Showing posts with label TJ Anderson. Show all posts
Showing posts with label TJ Anderson. Show all posts

Monday, December 20, 2010

'Left of Black': Episode #14 featuring TJ Anderson and Alexis Pauline Gumbs



Left of Black #14—December 20, 2010
w/Mark Anthony Neal

Left of Black Host and Duke University Professor Mark Anthony Neal is joined by composer T.J. Anderson and Queer media activist and writer Alexis Pauline Gumbs on location at the Beyu Caffe in Durham, NC

→T.J. Anderson is one of the leading composers of his generation. Born in 1928 Anderson received a Ph.D in Composition from the University of Iowa. After serving as Chairman of the Department of Music at Tufts University for eight years, Thomas Jefferson Anderson became Austin Fletcher Professor of Music and in 1990 became Austin Fletcher Professor of Music Emeritus. He now lives in Chapel Hill, North Carolina where he devotes full time to writing music.

→A Self-Described "Queer Black Trouble Maker" Alexis Pauline Gumbs holds a Ph.D. from Duke University and is the founder of Broken Beautiful Press. Gumbs is also editor of the blog Eternal Summer of the Black Feminist Mind.


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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

Sunday, December 12, 2010

"Left of Black' LIVE at the Beyu Caffe on Monday December 13th



Join LEFT OF BLACK Host and Duke University Professor Mark Anthony Neal for a live taping of Left of Black, Monday December 13, 2010 at 7:00pm, featuring author and activist, Zelda Lockhart, composer T.J. Anderson, Queer media activist and writer Alexis Pauline Gumbs and pastor and novelist Carl Kenney.

Zelda Lockhart is the author of the recently published Fifth Born II: The One Hundredth Turtle, a sequel to her first novel Fifth Born and Cold Running Creek. As the 2010 Piedmont Laureate, Lockhart has been instrumental in raising HIV/AIDS awareness in Black communities.

T.J. Anderson is one of the leading composers of his generation. Born in 1928 Anderson received a Ph.D in Composition from the University of Iowa. After serving as Chairman of the Department of Music at Tufts University for eight years, Thomas Jefferson Anderson became Austin Fletcher Professor of Music and in 1990 became Austin Fletcher Professor of Music Emeritus. He now lives in Chapel Hill, North Carolina where he devotes full time to writing music.

A Self-Described "Queer Black Trouble Maker" Alexis Pauline Gumbs holds a Ph.D. from Duke University and is the founder of Broken Beautiuful Press. Gumbs is also editor of the blog Eternal Summer of the Black Feminist Mind.

Pastor Carl Kenney is the founding Pastor of Compassion Ministries in Durham, NC and former pastor at Orange Grove Missionary Baptist Church in Durham, NC, Kenney is also the author of Preacha Man and the just published sequel Backslide.

Beyu Caffe
335 West Main Street
Durham, NC 27701-3215
(919) 683-1058

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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

Monday, June 14, 2010

Songs for the Soul: New Recording Celebrates Black Classical Composers


Cover Art by Maya Freelon Asante

Songs for the Soul:
New Recording Celebrates Black Classical Composers
by Mark Anthony Neal

In a country in which the most well known classical composers are the proverbial “dead white men,” the idea that there are generations of Black classical composers might strike some as strange. The recent release of Songs for the Soul, a recording of chamber music by African-American composers performed by the Mallarme Chamber Players is an attempt to counter such beliefs. Released on the Videmus label, a label devoted explicitly to music by African-American, women and underrepresented composers, Songs for the Soul features music composed by Undine Smith Moore, Thomas Jefferson Anderson, William C. Banfield and Anthony Kelley.

The disc opens with Undine Smith Moore’s “Afro American Suite” (1969), initially written for flutist D. Antoinette Handy. Generally referred to as the “Dean of Black Women Composers” Moore was born in 1904 and began playing piano at age seven. Educated at Fisk University, Moore was the first Fisk student awarded a scholarship from the Julliard School of Music. In 1927, Moore began her 45-year career teaching at HBCU Virginia State University, where the legendary jazz pianist Billy Taylor (“I Wish I Knew How It Would Feel to Be Free”) and the opera singer Camilla Williams, who debuted with the New York City Opera in 1946, were among her students. Moore’s best known piece is Scene from the Life of a Martyr (1980), written in memory of Reverend Dr. Martin Luther King, Jr., was nominated for a Pulitzer Award. Moore died in 1989.

