July 23, 2011. Posted by Alex Rodriguez.
The following is the fourth in our series of tributes to Dr. Billy Taylor, which are part of our celebration of "Doctor T," who would have turned ninety this Sunday. Check wbgo.org/billytaylor for our full tribute page, which includes more clips and our exclusive webcast of Billy Taylor: A Life In Jazz, a new video documentary by Bret Primack.
"I think he liked this place, and it shows."
- Dr. Fred Tillis, on Dr. Billy Taylor's legacy at the University of Massachusetts
In our last post, Al Pryor explained how the ideas Billy Taylor developed at the University of Massachusetts at Amherst in the early seventies helped inspire the creation of WBGO as NPR's first all-jazz station in 1979.
Taylor's ideas still live on in Amherst, where the summer jazz camp he founded, Jazz in July, celebrated its 30th anniversary this week. Working alongside his doctoral advisor, Dr. Fred Tillis, Taylor helped round up a stellar artist faculty for the program, and had a hand in designing the curriculum.
Indeed, Dr. Taylor brought some very strong opinions to bear on crafting a curriculum for the the jazz camp. "For one," explained Tillis, "he insisted that it be two weeks, and I’m glad that he did, because it’s so wonderful to watch the development of the students in the second week."
Even when Taylor's playing was limited after he suffered a stroke in 2001, he continued to come to UMass as a lecturer and curator of the University's "Lively Arts" educational series.
Indeed, the talent and progress that students make over the course of a week is palpable – I play trombone, and had the good fortune to sit in with one of the groups on Friday. The ensemble was coached by Steve Johns, who joined the Jazz in July faculty in 1994 when he started playing with Dr. Taylor's working trio.
"The trio was always in residence here two weeks a year," Johns explained, "It kind of came with the gig." His son Daryl has become a regular at the camp, which has helped him turn into one of the country's most promising young jazz bassists.
In the workshop, we stormed through some ambitious repertoire - John Coltrane, Joe Henderson, Don Cherry, and one of Johns's originals - and had a great time in the process. For all the work Johns puts into coaching the group, he still attributes much of the program's success to Taylor, insisting, "Dr. Taylor's presence is still the heart and soul of this program."
Jazz in July Festival Director Frank Newton also recognizes Taylor's impact, even though he never had the chance to meet the legendary pianist in person.
"What I always take from Dr. Taylor's approach," he said, "is to always put forth that this is a service to the art -- the art of music, the art of jazz, the art of music, the art of jazz, the art of improvisation."
© 2011 WBGO
July 23, 2011. Posted by Tim Wilkins.
The following is the third in our series of tributes to Dr. Billy Taylor, part of our celebration of "Doctor T," who would have turned ninety this Sunday. Check wbgo.org/billytaylor for our full tribute page, which includes rare audio clips and our exclusive webcast of Billy Taylor: A Life In Jazz, a new video documentary by Bret Primack.
"Jazz is America's Classical music."
Now that jazz plays alongside classical music at concert halls around the world, this phrase barely sounds controversial – it may even sound old hat. But back in 1975, when Billy Taylor wrote these words in his dissertation at the University of Massachussetts at Amherst, the idea was revolutionary.
Al Pryor, WBGO's founding music and program director, remembers those hot debates well.
"There was some conflict regarding jazz as an appropriate subject for scholarly investigation," he recalled. "Dr. Taylor's thesis was essentially an academic proof, arguing that jazz meets all the requirements to be considered a 'classical' art form."
In other words, Taylor's idea was not that jazz should emulate European Classical music, and abandon improvisation or syncopation, but rather that it could claim the respect as an art form which only European Classical music took for granted at the time.
Dr. Taylor stayed on in Amherst to create a jazz studies program, and persuaded other top-flight jazz musicians to join him on the faculty there. Pryor also came to Amherst, where he took a job at an NPR affiliate on the UMass campus, after finishing his law degree in nearby Springfield.
"Dr. Taylor, along with Max Roach and Archie Shepp, who were teaching at UMass, eventually prevailed at the university, through the sheer force of their intellect and their articulate voices and musicianship," Pryor recalled. The importance of this struggle cannot be underestimated."
It was under Taylor's influence that Pryor and other young NPR staffers hatched the idea that came to life as WBGO.
They felt a public radio station could be organized entirely around a jazz format, inspired by Dr. Taylor's work. When an opportunity arose to create a new public radio station in Newark in 1979, Pryor leapt at the chance, and persuaded the station's organizers to adopt an all-jazz format, a first in public broadcasting.
