#harry whitaker

[mywifeleftme]

151: Black Renaissance // Body, Mind & Spirit

Body, Mind & Spirit Black Renaissance 1977, Baystate (Bandcamp)

At one time a laughably rare record (see: skullduggery surrounding master tapes being sent by the band to Japan, simultaneously bootlegged and lost by the label) with the one original 1977 pressing currently on Discogs going for a cool $2,800 USD, Black Renaissance’s Body, Mind & Spirit has thankfully been reissued a number of times since it was rediscovered around 2002 by SoCal label Luv N' Haight. Black Renaissance was the solo project of pianist Harry Whitaker, known for his work with Roy Ayers’ Ubiquity and Roberta Flack, but the term “solo project” seems inadequate to describe the work of 18 musicians: legend Woody Shaw on trumpet; former Jazz Messenger David Schnitter and Azar Lawrence (an alumnus of McCoy Tyner and Miles Davis’s early ‘70s bands) on sax; bassist Buster Williams (Herbie Hancock Sextet); James Mtume on percussion; a female choir, spoken word poets, and more. Though Whitaker is the primary composer and bandleader, he mostly plays the sideman, allowing Williams’ deep bass grooves to till the black soil while his three brass players simulate the birth cries of a new universe above.

Both side-long jams lock into grooves that could go on forever and nearly do, but side 2’s “Magic Ritual” is the more eventful number. It constantly builds, but not towards any frenzied crescendo—a better word might be that the composition thickens. Incantatory spoken word in the Last Poets-style gradually transitions from English back into an African tongue; drums and percussion work their way in from the margins until their insistent, ticking rhythms become a central concern; bassist Williams finally decides to wander off and take a solo with the looping cadence of an inflatable mascot drifting away in the wind. Like Sun Ra’s big band recordings, Black Renaissance has a cosmic sensibility, even as it consciously evokes the African roots of Black music (and therefore music itself). It’s a way of saying, “We have always been here, and always will be.” And also, of saying a few things that come through feel alone.

151/365

[gottahavesoul]

Carter Jefferson -- The Rise Of Atlantis (1979)

[fuchsiaswingsong]

Listen/purchase: Black Renaissance by Harry Whitaker

[noctomania]

Tonight I took an uber in to work because it's so wildly cold. The uber driver was listening to Hardy Whitaker's Black Renaissance. I had heard Whitaker's name before but not enough to have remembered to look up any stuff. I'm glad I finally got to hear some tonight!

Here is Harry Whitaker's Black Renaissance enjoy!

https://youtu.be/W2zISJzhcbU

[gatefoldhoe]

[redmcc]

He’s Coming-Roy Ayers Ubiquity

[vulgarcolors]

Visit Original Link

'We Live in Brooklyn' x Roy Ayers 1972

There’s a recollection of Young Cheeba writing a hip hop essay for an elementary-level english class and a later memory of a mock birth of a record label involving participation from fellow classmates—yes, folks were down with titles of 'EsPy Records' managers, stylists, you name it. That’s a story for another concept when time presents itself. Those were also my dj’ing days with cassette tapes and just the radio. That’s when listening to the radio was thorough with tight live morning and late afternoon mixes on The Box in Houston, or Sunday night Chopped and Screwed sessions in the late 90s and early millennium years. Music is one broad circular motion traveling through time of recycled experiences. I’m not the only kid who recorded music from the radio and I’m not the only child in the family who had control over what played in the car either, thus music creates a plethora of memories from multiple aspects that mold into one genuine core—the feelings we attract through music.

A southern girl with a love and quest to know the culture behind east coast hip hop and rap influences, the crescents of my imagination can only stretch to edges only able to fathom a bit size of what it was like growing up in Brooklyn during any era. There’s a culture molded into one center when it comes to this game. From jazz prints installed in streets in the 60s to soul and funk mobs in the 70s, to breakdance, graffiti and rappers in the 80s, a genuine love and respect surrounds a tender grasp around music and the people in Brooklyn. 

The lyrics:

We live in Brooklyn baby. We trying to make it baby. We want to make it baby. We’re gonna make it baby because we live in Brooklyn baby 

tells a story of a vigor that flows along BK and with such an attitude flossed in a significant influential flavor of a spirit by the people. The bureau has dipped and dabbled in its hardships and struggle as a community but some of the greatest sounds originated from these streets. The face of Brooklyn today can’t even stare at its own image from ten years ago. Just look at the transformation of exterior body of subway trains from the ‘80s to 2014. I was in conversation when being told of an experience from the late 90s where two guys held up a G Train cart as passengers got off of the train—lined them up outside on Myrtle Avenue, flashed guns and no sign of resilience, and demanded all valuables. This white gentleman also mentioned it was no thing to get chased down the street. The hood in which Pratt Institute has always been real but yet and still, there’s a reason why Williamburg is becoming outdated and the shift rises in Bushwick. Pioneers that have ran and hustled on these streets created a presence that’s developed into valuable property and worth of a life residing and partying in Brooklyn. YOU want to live here now, interesting how that works out.

Former Mighty Mos Def payed homage with his sample of ‘Brooklyn’ on ‘Black on Both Sides’ in 1999. Also funky fresh hip hop trio, Digable Planets, added a steady snare, hypnotizing 90s approach to Ayers original. This song has intriguing under tone layers as Harry Whitaker arranged and holds major kudos behind the muscles of ‘We Live in Brooklyn’. Pianist and composer, Whitaker, is a gem in store for another day but must light to his musicianship for working with Eugene McDaniel, Roberta Flack, Roy Ayers, and made an appearance with ‘Coffy’ in Jackie Brown. A genuine approach for the love of the music these artists approached their craft with. 

I was starting to sound like a jingle. I had to make a decision whether I wanted the money or my creativity. Working with Roberta was taking up all of my time. So I chose to be creative and be poor for a while.

Harry Whitaker 

Anyone planning on moving to Brooklyn, be sure to make a New York mix  with those song that fill your inspirations with the image of the city, and include this Roy Ayers track. If it’s the vinyl version that’s A1. 

[Yasiin Bey foto taken at afropunk festival 2012 by Cheeba Cruz]

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