#HIPHOPMUSICED Discussions Each & Every Wednesday This Summer!

This Summer… I will be posting blogs on my wordpress site and hosting a music education chat about hip-hop music in the classroom. Please follow #hiphopmusiced and join in on the conversation, each and every wednesday.
  

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How Do Music Teachers Use Hip-Hop Music in Their Classrooms?

I have been reviewing the literature on hip-hop pedagogy and its uses in the music classroom, and many of them see the use of hip-hop music and culture primarily as a means to foster intertextual and subjectivities within the domain of literacy, the written word. However, there are a few scholars that have written about the potential for the music’s use within music education. These music education scholars are Greg Dimitriadis and Adam Kruse. There a plethora of scholars (Akom, Morrell, Duncan-Andrade, Emdin, Soderman, Folkestead, etc) from a variety of educational areas that have written about hip-hop’s pedagogical uses in the classroom, but the focus of these articles are main centered on the cultural relevance and understandings that are created when teachers and students interact with hip-hop. I am interested in finding what is happening in the music classrooms all-around America in regard to the uses of hip-hop music and culture. Why is there a huge gap in the literature in regard to the uses of hip-hop in the music classroom, and what does this mean for its future uses?

I started to dig further and found that my initial response was one of disdain toward to the academy for not valuing the music that I so loved. I later started to wonder why there really wasn’t any data reflecting a serious study of the music’s effects on music education. Where was the empirical data? Where were the studies demonizing or reaffirming the power of the music within the walls of k-12 or post secondary school? I search and I searched and found that the researchers writings mainly reflect the experiences and interests that they have. I know anecdotally that there are teachers all across American that use hip-hop music culture in their classrooms, but no one has really taken the time to report it. Most practitioners are busy doing, and most researchers are busy experiencing and chronicling the outcomes. There are areas that are not communicated by either group. Hip-hop is one of those areas. Sam Seidel wrote a powerful book called “Hip-Hop Genius: Remixing High School Education” which recounts the story of a successful arts program in Minnesota that uses the study of the culture as a means to educate youth. So, I know that if there is one model for the infusion of hip-hop into music education there must be at least one more. As the demographic of the teaching forces changes over the next 20 years, we must be prepared to change the types of ensemble formats that pre-service teachers have access to while in college. The average 18-25 year old student is part of the post-hip-hop generation, and even if there are not huge fans of the music or culture, they have never none a time when the music did not exist. I often relate to those who know me well, that I didn’t know any Beatles music until I was in the early thirties, because the experiences and music I had at school and home were heavily influenced by Stevie Wonder, Andre Crouch and many jazz legends. So, what would my conception of relatable music and musical experiences have been if there was band or ensemble at school that was part of my enculturation as a educator? I can also recount my visit to Dillard School of the Arts in Fort Lauderdale, FL. They have recording arts program headed by one Israel Charles has developed a great program around the use of music technology to do project based learning. There have been several successful hip-hop artist that have come out of the program, as well as musicians and lovers of music that have graduated from that program, myself included.

So, how do music educators use hip-hop in their classrooms? According to Kruse (2014) and Dimitriadis (2009) there are currently three forms of Hip-hop pedagogies that have been identified by scholars 1) hip-hop as a bridge 2) hip-hop as a lens and 3) hip-hop as a practice. Each of these can be used in the musicking classroom (Chris Small). I recently shared a google survey with music educators of all levels, via social media. Link provided here —–> https://docs.google.com/forms/d/1Ku6DGBwBl3VLKg6LSENP3iiuE_OVbjCVbkJcTmv17yk/viewform?usp=send_form  Please feel free to fill this out, if you are a teacher, past or present, and have or are interested in using hip-hop music/culture and its pedagogies in your classrooms. When I am finished collecting data in the upcoming days, I will share the results of what teachers are or are not doing with hip-hop.

 

P.S. I have been using the term “cultural appropriation” as of late and will start using another term to express my wishes for the use of hip-hop music in education. I have recently seen the term “musical exchange” and think this is

“But…. I Don’t Wanna: Music Teachers Struggling with Hip-Hop Music Literature in Their Classroom” #HipHopMusicEd

“But…. I Don’t Wanna: Music Teachers Struggling with Hip-Hop Music Literature in Their Classroom”

#HipHopMusicEd

Educators are constantly asked, by students, to play or perform music that is outside of their comfort zone. “…but, I don’t wanna..”  is typically the response. How do you bridge the gap that exist between the teacher’s opinion of what is acceptable and what is acceptable in the eyes of the student? Educators,  we must remember to met our students where they are and embrace some of the elements that they “like” in order to work together to critically analyze and create a full experience for them in our classrooms.

