"I'm the only living musician that has played all the eras," Mary Lou Williams once said, "Other musicians lived through the eras and they never changed their styles."
When the Aardvark Jazz Orchestra came to Stonehill to dedicate a concert to the famous musician Mary Lou Williams, I had a lot of mixed feelings. I didn't know whether I would enjoy this big band jazz, or if it would be my type of music. Throughout the concert I realized how creative Mary Lou Williams was and how brilliant her music is. I really enjoyed the concert and came out with a totally different outlook on big band jazz and of course Mary Lou Williams. The man who composed that night talked about Mary Lou William's life between every couple of songs which helped me to come more associated with her.
Mary Lou Williams loved to play the piano and keyboard and actually learned by ear, able to play note for note what her mother played for her. Her stepfather James P. Johnson taught her the blues, but at age 13 Mary Lou ran away from home. At the early age of 16, Mary Lou Williams was already married. She became an inspiration to musicians all over the world, and people would travel to see her perform. She was brilliant on the piano, which we saw in the concert in the songs "Anima Christi" and "St. Martin de Porres." The compositions she put together were truly beautiful and I got nothing but enjoyment from listening to her music be played.
Later on in her life, Mary Lou donated money to musicians that were detrimented by drugs and alcohol. These donations helped to get musicians back on their feet once they were out of their addiction. One of my favorite pieces put together by Mary Lou Williams were "Swing Hard" and "Roll 'Em." Overall, Mary Lou Williams is a great inspiration to musicians all over the world and she truly was an amazing performer. As Duke Ellington put it, "Mary Lou Williams is perpetually contemporary. Her writing and performing are and always have been just a little ahead throughout her career... Her music retains a standard of quality that is timeless. She is like soul on soul."
-Justin Coonan
Friday, March 19, 2010
The Mary Lou Williams Center: A Place to Become Enriched in Culture
Erin Kelly
The Mary Lou Williams Center for Black Culture was built to raise awareness for “Black People, Black History, and Black Culture.” The center was established in 1983 as a “safe, welcoming, and supportive space that reflects the core values, culture, mission, and perspectives of Duke’s Black Community.” Mary Lou Williams taught at Duke University as an Artist-in-Residence from 1977 until her death. This center was built in honor of her and her achievements as a woman, and artist, a scholar, and a leader. At this center there are programs designed to portray the significance of Black experiences. These programs all correspond to a major theme- jazz.
There are four different types of programs offered: Signature, Jazz, Annual, and Thematic. Signature programs are “annual opportunities to showcase our commitment to scholarly, activist, and artistic presentations centered around Jazz and Social Justice.” One event is called Speaking of Hope. This is an inaugural dialogue where students can become open-minded and are able to share experiences of work of hope and philanthropy. Speaking of Hope was created on the 25th anniversary of the Mary Lou Williams Center. Another event, titled Measure of Grace, is an annual jazz concert where renowned musicians Gerri Allen and Patricia Barber perform their version of Williams’ Zodiac Suite. This concert remembers Williams, and celebrates her legacy as a jazz pioneer. The Jazz programs offered are enjoyable and great experiences. The agenda ranges from annual concerts, to information groups and discussions, to jam sessions every Wednesday evening. These jam sessions are not to be missed. Local performers, as well as Duke students play live performances of great jazz pieces.
The thematic section contains four events; two are called Brother to Brother and Sister to Sister. Brother to Brother is for Black males to talk about the future beyond Duke. Also, “The sessions offer various topics related to Black men's health, academics and relationships, creating an opportunity for the men to build greater connections and share notable commonalities.” Sister to Sister is very similar, but it is for Black women who are undergraduates. Women in this program first attend a retreat, and then it is a “space for the women to come together and support each other’s growth, challenges, and healing through these regularly scheduled opportunities.”
