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Schomburg Center for Research in Black Culture > Video Oral History Gallery Video Gallery Cataloging Data: Yusef LateefLocation
Schomburg-MIRS
Call #
Sc Visual VRA-181 Service copy.
Sc Visual VRB-2014 Original of: Sc Visual VRA-181.
Author
Lateef, Yusef, interviewee.
Title
Oral history interview with Yusef Lateef, 27 September 1996
[videorecording] / interviewer, Larry Ridley.
Imprint
1996.
Description
2 videocassettes (2 hrs., 13 min.) : sd., col. ; 1/2 in.
021300
Note
Title supplied; duration: 2 hrs., 13 min.
Credits
Produced and directed by James Briggs Murray.
Note
Note
Recorded on September 27, 1996, at Schomburg Center for Research
in Black Culture, Louis Armstrong Jazz Oral History Project.
Summary
The oral history interview with Yusef Lateef briefly documents
his childhood. Born in Chattanooga, Tenn., at the age of 4, his
family moved to Detroit. Influenced by Detroit-based musicians,
most notably Barry Harris. Performed in high school band and, at
18, toured the South. After high school exposed to Count Basie.
Music education came from outside the university. Birthplace of
jazz is discussed. Eubie Blake contends that where an African
American presence existed, there was jazz. The belief that New
Orleans is the birthplace of jazz is debunked. Lateef believes
that jazz emerged throughout the US; the word "jazz" is
ambiguous, a misnomer and, by some definitions, demeaning.
Discusses James Baldwin: given that normative meanings err,
Baldwin called for caution about absolute definitions. Meaning,
like music, is environmental; Lateef sees this as fostering
uniqueness and diversification; talks about John Dewey who
asserted that a work of art cannot be separated from individual
experience. Lateef uses Charlie Parker, excluded from playing
piano concertos, to illustrate criticism of singularity. Although
Little symphony (1987) earned him a New Age grammy, does not see
hmself as a New Age artist; this further illustrates the point.
Continued to live in Michigan; worked with Lucky Thompson. Went
to Chicago and played tenor sax; influenced by Benny Carter.
Returned to Detroit and played with Lucky Millinder. Moved to
NYC; collaborated with Hot Lips Page, Roy Eldridge and Ernie
Fields (1947). Returned to Chicago and parcticed 4-5 hours daily
(1948); joined Dizzy Gillespie's band (1949). Talks about Dizzy:
kind, giving, accessible. Studied at Wayne State and led own
Detroit-based group which made several albums for NYC-based
labels (1950s). Began studying flute and oboe; contracted with
Prestige to study music of other cultures. Began constructing his
own bamboo flutes and, in terms of intonation and scale, did not
fashion them after any known flutes. Cites a number of musicians:
Ernie Farrow, Kenny Burrell, Hugh Lawson, Billy Mitchell, Paul
Chambers, Doug Watkins and, again, Harris ("high priest" of music
in Detroit). Harris taught Lateef the linear scale; prior to
this, Lateef played only vertically. Talks about Tommy Flanagan,
Charlie Parker and others. Joined Art Blakely's Big Band. Gives a
Marxist analysis of John Coltrane's style (Lateef's use of
indigenous rhythms greatly influenced Coltrane). Played with
Charles Mingus (1960-1961), Michael Olatunji (1961-1962) and
Adderley Sextet (1962-1964), led own groups, and pursued academic
studies. Trip to Ghana exposed him to African woodwind
instruments. Became a fellow at Centre for Nigerian Cultural
Studies (Ahmadu Bello University) (1981-1985). Studied music
indigenous to Nigerian ethnic groups. Discusses functionalism and
social context of music (farmer's dance, blacksmith's dance,
etc.) and music therapy. Nigerian music expresses emotion through
intervals rather than minor chords (the latter being an
American/Germanic convention); incorporates these techniques into
compositions. Made one album in Nigeria (Hikima/1983). Concludes
interview by discussing Queen Amina, a Nigerian play on which he
served as musical director; had to go to the environment to
recruit musicians. The play is a mixture of indigenous (music and
dance performed exclusively by the Igbo and other ethnic groups)
and western (classical use of Greek chorus to express sorrow).
