
thing he never did.
Just Mercy. “Moments like that remind me that this is still
Wes Felton (ABOVE)
in ten-years’ time, so that listeners “could buy his music in
But his love for photography and film and art from an
an extension of my dad, that this is something he would
real time.” That goal was realized in 2021 – one year ahead
observer’s perspective helped me find my way. It’s like
have dreamed of as a film lover and as someone who did
of his self-prescribed schedule – when U.K.-based label
there’s this combination of examples from him and missed
musical direction for plays,” Felton says. “And now here
“Diplomats of Soul” inquired about a Record Store Day
opportunities in his life that feed me as an artist now.”
you’ve got his song called ‘Dream Come True’ featured in
re-release of the seminal A Man For All Reasons, coupled
When discussing some of the most meaningful moments
a movie with Jamie Foxx, who was someone he admired,
52
Best of Wes Felton 1974
53
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