These are just a few of the many programs The Mary Lou Williams Center offers. All allow students and faculty alike to become enriched in the Black culture as well as gaining knowledge of the main theme- jazz. All of these in some way remember the legacy of Mary Lou Williams, who was such an important figure in history, as well as at Duke University. Her achievements and accomplishments will never be forgotten.
http://www.studentaffairs.duke.edu/mlw
The Mary Lou Williams Center for Black Culture was built to raise awareness for “Black People, Black History, and Black Culture.” The center was established in 1983 as a “safe, welcoming, and supportive space that reflects the core values, culture, mission, and perspectives of Duke’s Black Community.” Mary Lou Williams taught at Duke University as an Artist-in-Residence from 1977 until her death. This center was built in honor of her and her achievements as a woman, and artist, a scholar, and a leader. At this center there are programs designed to portray the significance of Black experiences. These programs all correspond to a major theme- jazz.
There are four different types of programs offered: Signature, Jazz, Annual, and Thematic. Signature programs are “annual opportunities to showcase our commitment to scholarly, activist, and artistic presentations centered around Jazz and Social Justice.” One event is called Speaking of Hope. This is an inaugural dialogue where students can become open-minded and are able to share experiences of work of hope and philanthropy. Speaking of Hope was created on the 25th anniversary of the Mary Lou Williams Center. Another event, titled Measure of Grace, is an annual jazz concert where renowned musicians Gerri Allen and Patricia Barber perform their version of Williams’ Zodiac Suite. This concert remembers Williams, and celebrates her legacy as a jazz pioneer. The Jazz programs offered are enjoyable and great experiences. The agenda ranges from annual concerts, to information groups and discussions, to jam sessions every Wednesday evening. These jam sessions are not to be missed. Local performers, as well as Duke students play live performances of great jazz pieces.
The thematic section contains four events; two are called Brother to Brother and Sister to Sister. Brother to Brother is for Black males to talk about the future beyond Duke. Also, “The sessions offer various topics related to Black men's health, academics and relationships, creating an opportunity for the men to build greater connections and share notable commonalities.” Sister to Sister is very similar, but it is for Black women who are undergraduates. Women in this program first attend a retreat, and then it is a “space for the women to come together and support each other’s growth, challenges, and healing through these regularly scheduled opportunities.”
These are just a few of the many programs The Mary Lou Williams Center offers. All allow students and faculty alike to become enriched in the Black culture as well as gaining knowledge of the main theme- jazz. All of these in some way remember the legacy of Mary Lou Williams, who was such an important figure in history, as well as at Duke University. Her achievements and accomplishments will never be forgotten.
http://www.studentaffairs.duke.edu/mlw
Thursday, March 18, 2010
The Originality of Mary Lou
Mary Lou Williams is no doubt one of the great American Jazz composers in history. Her ability to arrange the instruments in such a successful manner is some of the appeal of her music. We have seen the evolution of the jazz orchestra from a small band of about seven musicians to ones that grew as large as twenty members and larger. It is this texture and variety of instruments that I find so appealing of Mary Lou's music. Not only that, but how she manipulates such instruments in her compositions is equally impressive.
Her band had somewhat of a stereotypical setup: drums, piano, guitar, bass, trumpets, trombones, and saxophones. I feel that Mary Lou established herself as such a significant composer because she was able to take the standard jazz orchestra a make it sound new and exciting. In her song "Roll 'Em," for example, Mary Lou allows a great deal of improvisation in the tenor saxophone and vocals, which allows for additional creativity and originality. However, she is able to unite the piece by never straying too far from the main theme.
Mary Lou Williams is known for creating traditional jazz, blues jazz, sacred jazz, gospel music, and non-traditional contemporary jazz. Her piece "Scorpio," for example, incorporates a flute which adds a more exotic mood to jazz music. There are few musicians and composers who are able to take a standard set of instruments and make them sound original and new. She cannot be classified under one style because she is multiple styles at once. As is quoted in the program for the Aardvark Jazz Concert by Duke Ellington, "Mary Lou Williams is perpetually contemporary. Her music retains a standard of quality that is timeless. She is like Soul on Soul." Her skill, passion, and originality will preserve her music for all time.
Mike Prisby
Her band had somewhat of a stereotypical setup: drums, piano, guitar, bass, trumpets, trombones, and saxophones. I feel that Mary Lou established herself as such a significant composer because she was able to take the standard jazz orchestra a make it sound new and exciting. In her song "Roll 'Em," for example, Mary Lou allows a great deal of improvisation in the tenor saxophone and vocals, which allows for additional creativity and originality. However, she is able to unite the piece by never straying too far from the main theme.