Currently teaching at the University of Massachusetts.
Note
Reproduction. Originally produced: New York, N.Y. :Schomburg Center
for Research in Black Culture, The New York Public Library, 1996.
2 videocassettes ; 1/2 in. (MII). VHS.
Use terms
Permission required to cite, quote and reproduce; contact
repository for information.
Biography/History
Yusef Lateef is a musician, composer and educator. Born William
Evans on Oct. 9, 1920, he joined the Islam movement in 1949 and
took a Muslim name. Motivated by his parents at an early age, he
began his career with the tenor saxophone. It was Lateef's use of
woodwind instruments, most notably flute and oboe, which gained
him recognition for his composition and use of Asian, African and
Middle Eastern rhythms. Initially self-educated, he received an
MA and doctorate in music education. Lateef continues to compose,
write and teach.
Note
Forms part of: Louis Armstrong Jazz Oral History Project.
In
Louis Armstrong Jazz Oral History Project
Subject
Lateef, Yusef -- Interviews.
Lateef, Yusef -- Childhood.
Harris, Barry -- Influence.
Basie, Count, 1904- -- Influence.
Blake, Eubie, 1883- -- Views on jazz.
Baldwin, James, 1924- -- Views on semantics.
Dewey, John, 1859-1952 -- Views on art.
Parker, Charlie, 1920-1955.
Lateef, Yusef. Little symphony.
Thompson, Lucky, 1924-
Carter, Benny -- Influence.
Millinder, Lucky.
Page, Hot Lips, 1908-1954.
Eldridge, Roy, 1911-
Fields, Ernie.
Gillespie, Dizzy, 1917- -- Psychology.
Farrow, Ernie.
Burrell, Kenny -- Influence.
Lawson, Hugh.
Mitchell, Billy, 1926- -- Influence.
Chambers, Paul.
Watkins, Doug.
Flanagan, Tommy.
Parker, Charlie -- Influence.
Coltrane, John, 1926-1967.
Mingus, Charles, 1922-
Olatunji, Babatunde.
Lateef, Yusef -- Journeys -- Ghana.
Coltrane, John, 1926-1967 -- Journeys -- Ghana.
Lateef, Yusef -- Journeys -- Nigeria.
Lateef, Yusef. Hikima.
Jazz Messengers.
Nat Adderley Sextet.
Ahmadu Bello University. Centre for Nigerian Cultural Studies.
Jazz musicians.
Afro-American composers.
Afro-American college teachers.
Music -- Self-instruction.
Self-culture.
Jazz -- History.
Afro-Americans -- Music.
Stereotype (Psychology)
Toleration.
Afro-Americans -- Race identity.
Saxophone -- Studies and exercises (Jazz).
Saxophone -- Methods (Jazz).
Flute -- Studies and exercises (Jazz).
Flute -- Construction.
Oboe -- Studies and exercises (Jazz).
Shehnai -- Studies and exercises (Jazz).
Flute and oboe music -- Technique.
Pipe (Musical instrument) -- Construction.
Musical temperament -- Technique.
Musical intervals and scales -- Technique.
Twelve-tone system -- Technique.
Music -- Acoustics and physics.
Harmonic analysis (Music).
Dialectical materialism.
Music -- Philosphy and aesthetics.
Flute and oboe music -- Africa.
Woodwind instruments -- Africa.
Fula (African people) -- Songs and music.
Hausa (African people) -- Songs and music.
Yoruba (African people) -- Music.
Nupe (African people) -- Songs and music.
Igbo (African people) -- Songs and music.
Ethnology -- Nigeria.
Functionalism in art.
Emotions in art.
Context effects (Psychology).
Music therapy -- History.
Form/genre
Interviews.
Biographies.
Additional name
Add'l name
Ridley, Larry, interviewer.
Schomburg Center for Research in Black Culture. Louis Armstrong
Jazz Oral History Project.
Schomburg Center for Research in Black Culture.
Donor
The Louis Armstrong Jazz Oral History Project was funded by the
Louis Armstrong Educational Foundation, Inc.
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