When students give these request for more current or contemporary music in class, listen to them and please remember what music they probably hear at home, on the train (subway) and in the car over the course of their week.  These request are coming from your audience, and my reflect their existence (understanding). It’s a request that should be listened to, and contains a valid message of “I’m interested in what we’re doing, but would love to play something I know and like”. They are inviting us into their space of inquiry, the pre-teen or teenage life. The secret life of teenagers, in which they choose to share or not to share their feelings. Teachers, please…take it where you can get it, and engage in dialogue about the music they are asking you to play in class as part of one of your lessons. To share, is an awesome “in” moment for teachers and students. You can use that request as a way to co-construct a real list of rap and/or hip-hop songs that you both can agree is acceptable for classroom use. Create a rubric, maybe even co-construct this together, and from there that can become something that is applied directly to the rest of the music (literature) that is used in your music classroom.

Co-constructing a space together is actually an aesthetic of hip-hop music and culture. The beauty of the art, that is hip-hop, comes from diverse elements coming together to create something groovy, that lock in well together. To work alongside your students to compose and name the world in which you live-in together is something that Brooks & Brooks  would call, the action constructivism or the space of inquiry, a constructivist space. To make something, to create, is part of what Dewey would say is nature. Expand upon it and take advantage of this opportunity to make something, construct or share with your students. This is a great opportunity to engage in something positive with our students, and to expand the borders of understanding in your classroom space.

Conc

“The Application of Matisse’s Cut-Outs to Music Education” #HipHopMusicEd

#HipHopMusicEd

“The Application of Matisse’s Cut-Outs to Music Education”

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly…who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly.”  -Theodore Roosevelt

Music teachers often cringe at the idea of applying hip-hop music, or pedagogy to their classroom instruction and/or curriculum. I have been thinking long and hard about how do we approach “relevance” and “critical reflection” within the domain of the music classroom. Its a battle of tackling the topic, and really investigating the music, culture and group from which it all sprang from. Authenticity is a dangerous word that people use to give perfection power. If its not authentic then why do it, is often spewed from unaware mouths. The concept of “Authenticity” gives power and privilege to those that are in a position to judge the validity of the performance or product. I always suggest that educators focus more on digesting the actual music and investigating the places in which it inhabits. What are the concepts that are within the music, rather than what we can reduce it to and say embodies it. Lets continue to take the ethnomusicological approach to teaching music that Barbara Lundquist (ethnomusicologist) suggests. A lot of knowledge can come from challenging yourself, as an educator, as well as the students we work with. Teachers learn twice.

Speaking of teachers, I recently took a visit to the MoMA (Museum of Modern Art) where I saw the Henri Matisse’s “Cut-Outs”, “Cut & Swipe” and Elaine Sturtevant’s “Double Trouble”. I really felt like I was in the midst of a showing of the hip-hop aesthetic at the MoMA, but I soon realized that what I was witnessing was the aesthetic of “DIY” and “Appropriation”. I started at the top (6th floor) and walked down stopping at the various artistic wonders housed in the MoMA. This aesthetic, that Henri Matisse shared in his work, was about simplicity and simply “doing it.”

We as artist, and educators often complicate what art is, and how it should be done. We often make art about mastery, when it is actually about communicating, expressing (emoting), sharing (community) and most importantly honesty. Matisse, was in decline (physical health) when he started to explore with cutting paper, using glue and color paper to fashion the delicious ideas inhabiting his mind’s eye, and spewing forth from his imagination. Why do we think that music and art needs to be mastered before we can allow students to birth wonderful works of art? Did Matisse, who was in the end of his physical prowess need to balance a brush in his feeble hands to create great works of art, and if he could not do that anymore was he no longer a artist, or master? Does it matter?

What I found wonderful about Matisse and the other wonderful pieces of art in the various exhibits in the MoMA is that each reach out to you in a variety of ways and speak their own truths. Hip-Hop does the very same thing. Hip-hop tells its truth(S) simply with its paper, glue and scissors. Cut and paste are the tools of the music, and critically reorganizing  pre-made material are the primary function of the hip-hop culture. Like Matisse, disenfranchised urban youth have been remixing the elements of their existence into new diversity ways since the beginning of society. The unprivileged are typically more interested in reformatting and re-organizing their lives to reflect a better tomorrow in anyway possible.  They too, like Matisse, take the same shapes and move them around until they feel right.