"Since my ideas for a jazz format for WBGO were directly tied to Dr. Taylor's thesis, it is more than likely that this had had something to do with my becoming the original music and later program director, and everything to do with the foundation of WBGO and Newark Public Broadcasting," said Pryor, who now works for Mack Avenue Records.
For Pryor himself, Taylor's influence reached well beyond the campus and the radio dial, two places where his ideas ultimately prevailed.
"Billy Taylor's special gift to me was to instruct me that while excellence is required, there was a place for me – a young African American – in the promulgation of jazz in the media, education and the attendant scholarly pursuits, and as an ideal vision of American life."
© 2011 WBGO
July 21, 2011. Posted by Tim Wilkins.
The following is the second in our series of rare audio clips of Dr. Billy Taylor, drawn from the WBGO archives, which are part of our celebration of "Doctor T," who would have turned ninety this Sunday. Check wbgo.org/billytaylor for our full tribute page, which includes more clips and our exclusive webcast of Billy Taylor: A Life In Jazz, a new video documentary by Bret Primack.
Take Two: What Did Tatum Teach Taylor?
In 2009, Tatum's centennial year, Doctor T stopped by WBGO's studios again and sat down at the piano with Gary Walker to share memories and some of what he learned from his mentor and friend.
"He liked things that used the melody to take him to some unexpected place," Taylor told Gary, as he played through the first chords of Eubie Blake's "Memories of You" as Tatum might have done. "Why was it diffferent? Well, it was different because he heard things that were different."
In 1944, at age twenty-three, Taylor moved to New York City and found work on 52nd Street alongside tenor saxophonist Ben Webster. If landing a gig with a Swing-Era legend was superb luck for any young musician, then Taylor was twice lucky, because Webster's quartet played opposite Tatum, who was Taylor's boyhood idol and the first to inspire him to play jazz.
"When I first wanted to play jazz, my uncle gave me my first Art Tatum record, and said... 'Try to play this!'" Taylor recalled. "And I said, 'Wow - how do you do that?'"
The two became fast friends, and spent countless hours together at baseball games and of course at the piano keyboard, playing and talking about music.
You can hear more of the fascinating hour Taylor spent with Walker in this special broadcast, which first aired on November 5th, 2009, the anniversary of Tatum's death, by clicking on the link below.
© 2011 WBGO
July 21, 2011. Posted by Tim Wilkins.
The following is the first in our series of rare audio clips of Dr. Billy Taylor, drawn from the WBGO archives, which are part of our celebration of "Doctor T," who would have turned ninety this Sunday. Check wbgo.org/billytaylor for our full tribute page, which includes more clips and our exclusive webcast of Billy Taylor: A Life In Jazz, a new video documentary by Bret Primack.
Take One: Doctor T Plays Every Key
One of the many special moments we shared at WBGO with "Doctor T" came in 1988, when when he visited our studios with bassist Victor Gaskin and drummer Bobby Thomas.
Taylor was the natural choice to inaugurate the new Steinway grand in our Performance Studio. He chose to play Dizzy Gillespie's "A Night In Tunisia" and his own composition, "I'm In Love With You," and he promised to play every key on the piano, a skill he learned from his mentor, Art Tatum. And so he did - as you can hear for yourself in this clip!
© 2011 WBGO
July 20, 2011. Posted by Tim Wilkins.
Dr. Billy Taylor lives on in our hearts and minds at WBGO. The pianist, educator and broadcaster played a unique role in the life of the station from our first broadcast in 1979 until his death late last year. As the originator of jazz broadcasting at NPR, he was our tireless advocate and mentored many of us over the years.
"His knowledge and gentle presentation set the tone in how jazz performance was presented," said Thurston Briscoe, WBGO's vice president of programming. "He was one of the most supportive people I ever met."
WBGO honors Dr. Taylor on the occasion of his ninetieth birthday this Sunday, July 24, with our exclusive webcast of Billy Taylor: A Life in Jazz, a new documentary by award-winning filmmaker Bret Primack.
This remarkable half-hour documentary contains rare footage of Taylor with Duke Ellington, Willie "The Lion" Smith, Ella Fitzgerald and Cannonball Adderley, as well as clips from his groundbreaking 1956 television series The Subject Is Jazz and testimonials from Wynton Marsalis, Jon Faddis and many others.
After Sunday, the film can also be seen at Primack's YouTube channel, JazzVideoGuy, which has more than 750 jazz videos.
Check back to wbgo.org/billytaylor every day, as we will be adding more performances, photos and interviews with Dr Taylor, drawn from the WBGO archives! Read more
© 2011 WBGO