Mary Lou Williams is known for creating traditional jazz, blues jazz, sacred jazz, gospel music, and non-traditional contemporary jazz. Her piece "Scorpio," for example, incorporates a flute which adds a more exotic mood to jazz music. There are few musicians and composers who are able to take a standard set of instruments and make them sound original and new. She cannot be classified under one style because she is multiple styles at once. As is quoted in the program for the Aardvark Jazz Concert by Duke Ellington, "Mary Lou Williams is perpetually contemporary. Her music retains a standard of quality that is timeless. She is like Soul on Soul." Her skill, passion, and originality will preserve her music for all time.
Mike Prisby
Mary Lou Williams' personal philosophy
By Lisa Krastins
“She sits a bit forward on the piano bench, her feet away from the pedals, marking off tempo while she nods to the sense of balance that combines drive and relaxation. A hald smile lights up the high cheekbone nearest the listener. If she is playing with a band there is sometimes a slight inclination of the head in awareness. But the concentration is in the hands; slender, strong fingers reaching unerringly for the note, the chord, the mood” Charles Edward Smith
Mary Lou Williams also known as the first lady of jazz, was an American jazz pianist, composer and arranger. Mary Lou Williams had a tough upbringing and was forced to become a woman before she was ready. Her family never seemed to give the motivation Mary was longing for and instead received praise from other musicians. No matter how much Mary accomplished, “she could not crack the carapace of her parents’ fundamental indifference to the fact of her existence” (Dahl 3). People say that from the time Mary was a child, she had a sense of her own talent and the significance of the African American musical heritage. Mary is also described as having a funny side, but remained intensely private about her personal life. She very rarely ever discussed the hurtful events of her private life publicly. The way people found out about her personal life was through letters and notebooks where she had made an attempt to write an autobiography. In the bottom of this box, where the letters and notebook were kept, there was a piece of paper that said:
“Jazz created for all people.
Jazz created through suffering.
Got beaten everyday
And school-Amy Frank” (Dahl 8).
When this short statement was discovered, people saw it as Mary Lou’s own personal philosophy that she lived by and it showed deep roots to her difficult upbringing. This short statement exemplifies Mary’s desire to be accepted by everyone. This also shows her strong connection she felt to jazz. Duke Ellington stated “Mary refuses to bow to any ethnocentrism, any limitations, from any side- she only reluctantly accepted the designation “jazz” for the music that was born of African Americans” (Dahl 12). Mary saw jazz as world music and something that was universally accessible
“She sits a bit forward on the piano bench, her feet away from the pedals, marking off tempo while she nods to the sense of balance that combines drive and relaxation. A hald smile lights up the high cheekbone nearest the listener. If she is playing with a band there is sometimes a slight inclination of the head in awareness. But the concentration is in the hands; slender, strong fingers reaching unerringly for the note, the chord, the mood” Charles Edward Smith
Mary Lou Williams also known as the first lady of jazz, was an American jazz pianist, composer and arranger. Mary Lou Williams had a tough upbringing and was forced to become a woman before she was ready. Her family never seemed to give the motivation Mary was longing for and instead received praise from other musicians. No matter how much Mary accomplished, “she could not crack the carapace of her parents’ fundamental indifference to the fact of her existence” (Dahl 3). People say that from the time Mary was a child, she had a sense of her own talent and the significance of the African American musical heritage. Mary is also described as having a funny side, but remained intensely private about her personal life. She very rarely ever discussed the hurtful events of her private life publicly. The way people found out about her personal life was through letters and notebooks where she had made an attempt to write an autobiography. In the bottom of this box, where the letters and notebook were kept, there was a piece of paper that said:
“Jazz created for all people.
Jazz created through suffering.
Got beaten everyday
And school-Amy Frank” (Dahl 8).