Elaine Sturtevant’s posthumous exhibit “Double Trouble” calls for examination of the process and the reasons why these artist produced the art they did, when they did. Hip-hop music is an amazing medium that music teachers, educators and teaching artist need to challenge themselves with digesting. Hip-hop has captured the public’s imagination for the last three decades. I am apart of the hip-hop generation and the children I work with regularly, are members of the post-hip-hop. They have been surrounded and bathed by the beats and flows of hip-hop all their lives. I liken it to seeing the pop art of Andy Warhol and Keith Haring all of my life, but never studying it formally in school. However, I do remember studying the art and history of Europe more than I ever dissected the American experience in class.  Hip-hop, like many American folk arts, begs for the examination of the society in which is resides.  It asks the participants to critically think about the messages found in the prose, and the motifs found within the ostinatos. Music educators should take a critical look at their own practices and reasons from implementing them in their classrooms. Why do you use the music you are using to teach students? Why are you uncomfortable with hip-hop music? These an many more questions should be coursing their your mind, hopefully, as you read this and other blogs about hip-hop in education (music).

As I moved from one section of the MoMA to the next I saw a Jean-Michel Basquiat piece, a Van Gogh, a Picasso, Jackson Pollock, and a variety of other artist from modernity that figured out the template concept. “Cut and Swipe” is a great example of appropriation and the profundity that can be found within it. Often, people are dismissive of the “Copy & Paste” aesthetic that is found in hip-hop music and culture. The simplicity is often where the complexity is disguised to seem easy, and that is actually the genius. Take a moment and use a MPC, Apex, turntable or other digital device to capture, edit, and perform music…without formal training. Its really hard, and takes an intuitive understanding of musical form and content. I implore all music teachers to treat hip-hop music like all other forms and hold it critically to the light and be objective about the impact it can have in your classroom. I want to clarify what critical means. I don’t mean be a critic without having knowledge in or about the topic, but I mean you should investigate and analyze the form before dismissing it. It has a utility and the ability to be a bridge, a lens or a practice from which teacher and student can connect. It is a space of inquiry that is contemporary in nature, that’s a good thing!

So, suggestion… take the idea of Template, Cut & Paste and apply them to your research in music, as well as research artist like J-Dilla, Matisse, Van Gogh, Warhol, Kanye West, and Romare Bearden with your students.

I recently read a student’s blog that discussed the Matisse Cut-Outs at the MoMA, and she used the idea of using appropriation to explore new territories, new mediums. This is exactly what I’m suggesting music educators to use popular arts forms in their classrooms for. Start where the student is, and the world they live in to help foster their exploration of the many lives worlds and shared realities hat exist. Hip-hop music is only one of many paths to enlightenment, that both teacher and student can sojourn together on.

#HipHopMusicEd

As a teacher you’re always learning twice. As a music teacher pick music that allows for you to learn as well as your students. Take the Barbara Lindquist approach to ethnomusicological teaching of music. We teach the post hip-hop generation, why not think forward to tomorrow by using the music of today instead of the music of yesterday i.e. European Classical. Granted, study of that music has its merit and positive outcomes, BUT why that music, in this country, at this time? It’s 2015 and we still haven’t got the collective nerve to sit and analyze our, American, own music.. (Insert sad face). That’s why teachers learn twice, when they have to tackle the universal design of their lessons to help their entire class population, and the second time when they are overcoming their own bias in respect to the music. music teachers, take a stand and devote a couple of lessons to analyzing hip-hop music in your classroom, regardless of what type of class. Be brave and open up the canon. Do not worry about how authentic it is, do the research in respect to the beat producers and deejays. Don’t try to synthesize black culture (stereotypes) in your approach, even though it’s an important part. Just observe, pay respect to the ethos and the people that created it (urban minorities in the 1970’s). Replicate and analyze the music while making comments on topics/themes, musical elements, and truly studying what you and your students are working together on. Ask questions like; what do you see, what you hear, what does it mean to you. There is so much potential in the use and study of this music. The goal shouldn’t be to just make it an end, but rather to allow it to be a means as well.