According to cellist Timothy Holley, the “Afro-American Suite” references several spirituals and folk songs including “Brothers Will You Pray for Me,” “I Heard the Preaching of the Elder, Preaching the Word of God,” “Who is That Yonder,” and “I Got Shoes, You Got Shoes, All God’s Chillun Got Shoes.” As such Moore’s compositional strategy, mirrors popular and practical African-American aesthetic practices that re-contextualized existing compositions for the purpose of making them relevant to their audiences. This was as much the case with Moore’s compositions, as it was with be-bop musicians quoting from Tin Pan Alley songs and the sampling practices of contemporary hip-hop producers.

T.J. (Thomas Jefferson) Anderson is part of the generation of Black composers that came after Undine Smith Moore. Coming of age in their era just before the Civil Rights Movement, Anderson was able to take advantage of opportunities that Moore and William Grant Still before her, do not have access to. Jefferson earned a Ph.D. in Composition from the University of Iowa in 1958 and took various positions at HBCU’s before becoming the Chair of the music department at Tufts University in 1972, where he has been emeritus since 1990. Though no longer teaching, Anderson continues to compose. “Spirit Songs,” his contribution to Songs for the Soul was commissioned by Yo Yo Ma 1993. As Anderson says of the piece, “the work is improvisational in character; however, the music is organized around collective thoughts and notations.” Anderson’s music has been described as “audaciously modern” and he continues to listen to and engage contemporary composers and musicians, as was the case with his recent public conversation with Paul Miller aka DJ Spooky. Now in his eighties, Anderson continues to be generous with his time, his wit and his expertise, much the way Moore was for the generation of composers that came after her.

“Grist for the Mill,” Duke University Professor Anthony Kelley’s contribution to Songs for the Soul was inspired after breaking bread with Anderson and his wife Louise. Kelley’s music has been performed by the symphony orchestras in Baltimore, Detroit, Atlanta, Oakland and San Antonio. Heavily influenced by Jazz, Kelley predicts that 21st century music will be more eclectic, an element that can be heard in “Grist for the Mill.” Indeed the piece’s title becomes a metaphor for Kelley’s belief that future composers will incorporate popular music with their own cultural influences.

The centerpiece of Songs for the Soul is William Banfield’s opera Soul Gone Home, which is based on Langston Hughes one-act play of the same title. The play features two characters, a grieving mother and her just dead son. The opera was initially commissioned by the Mallarme Chamber Players and premiered in 2002. Banfield, who is a jazz guitarist and author, as well as a professor at the Berklee College of Music, recalled reading Hughes’s play back in 1988 and immediately thinking “this would be a great opera.” When Mallarme commissioned the opera he immediately thought of his friend, six-time Grammy Award nominated jazz vocalist Nnenna Freelon, to sing both roles. The resulting product, like the CD Songs for the Soul, is a timeless tour-de-force that illuminates the rich legacy of African-American music and composition.

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Thursday, March 25, 2010

The Charmed Lives of Aurelia Whittington Franklin and John Hope Franklin


A year after the death of John Hope Franklin, a reflection on the ‘Going Home’ Ceremony of the Historian and his wife Aurelia Whittington Franklin.


The Charmed Lives of Aurelia Whittington Franklin and John Hope Franklin
By Mark Anthony Neal

When John Hope Franklin died on March 25, 2009, there were many tributes to his activism and his scholarship. On June 11, 2009 Franklin’s family and friends including some of the Black Social and Intellectual elite and former United State President Bill Clinton, gathered at Duke University’s Chapel for going-home ceremony fitting for a man that long-time friend Vernon Jordan called, quoting former US Solicitor General Walter Dellinger, “one of the most remarkable Americans of the 20th century.”