When this short statement was discovered, people saw it as Mary Lou’s own personal philosophy that she lived by and it showed deep roots to her difficult upbringing. This short statement exemplifies Mary’s desire to be accepted by everyone. This also shows her strong connection she felt to jazz. Duke Ellington stated “Mary refuses to bow to any ethnocentrism, any limitations, from any side- she only reluctantly accepted the designation “jazz” for the music that was born of African Americans” (Dahl 12). Mary saw jazz as world music and something that was universally accessible
Thursday, March 4, 2010
Bop To The Top: Mary Lou Williams and Bob Jazz
By: Peter Hoye
Bob, or Bebop Jazz as it was also known, was a form of jazz that emerged in the 1940’s. A major contrast to big band jazz, bop jazz featured smaller groups of musicians, often between 4-6, as opposed to the 10 plus found in big bands. In having less musicians, it allowed for greater solo opportunities within the songs. The music could be identified by it’s by melodies and chord progressions that were different from those of big bands in that they were much more complex. The music also tended to be more irregular, thus making it difficult to dance to, but easy to listen to for enjoyment (Bebop). What made this new form of jazz so radical was that the melody now became secondary and improvisations were based around harmonies and chords. Bop has been referred to as the birth of modern jazz (McPhearson).
One of the most influential musicians of this new jazz was the piano prodigy, Mary Lou Williams. After leaving Andy Kirk, and having written some major jazz hits such as Walkin’ and Swingin’ and Scatchin’ the Gravel. Following her time with Kirk, Williams was asked to work with Duke Ellington. However, “after some dozen years, Williams was ready for a change of musical scene” (Mary Lou Williams-Soul on Soul), and it was then that she was hired by Barney Josephson, owner of Café Society, a Greenwich Village night club famous for its outstanding jazz and blues. With the help of Josephson Williams acquired her own radio show. “Her program figured into Mary's composing one of the more interesting compositions (and reflecting Duke Ellington's movement toward creating extended works), The Zodiac Suite” (Mary Lou Williams-Soul on Soul). Following a poorly intended performance of the Suite she was coaxed by Dizzy Gillespie to complete the remaining 9 parts of the intended 12 part suite (Dizzy Gillespie (featuring Mary Lou Williams): Selections from Zodiac Suite). It in her collaborating with Dizzy that Mary moved into the modern jazz era. She was quoted as saying “bop came along with a more modern thing, and the blues and that swing part, but it was just more colorful…they were beautiful like riding around and taking in the scenery, rather than just having a steady beat going” (Gillespie 150-151). Mary Lou Williams found her place in the bebop revolution in that “she had gradually modernized her style and by the early to mid-'40s was actively encouraging the young modernists who would lead the bebop revolution, including Thelonious Monk, Bud Powell, Tadd Dameron, and Dizzy Gillespie.” (Mary Lou Williams:Biography).
REFERENCES:
"Bebop." Hyper Music-History of Jazz. 04/17/2004. Web. 4 Mar 2010..
"Dizzy Gillespie (featuring Mary Lou Williams): Selections from Zodiac Suite." Jazz.com . Web. 4 Mar2010.
.
Gillespie, John Birks, and Al Fraser. To Be, or not...To Bop-Dizzy Gillespie. Minneapolis, MN.: University of Minnesota Press, 1979. 150-151. Print.
LastMcPherson, Ian Gordon. "Bob Jazz." The Salt of the Earth . 2000. Web. 4 Mar 2010.
.
"Mary Lou Williams: Biography." MSN Music. 2010. Web. 4 Mar 2010..
"Mary Lou Williams - Soul on Soul." Modern Jazz & Cafe Society. 2001. Rutgers University Libraries, Web. 4 Mar 2010..
Bob, or Bebop Jazz as it was also known, was a form of jazz that emerged in the 1940’s. A major contrast to big band jazz, bop jazz featured smaller groups of musicians, often between 4-6, as opposed to the 10 plus found in big bands. In having less musicians, it allowed for greater solo opportunities within the songs. The music could be identified by it’s by melodies and chord progressions that were different from those of big bands in that they were much more complex. The music also tended to be more irregular, thus making it difficult to dance to, but easy to listen to for enjoyment (Bebop). What made this new form of jazz so radical was that the melody now became secondary and improvisations were based around harmonies and chords. Bop has been referred to as the birth of modern jazz (McPhearson).