#HipHopMusicEd #musiced #hiphopmusic #teacherasadvocate #socialjustice #hiphop

The Utility of Hip-Hop Music in Music Education #HipHopMusicEd


 

HipHopMusicEd

HipHopMusicEd

The Utility of Hip-Hop Music in Music Education #HipHopMusicEd


 

I really love hip-hop music, …no I REALLY love hip-hop music! I have loved it, the good and the bad, ever since I was about 11 years old and my mother bought me some Addidas high-tops like Run DMC, and took me to see “Tougher Than Leather”, a movie produce by Russell Simmons and that featured Run DMC (coincidentally, it was a great album as well.) So, I’ve been in love with hip-hop music for almost three decades. As a member of the hip-hop generation I am both a critic and advocate for the power of the music, and by proxy the culture. I’ve seen hip-hop grow into a multi-billion dollar industry that started off as a mechanism for expression and agency, out of the urban experience. I fell in love with music even earlier than I feel in love with hip-hop. I can remember going to the record store, yes the Record store, to pick up new music. See, my mother was and still is a lover of good music. So, I grew up listening to Stevie Wonders “Innervision”, all of Natalie Cole, the Ohio Player’s “Honey”and “Fire”, as well as all of EWF (Earth, Wind & Fire). I watched Casey Kasem “America’s Top 10” every Saturday when I would visit my grandmother’s sister Luella. I was and still am the Hip-Hop generation. My favorite hip-hop song of all time is “Stakes is High” by De La Soul, track produced by the dynamic genius of J-Dilla. I used to play in a hip-hop band in Chicago called H2O Soul, and we often opened up for the legendary hip-hop band,  the Roots, Mos Def, and Common in Chicago, IL and Milwaukee, WI. I still make my own mixtapes (CD)of the hottest rappers out so that I can hear them in my car on either my iphone or my cd player. I am Hip-hop.

I have also been part of the conservatory method that was a huge part of the model used to design the American system of music education. I am a professional trumpet player (jazz) and I have two degrees in music performance, one a M.M. in jazz studies from Northern Illinois University (Go Huskies). But, the majority of my musical development and understanding, over the last twenty years, of what I feel real music, honest music, should be like comes from my time investigating hip-hop music on my own. Its these critical experiences in hip-hop, I believe, along with critical reflection that can and will help save American Music Education. I know that’s a bold statement, but there has to be something said about a musical genre that is global in nature. There are hip-hop cultures all over the world. Hip-hop exploded on the scene like a nuclear bomb, leaving radiation everywhere…affecting everything around the blast zone, whether it be lasting or temporary. The debates that have sprung from the addition of the music into the popular domain of culture is immense. The critical writing on the subject, in the “con” side, is a large number. However, there are a few examples of researchers calling for more investigation into hip-hop pedagogy. This groups use the music and culture as a device rather than a music making opportunity. These experiences in music that we are talking about would be called “Musicking” by the late ethnomusicologist, Chris Small. Daily we all are bathed is sound, and music in its essence, is sound. Why must we be masters in order to craft something? That’s a horrible thought, to believe that in order to take part in something you can only do so if you are the master of it. You can never contribute, or feel value until you have truly mastered it, correct? I disagree with this sentiment and believe hip-hop music’s development has helped music endure in the America of the 21st century. It helped the music industry sustain over the last two decades. It has revitalized the way we share music and how often we can do it. Hip-hop was child along with the internet, synthesizers and cable, and the little brother to Funk, Punk and Disco. Hip-hop was raised on a diet of Reganomics, budgetary cuts in Arts Education, the Crack Explosion, and the AIDS epidemic of the  early 1980’s. What a dynamic time in the world, and more specifically the United States of America.

So, I believe this dynamism that Hip-hop, the music of  the Urban America experience, encountered during that time makes it a suitable and relevant bridge, lens and practice – framework, in which to work in. Music education is behind the eight ball and needs to look deeply in itself to find the big why(s)? Why do we teach? Why do we need to teach that? Why isn’t Hip-Hop music part of the canon? Why are we afraid to use hip-hop as more than a tool? Why aren’t we treating it as a subject – space of inquiry? These questions can be very difficult to answer, for some. Hip-Hop is relevant for the millions of people that are part of the post-hip hop generation. Hip-hop, for them, has always been a part of their lives and they can’t remember a time when there wasn’t hip-hop music or culture seen all around them. They can’t think of a time before rap, or when there wasn’t graffiti somewhere, or when deejays didn’t mix records without the use of a crossfader? Hip-hop is S.T.E.A.M.. If you really want to be real about it. Its the place where technology, society (culture), and music collide (imbricate) creating a beautiful consequence. If you want to relate to this generation of people, as a music educator, you will have to overcome your fear of messing it up (experience) or not doing it authentically (realness), and truly investigate the music (black urban culture). Music education programs will have to accept change and include new things into their pedagogies on pedagogy(instruction). I advocate for change, not massive and devastating change, but dynamic change nonetheless.

