Research Catalog

Oral history interview with Yusef Lateef

Title
Oral history interview with Yusef Lateef / Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project ; interview conducted by Larry Ridley.
Author
Lateef, Yusef
Publication
New York : Schomburg Center for Research in Black Culture, 1996.

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Disc 3DVDBy appointment only Sc Visual DVD-1065 Disc 3Schomburg Center - Moving Image & Recorded Sound
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Details

Additional Authors
  • Murray, James Briggs
  • Ridley, Larry
  • Schomburg Center for Research in Black Culture.
  • Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.
Description
3 videodiscs (133 min.) : sound, color; 4 3/4 in.
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 himself 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 practiced 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.
Subjects
Genre/Form
  • Nonfiction films.
  • Oral histories.
  • Interviews.
Credits (note)
  • Produced and directed by James Briggs Murray.
Terms of Use (note)
  • Permission required to cite, quote and reproduce; contact repository for information.
Biography (note)
  • Yusef Lateef is a musician, composer and educator. Born William Evans on Oct. 9, 1920, he converted to Islam 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.
Linking Entry (note)
  • Forms part of: Louis Armstrong Jazz Oral History Project.
Call Number
Sc Visual VRA-181
OCLC
892917905
Author
Lateef, Yusef, interviewee.
Title
Oral history interview with Yusef Lateef / Schomburg Center for Research in Black Culture, Louis Armstrong Jazz Oral History Project ; interview conducted by Larry Ridley.
Production
New York : Schomburg Center for Research in Black Culture, 1996.
Country of Producing Entity
United States.
Type of Content
two-dimensional moving image
Type of Medium
video
Type of Carrier
videodisc
Digital File Characteristics
video file DVD
Credits
Produced and directed by James Briggs Murray.
Performer
Interviewer, Larry Ridley.
Event
Recorded September 27, 1996 Schomburg Center for Research in Black Culture.
Terms Of Use
Permission required to cite, quote and reproduce; contact repository for information.
Biography
Yusef Lateef is a musician, composer and educator. Born William Evans on Oct. 9, 1920, he converted to Islam 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.
Linking Entry
Forms part of: Louis Armstrong Jazz Oral History Project.
Note
The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc.
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Request Access to Schomburg Moving Images and Recorded Sound
Added Author
Murray, James Briggs, director.
Murray, James Briggs, producer.
Ridley, Larry, interviewer.
Schomburg Center for Research in Black Culture.
Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.
Research Call Number
Sc Visual DVD-1065
Sc Visual VRA-181 Service copy.
Sc Visual VRC-4 Original of: Sc Visual VRA-181.
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