One of the most influential musicians of this new jazz was the piano prodigy, Mary Lou Williams. After leaving Andy Kirk, and having written some major jazz hits such as Walkin’ and Swingin’ and Scatchin’ the Gravel. Following her time with Kirk, Williams was asked to work with Duke Ellington. However, “after some dozen years, Williams was ready for a change of musical scene” (Mary Lou Williams-Soul on Soul), and it was then that she was hired by Barney Josephson, owner of Café Society, a Greenwich Village night club famous for its outstanding jazz and blues. With the help of Josephson Williams acquired her own radio show. “Her program figured into Mary's composing one of the more interesting compositions (and reflecting Duke Ellington's movement toward creating extended works), The Zodiac Suite” (Mary Lou Williams-Soul on Soul). Following a poorly intended performance of the Suite she was coaxed by Dizzy Gillespie to complete the remaining 9 parts of the intended 12 part suite (Dizzy Gillespie (featuring Mary Lou Williams): Selections from Zodiac Suite). It in her collaborating with Dizzy that Mary moved into the modern jazz era. She was quoted as saying “bop came along with a more modern thing, and the blues and that swing part, but it was just more colorful…they were beautiful like riding around and taking in the scenery, rather than just having a steady beat going” (Gillespie 150-151). Mary Lou Williams found her place in the bebop revolution in that “she had gradually modernized her style and by the early to mid-'40s was actively encouraging the young modernists who would lead the bebop revolution, including Thelonious Monk, Bud Powell, Tadd Dameron, and Dizzy Gillespie.” (Mary Lou Williams:Biography).
REFERENCES:
"Bebop." Hyper Music-History of Jazz. 04/17/2004. Web. 4 Mar 2010.
"Dizzy Gillespie (featuring Mary Lou Williams): Selections from Zodiac Suite." Jazz.com . Web. 4 Mar2010.
Gillespie, John Birks, and Al Fraser. To Be, or not...To Bop-Dizzy Gillespie. Minneapolis, MN.: University of Minnesota Press, 1979. 150-151. Print.
LastMcPherson, Ian Gordon. "Bob Jazz." The Salt of the Earth . 2000. Web. 4 Mar 2010.
"Mary Lou Williams: Biography." MSN Music. 2010. Web. 4 Mar 2010.
"Mary Lou Williams - Soul on Soul." Modern Jazz & Cafe Society. 2001. Rutgers University Libraries, Web. 4 Mar 2010.
Tuesday, March 2, 2010
Mary Lou Williams’ Religious Conversion
After suffering an emotional breakdown in Europe, Mary Lou Williams decided to retire from public musical performance. She experienced much financial strain and hardship in her musical career: it was her only source of income, and so she could not stop making recordings. Greatly distressed, she turned to the Abyssinian Church in 1955, but she finally found solace in the Roman Catholic Church. Mary Lou Williams was baptized and confirmed as a Roman Catholic in 1957 by Father Anthony S. Woods. Taking advice from her friend Dizzy Gillespie, Williams decided to offer up her music as a prayer to others rather than leaving music altogether. In 1962, she wrote "Black Christ of the Andes (Hymn in Honor of St. Martin de Porres)", her first sacred work. Father Woods wrote the lyrics; her piece celebrated St. Martin de Porres, the first black canonized by the Roman Catholic Church in the seventeenth-century.
Mary also wrote several masses. In 1967 she composed her first Mass, known as The Pittsburgh Mass, as she was staying with her sister in Pittsburgh at the time. The following year, she wrote Mass for the Lenten Season, which she hoped would be performed during the 1969 mass at the Vatican honoring Martin Luther King Jr. Sadly, her hopes were crushed when church officials objected to the use of drums in her composition. In 1969, Mary was commissioned to write the mass Music for Peace, using texts for the Votive Mass for Peace. That work was later turned into a dance by choreographer Alvin Ailey in 1971. It was entitled Mary Lou’s Mass, and was performed at St. Patrick’s Cathedral in 1975.
References
http://newarkwww.rutgers.edu/ijs/mlw/religious_2.html
Murchison, Gayle. “Mary Lou Williams’ Hymn Black Christ of the Andes (St. Martin de Porres): Vatican II, Civil Rights, and Jazz as Sacred Music.” The Musical Quarterly 86.4. (2002): 591-629. Web. 2 March 2010.