The use of hip-hop music in American music education is useful, practical and relevant. The utility of hip-hop music in music education is tremendous. Its both an “end” and a “mean” and that spells out a win win for all educators. Hip-hop has an aesthetic deeply grounded in ethnographic dislocating, de-centering and disrupting what we value and what our values are. The music can be analyze by theoretician, historian and educational teachers in three different perspectives; “Hip-hop as Bridge”, “Hip-hop as Lens” and “Hip-hop as Practice” (Kruse, 2014). These delicate yet flexible frameworks, through which we can use and engage with the space of inquiry that hip-hop creates, are important to recognize prior to delineating our curriculum. In order to create lasting change we must first get teachers, students, administrators and the public at large to understand that music is sound, and hip-hop in its purest form is sound appropriation. Its similar to the renown work of appropriation artist Elaine Sturtevant (Check out the MoMA – Double Trouble) did in the late nineteen-seventies from works centered on Jasper Johns, Andy Warhol, and Jackson Pollack. Hip-hop helps people combat and face their biggest prejudices by allowing an open debate between lyricist, deejays, graffiti artist, breakdancers and the audience to be had, about topics including but not limited to; freedom, identity, democracy, police brutality, violence in urban areas, racism, sexism, peace, victory and a wide array of other themes. Its a great introduction for music students interested in composition to learn about building motifs and motives. Its a perfect way to teach patience and what a groove is (Ostinato). It allows the teacher to deal with timbre and sonority, two of the most difficult topics in music education. Teachers can use the music to explore ethnomusicological approach to getting their students to learn more about the culture of America, history of our country and the various factors that contribute to our place in the world. Hip-hop helps people (that participate with it) to write their own worlds (story) in a more accessible ways than most other musical genres. Its accessible, and teachers need to know that the only thing between hip-hop music and them, is really only them and their preconceived notions about the culture and music(BAM). I prefer that the academy take a look at the programs all around the country that would benefit from culturally relevant music education, and simply attempt to expand the canon. Include a couple of famous hip-hop tunes as evidence of a willingness to engage with others about our path. Sometimes we as teachers (educators) forget that we are not in a fight with society or culture(people), but rather we are in a war with the thoughts and ideas that pollute our minds and those of the masses.

As I spoke earlier about “de-centering” “dislocating” and “disrupting” our thinking or ideological sediment, hip-hop music is great at doing that. Democracy demands controversy (Hess 2009). So, what other music has caused as much controversy as hip-hop? Lets use this space of inquiry as an opportunity to get teacher and student using discussion as a way of learning. To share is at the heart of the arts, and the vehicle of the aesthetic. Democracy is but a frame about which we demand to contribute our voices, but their must still be a system put in place to make sure everyone is heard. I am not suggesting that we simply change all of the literature and repertoire lists that exist in American Music Education, but that we simply expand it in order to make needed room for all American music genres. They all deserve to be valued as product, artifact, space of inquiry, movement, culture, etc. As American changes, demographically, so should the things that we value. We should start seeing more elements of the minority view present in the privileged position, because the Eurocentric values of our forefathers are antiquated and have never really represented the entirety of the American populous.

 

So, what I will be doing over the next couple of years, is build a case for a space for hip-hop music in music education. I hope you will join me, because will be writing about curriculum, instruction and uses of hip-hop pedagogy in the domain of the music classroom. I hope you will engage with me in this journey and feel free to comment and ask questions. I will post the link to my blog on #twitter #instagram and #facebook using the hashtag #hiphopmusiced

 

Sincerely,

Jarritt A Sheel

#hiphopmusiced #hiphopmusiceducation #hiphoped #hiphoppedagogy #hiphop #Music #MusicEducation

 

 


 

#HipHopMusicEd

Happy New Year!

2015 will be one for the history books. As we transversed the line of demarcation between 2014 and 2015, we are in for many historical changes in America. Whether it is health care, free college, the testing craze, racial violence, gay marriage rights or the legalization of marijuana 2015 will be a time of great change. This will happen regardless of our readiness or will to accept these changes. I am excited to learn, participate, and observe the radical evolution of the average American. I thought long and hard about my positionality within this historical moment and will continue to document, participate and help craft the change in my immediate community. I want to contribute to the difficult conversations we need to have. That is why I have decided to proctor conversations via social media every Wednesday about Hip-Hop Music’s inclusion into the canon, curriculum and instruction (pedagogy) of the American music classroom. I will provide a space of inquiry on social media through the use of the hashtag #hiphopmusiced.