According to Franklin’s son, John Wittington Franklin, the day of the celebration was chosen because it marked what would have been the 69th a wedding anniversary of his mother and father. His mother, Aurelia Whittington Franklin died in 1999 and the celebration was as much a celebration of her life as it was a celebration of their life together. As Franklin’s son put it, they were a “powerful team.” Franklin remarked many times in his life, his wife, a librarian by training, was often by his side helping him navigate the library stacks. A charter member of the Triangle Park Chapter of The Links, Inc, Aurelia Franklin’s decades of service to Black communities across the globe, put a fine point on the Franklins’ shared service and quiet activism.

Franklin is, of course, most well known as one of the leading American historians of the 20th century and many of his peers and students were on hand to attest to the power of his intellect including Harvard Historian Evelyn Brooks Higginbotham, who is the co-author of the recently published 9th edition of Franklin’s classic From Slavery to Freedom, and Pulitzer Prize winning historian David Levering Lewis who noted that Franklin possessed “perfect historiographic pitch.” Thavolia Glymph, a noted historian in Duke University’s African and African-American Studies Department reflected that Franklin possessed a “moral poise that was as exquisite as his intellectual armor.”


It is on such personal notes, that many of the speakers captured the very reason why so many gathered to celebrate the lives of John Hope and Aurelia Whittington Franklin. Virtually all of the speakers remarked on the couple’s love of entertaining and Franklin’s particular affection for cooking, Louisiana style gumbo being among his favorites. Franklin’s niece, Cynthia Gibbs Wilson, recalled “uncle John’s” unwillingness to divulge the secret ingredient in his corn bread dressing, though he had recently admitted to her that there was no secret ingredient, but that he believed that his dressing simply never tasted as good as his own mother’s.

Noted playwright and longtime Franklin family friend Emily Mann recalled growing up with John Wittington Franklin and being privy to weekly intellectual discussion with Dr. Franklin, her father, the historian Dr. Arthur Mann, her mother and Aurelia Franklin. It was those discussions that informed her later work, including her Tony Award nominated adaptation of The Delaney Sisters’ memoir Having Our Say: The Delaney Sisters’ First 100 Years. Mann’s recollections got one the biggest responses from the standing-room-only audience when she recounted someone asking Franklin where the late United States Senator Jesse Helms was from, and Franklin, without missing a beat, simply said “from hell.” Mann’s story came in the backdrop the North Carolina General Assembly’s resolution last year resolution to honor Helms, a very public opponent of racial integration.

Franklin himself, often joked about many of the sleights directed at him and his family. As a survivor of the Tulsa Race riots, that was of course his right, but that didn’t mean that he didn’t take such sleights to heart. Several speakers recalled the story of the Duke University Professor, who in the 1940s when Franklin was based at HBCU North Carolina Central University, couldn’t understand why Franklin would support integration. According to the Duke professor’s logic, integration would translate into the closing of historically black schools, thus Franklin would be out of a job. Franklin’s response was typical, as he joked that he would simply come after said Professor’s job at Duke. It was that spirit that former President Bill Clinton described Dr. Franklin as a “a genius in being a passionate rationalist, an angry happy man, a happy angry man.” Clinton awarded Franklin the Presidential Medal of Freedom in 1995 and later tapped him to head a Presidential initiative on Race in 1997. Though Clinton admitted that the initiative’s impact wasn’t fully realized he took some credit for the multiracial landscape that produced President Barack Obama’s victory.

Clinton comments, capped by a festive morning that featured performances by the Fisk Jubilee Singers (from the Franklins’ alma mater) and two original compositions from noted black composer and conductor T.J. Anderson, were preceded by his close friend Vernon Jordan. Clinton jokingly suggested that Jordan did everything, “but pass the plate,” during his stirring tribute to Franklin. Much like Franklin, Jordan has spent a career making his mark outside of the public eye and he alluded to Franklin’s influence in that regard. Noting that though he never had a formal classroom experience with Dr. Franklin, the late historian often counseled him over meals, phone calls and one time, over friend chicken at Paschal’s in Atlanta’s Hartsfield-Jackson airport. According to Jordan, Franklin was “a teacher who taught us to believe in the shield of justice and the sword of truth.”

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