By: Stacy Schipellite
Mary also wrote several masses. In 1967 she composed her first Mass, known as The Pittsburgh Mass, as she was staying with her sister in Pittsburgh at the time. The following year, she wrote Mass for the Lenten Season, which she hoped would be performed during the 1969 mass at the Vatican honoring Martin Luther King Jr. Sadly, her hopes were crushed when church officials objected to the use of drums in her composition. In 1969, Mary was commissioned to write the mass Music for Peace, using texts for the Votive Mass for Peace. That work was later turned into a dance by choreographer Alvin Ailey in 1971. It was entitled Mary Lou’s Mass, and was performed at St. Patrick’s Cathedral in 1975.
References
http://newarkwww.rutgers.edu/ijs/mlw/religious_2.html
Murchison, Gayle. “Mary Lou Williams’ Hymn Black Christ of the Andes (St. Martin de Porres): Vatican II, Civil Rights, and Jazz as Sacred Music.” The Musical Quarterly 86.4. (2002): 591-629. Web. 2 March 2010.
By: Stacy Schipellite
Tickle the Ivories
-By Daniel Curtiss
Mary Lou Williams was an iconic figure of her time, a blessed individual, and a piano prodigy. Her music spanned over a number of styles that included classic jazz, swing, bop, and even Sacred Jazz. Having some knowledge of jazz prior to learning about Mary, I am very aware of the talent that it takes to master even one of these styles, yet she seems to have mastered them all. By the mere age of twenty, she was a regular member of Andy Kirks band and contributed greatly to the groups dynamics and stardom. Her almost sporatic playing style attracted musicians in a way that no jazz pianist (let alone a woman jazz pianist) had done before. Reading about Mary Lou Williams is one thing, but to fully understand the depth of her genius, you need to hear her play.
The compositions of Mary Lou Williams are various and range from her most famous tunes such as "Roll 'Em" and "St. Martin de Porres" to other less known pieces. Regardless of what you are listening to however, I can assure you that you wont be dissapointed. Her piece "Scorpio" which was performed by the Aardvark Jazz Orchestra had an outworldly sound to it that stood out to me as very ahead of her time. Mary Lou Williams used her music to shed light on many facets of American culture, as you might imagine. Just her presence as an African American jazz musician and composer provided some well needed pushes in the musical, and social societies of America.
The First Lady of Jazz is quite the title to bestow upon someone, but I find it also quite fitting for the person that Mary Lou Williams was. Her work with Jazz musicians such as Duke Ellington and Benny Goodman helped bring her to the top, although it was undoubtably her immense skill that allowed her those opportunities in the first place. Even as an older women, Williams ability and speed astounded me. She is truly a master of her trade.
Mary Lou Williams was an iconic figure of her time, a blessed individual, and a piano prodigy. Her music spanned over a number of styles that included classic jazz, swing, bop, and even Sacred Jazz. Having some knowledge of jazz prior to learning about Mary, I am very aware of the talent that it takes to master even one of these styles, yet she seems to have mastered them all. By the mere age of twenty, she was a regular member of Andy Kirks band and contributed greatly to the groups dynamics and stardom. Her almost sporatic playing style attracted musicians in a way that no jazz pianist (let alone a woman jazz pianist) had done before. Reading about Mary Lou Williams is one thing, but to fully understand the depth of her genius, you need to hear her play.
The compositions of Mary Lou Williams are various and range from her most famous tunes such as "Roll 'Em" and "St. Martin de Porres" to other less known pieces. Regardless of what you are listening to however, I can assure you that you wont be dissapointed. Her piece "Scorpio" which was performed by the Aardvark Jazz Orchestra had an outworldly sound to it that stood out to me as very ahead of her time. Mary Lou Williams used her music to shed light on many facets of American culture, as you might imagine. Just her presence as an African American jazz musician and composer provided some well needed pushes in the musical, and social societies of America.
The First Lady of Jazz is quite the title to bestow upon someone, but I find it also quite fitting for the person that Mary Lou Williams was. Her work with Jazz musicians such as Duke Ellington and Benny Goodman helped bring her to the top, although it was undoubtably her immense skill that allowed her those opportunities in the first place. Even as an older women, Williams ability and speed astounded me. She is truly a master of her trade.
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