This, I hope, will be a starting point for many to hear my ideas, thoughts and approaches for incorporating hip-hop culture into their classrooms as well as to share their own experiences. Hip-Hop, and many other American musical genres, has been part of giving voice and facilitating agency within the various urban and disenfranchised communities of America, and worldwide over the last three decades. I, as a member of the Hip-Hop generation see the value in this music. I saw it flourish and evolve, and now I see how it is seamlessly engrained into the lives of the post-hip-hop generation I currently teach. So, that is the starting point and I would like to implore all music educators to explore and incorporate more elements of the hip-hop culture into your teaching. Hip-hop is more than music, culture or a pedagogical approach(es).

Hip-hop is not just an end, its also a means. I look forward to the many conversation we will have in the coming months about aesthetic experiences through hip-hop music within the arts classroom. Come join me on social media (twitter, facebook & instagram) as well as here on my blog every Wednesday. We will use the hashtag #hiphopmusiced to allow others to follow along and share their trepidation and triumphs in tackling difficult subjects with their students, within familiar spaces of inquiry (hip-hop). I’m inspired, and I hope you are too!

My handles on Social Media

Facebook: @ Jarritt Sheel or https://www.facebook.com/JSheelMusic

Twitter: @jsheelmusic

Instagram: @jsheel

REPOST NY TIMES: Joe Wilder, Horn Player, Dies at 92; Elegance Was His Theme Song

Joe Wilder, a lyrical trumpeter who played with some of the biggest big bands in jazz and helped integrate Broadway, radio and television orchestras, died on Friday in Manhattan. He was 92.

His death was confirmed by his daughter Elin Wilder-Melcher.

Mr. Wilder, who played cornet and fluegelhorn as well as trumpet, lent his elegant tone to bands led by Lionel Hampton, Count Basie, Jimmie Lunceford and Benny Goodman. In 1962 he toured the Soviet Union with Goodman. He also worked, in concert and in the studio, with Billie Holiday, Harry Belafonte and many other singers.

A soft-spoken and stately man who never appeared in public without a tie, he developed a clear and even sound that reflected the years he spent studying classical performance as a young man. He aspired to a symphonic career but gravitated to jazz out of necessity.

“The opportunities for black musicians in the concert field were nil,” he said in an interview for the jazz archive of Hamilton College in 1996. His interest in classical music, he added, “inhibited my jazz playing a great deal” early in his career: “I was very stiff.”

Through the 1940s, Broadway was also off-limits to black musicians; few if any performed in the pit orchestras of musicals. It’s not clear who was the first, but Mr. Wilder was certainly one of the first — and even after he had crossed the color line he faced obstacles.

Fresh from stints with Lucky Millinder and Dizzy Gillespie, he was studying classical performance at the Manhattan School of Music and hoping to join the New York Philharmonic when he got a call to play in the band for the 1950 musical revue “Alive and Kicking.”

Shortly after that, he joined the “Guys and Dolls” pit band, which included two other black musicians, Benny Morton on trombone and Billy Kyle on piano. The three were accepted in New York, but when the show traveled to Washington it was a different story.

The pit band there consisted of local musicians as well as some key members of the New York ensemble. The producers had wanted the three black musicians to be part of the Washington band, but decided to keep Mr. Wilder and Mr. Morton out when the local musicians refused to play if they were in the horn section. (Mr. Kyle was allowed to be in the orchestra because, as a pianist, he did not sit with the other musicians.)

Race was not an issue in 1955 for Cole Porter, who blessed Mr. Wilder’s choice as first trumpet in the orchestra for his show “Silk Stockings.” And race was rarely if ever an issue for Broadway pit bands after that.

Mr. Wilder played an equally important role, along with the bassist Milt Hinton and a few others, in integrating the studio bands of network radio and, later, television. Mr. Wilder, a member of the ABC ensemble from 1957 until the television networks did away with such bands in the 1970s, was heard on “The Voice of Firestone,” “The Dick Cavett Show” and other programs that used live music.

He later became a fixture in New York’s recording studios and on film soundtracks. In the 1980s he was in the pit band for the hit Broadway musical “42nd Street.”

Joseph Benjamin Wilder was born to Curtis and the former Augustine Brown Wilder on Feb. 22, 1922, in Colwyn, Pa., outside Philadelphia. He came from a family of musicians, and chose the trumpet over the bass, which both his father and his older brother, Curtis Jr., played professionally.

He was a regular on “Parisian Tailors’ Colored Kiddies of the Air,” a weekly Philadelphia radio show that featured young black musicians, backed by all-star big bands led by Duke Ellington, Louis Armstrong and other stars. The show was broadcast live on Sundays, when jazz bands were prevented by Pennsylvania law from playing in public. (Reflecting the de facto segregation in the music industry at the time, another Philadelphia radio show featured young white musicians.)

Mr. Wilder attended Mastbaum Technical High School, which was known for its strong music program but, like most programs at the time, did not teach jazz. After leaving Mastbaum, he joined Les Hite’s big band as the first trumpet in a section that would later include Dizzy Gillespie.

He worked with Lionel Hampton before serving in the Marines for three years during World War II, and rejoined him in 1946 after his discharge. He went on to work with Gillespie and others before migrating first to Broadway and then to ABC in the 1950s.

Mr. Wilder lived in Manhattan. In addition to his daughter Elin, survivors include his wife, Solveig; two other daughters, Solveig Wilder and Inga-Kerstin Wilder; a son, Joseph Jr., from a previous marriage; and six grandchildren.

Mr. Wilder did eventually achieve his goal of performing in a classical ensemble. After returning to the Manhattan School of Music and belatedly earning a bachelor’s degree, he began performing occasionally with the New York Philharmonic in the 1970s.

But he was content to be a sideman for most of his career. He released only a handful of albums as a leader, among them “Wilder ’n’ Wilder” (1956), “The Pretty Sound of Joe Wilder” (1959) and “Among Friends” (2003). A week at the Village Vanguard in 2006, timed to coincide with his 84th birthday, was his first extended New York engagement at the helm of his own group.

In 2008 Mr. Wilder was named a Jazz Master by the National Endowment for the Arts, the nation’s highest honor for a jazz musician.

Mr. Wilder was often called “the gentleman” by fellow musicians, who respected both his musicianship and his generous, self-effacing demeanor. “He was trustworthy and honorable, and he would never curse,” his fellow trumpeter Warren Vaché remembered. “I once offered to pay him to say ‘damn it,’ and he wouldn’t take the money.”

Correction: May 15, 2014

An obituary on Saturday about the jazz trumpeter Joe Wilder referred imprecisely to his one-week stint at the Village Vanguard in 2006. It was his first extended engagement in New York as the leader of his own group — not his first engagement.

Correction: June 9, 2014

An obituary on May 10 about the jazz trumpeter Joe Wilder referred incorrectly to his educational background. He attended Mastbaum Technical High School in Philadelphia, but left before graduating. The obituary also misstated the decade during which Mr. Wilder first performed with the New York Philharmonic. It was the 1970s, not the 1960s.

REPOST OKAY PLAYER: Ma Dukes Speaks On J Dilla’s ‘The King Of Beats’ Posthumous Boxset Release

Ma Dukes Speaks On J Dilla's 'The King Of Beats' Posthumous Boxset Release

Ma Dukes is a woman with a whole lotta weight to bear. As both survivor and manager of her son J Dilla‘s estate, one can imagine that it might be a bit daunting to get a grasp of such an immense body of work, especially after that storage unit debacle, doubling or even tripling that catalogue with tapes no one had ever heard. But whatever the downsides the upside is…it seems we’ll get yet another posthumous release. In a year that’s already seen 3 in The Diary, Lost Scrolls Vol. 1 and the Diamond & Ice EP, we’ll see another page added to what is already a deep posthumous release schedule in the form of Ma Dukes’ handpicked and supervised The King Of Beats box set.

As a longtime naysayer in regards to repackaged donuts with varying degrees of MC aptitude, to hear that there were plans to bring yet another tape to surface was actually pretty unsettling. But in this particular instance, it seems Mama may truly know best, as there don’t seem to be any swagger-jacking local MCs to spit garbage over Dilla’s fortified audible gold. She explains in an interview with Rolling Stone :

“This project came about by a lot of soulsearching and meditation as to what can I do now that my son has so many bootleg projects out by unknown artists. Now that I’m out of mourning and full of insight and feeling my son’s energy radiate around me, I wanted to do something different but iconic; Something that people would preserve and relish for a lifetime that spoke quality.”

The latest batch of funk to drop from beyond the grave will be spread across more mediums than you can simultaneously play, rolling-out on four 10-inch vinyl pressings, a cassette with 5 extra beats on it and a floppy (yes, a floppy) of an extra beat, essentially covering the gamut of how his goliath catalogue came to be. We got a taste of the aptly named “Filth” last week, and I tell ya, I get the feeling we’ll be getting a few more before that late August day. We’ll have plenty more on The King Of Beats as we creep up on its release, so be sure to hold tight. You can cop the preorder for this mammoth release tomorrow via jdillathekingofbeats.com. Head over to Rolling Stone for the full script.

 

REPOST NPR: Legendary Pianist Horace Silver Dies At 85

Legendary Pianist Horace Silver Dies At 85

June 18, 2014 5:17 PM ET
Horace Silver performs for television in Copenhagen, Denmark, in 1979.

Horace Silver performs for television in Copenhagen, Denmark, in 1979.

JazzSign/Lebrecht Music & Arts/Corbis

Pianist Horace Silver, whose potent and catchy combination of blues, funk and Latin sounds shifted the jazz landscape in the 1950s and ’60s, died Wednesday morning at his home in New Rochelle, N.Y. He died of natural causes, according to his son, Gregory Silver. He was 85. As a bandleader, Horace Silver mentored some of the hottest musicians of his era. As a composer, he devised numerous jazz standards still played today. Silver grew up in Norwalk, Conn. He was 11 when he and and his father stumbled upon a swing band one warm Sunday night. It was the orchestra led by Jimmie Lunceford“And I saw all these black guys getting out of the bus with their instruments, and I said, ‘Dad, can we stay and just hear them play one number? Just one number,’ “ he told NPR in 1996. ” ‘No, you gotta go to school in the morning, gotta get up early.’ … I begged and pleaded, begged and pleaded, so he’s, ‘OK, one number.’ ” His dad let him stay for three tunes. Silver credits that one event for a lifetime chasing jazz as a pianist and bandleader. By his early 20s, he was a good enough pianist to be hired by saxophonist Stan Getz. That was 1950. He moved to the jazz hub of New York City the next year. Soon after, Silver co-founded the Jazz Messengers with drummer Art Blakey. It was a hothouse for young talent and future stars. Some later joined Silver’s bands — musicians like saxophonist Hank Mobley and trumpeter Blue Mitchell. Silver signed to Blue Note Records, and the label gave him free rein as a house pianist and arranger for nearly three decades. He created a sound that provided the blueprint for countless jazz quintets in the 1950s and ’60s: bluesy, soulful, funky.

I got the impression that sometimes some of the bebop players thought it beyond them to play funky, you know?” he said. “Just kind of take your shoes off and get down into the real nitty-gritty of the music and get guttural, sort of. Get basic, you know?”

The title of Silver’s memoir, Let’s Get to the Nitty Gritty, says it all. His style was jazz’s next big thing: It was called hard bop. Dan Morgenstern, director emeritus of the Institute of Jazz Studies at Rutgers University, says Silver had great melodies, sophisticated harmonies and rhythms you could dance to. “They were very catchy,” Morgenstern says. “There’s themes of Horace’s that stay in your ear. He just had a knack for that.” Horace Silver’s music was just as affecting in person. Morgenstern says he recalls hearing the pianist at the 1958 Newport Jazz Festival. “His hair would be flying,” Morgenstern says. “You know, his head was bobbing side to side and up and down, and he would be wringing wet when he came off that stage.” Drummer Roger Humphries drove Silver’s music into the mid-1960s. Humphries says he saw Silver not just as an inspiring pianist, but also as a mentor — “like a wonderful big brother.” “He treated me very well,” Humphries says. “He made me want to be in his band. He made me want to play for him.” Humphries backed Silver on the pianist’s most famous work. It’s the tune almost everyone knows: “Song for My Father” was written for the man who nurtured Silver’s career in the first place. “My dad said to me one time when I was a little boy, he said, ‘You know, I’m not a rich man, I’m a factory worker. But if you want to go to college, I’ll try my best to try to put you through college,’ ” Silver said. “I said, ‘No, I don’t want to go to college — I want to become a famous jazz musician. But whether I become a famous jazz musician or not, I just want to play music. If I play in just a local bar all my life — I just want to play music. That’s all I want to do.’ “

Horace Silver did become a famous jazz musician. And he got to play music for more than 60 years.