Newman Taylor Baker
Drum – Suite
– Life
Innova 238
1. Red Brush Blues 8:26
2. WB 1 3:55
3. Thank You, Ms.
Jones, Hold On! 7:52
4. Bosom of Abraham 7:43
5. Which Train? 7:33
6. Andrew, Milford,
& Rashied 5:01
7. Marchin' David 5:29
8. Handpeace 3:54
Drum-Suite-Life is the debut CD of Newman Taylor BakerŐs
project, SinginŐ Drums; the result of a life-long desire to have the drum set
accepted as a solo instrument, and using it to honor the U. S. African culture
where the the drum set developed. For Baker, the drum set represents the
strength, intelligence, creativity, power, endurance, and love in U. S. African
culture. Baker currently designs his drum set as a diatonically tuned
instrument of seven pitches. His music is a hybrid of West African drumming,
Western European classical music, and improvisation as a life-style in U.S. African
culture. It uses melody, harmony, emotion, expression as well as rhythm, and
refers to such forms as blues, gospel, marching band, dance, symphonic, and
vocal music. In addition he adapts pre-existing works, and seeks other
composers to write for SinginŐ Drums. Performances have included collaborations
with other musicians, DJs, dancer/choreographers, video artists, and as part of
intermedia projects. Baker writes, ŇThe drum set has a story to tell. We seek
to present SinginŐ Drums in a variety of settings from formal concerts to
educational workshops to share our story.Ó
Drum-Suite-Life for Solo Drum Set by Newman Taylor Baker
honors the drum in U. S. African culture through forms such as blues, gospel,
marching band, dance, and European symphonic music. Drum-Suite-Life follows the U. S.
African tradition where music is passed on orally,
like the street beats in our marching bands, the spirituals on the plantation,
and the rhythms of our dance orchestras.
1. Red Brush Blues - reflects on the
old-style rural blues tradition for voice and guitar. In this work, the sounds
of the drum brushes recall the buzz of the strings on a rural blues guitar. The
simple melody establishes the familiar harmonic 12-bar blues form, while the improvisation
focuses on the complexity of the vocal phrases.
2. WB 1 - is written in
recognition of the contributions of U. S. African composers such as Undine
Smith Moore, T. J. Anderson, Coleridge-Taylor Perkinson, William Grant Still,
and many, many others.
3. Thank You, Ms. Jones,
Hold On
- blends the concepts of European timpani, West African talking drums, and the
U. S. African drum set. The harmonic form is stated through the lower drums in
a timpani sound, and the improvisation develops in the higher drums reflecting
the vocal qualities of the West African talking drums. This piece is dedicated
to Elayne Jones, solo timpanist with the San Francisco Opera — a unique
African American role model who suffered the hardships that being the first;
being U. S. African; and being a woman playing drums in the European Classical
music world bestows upon the pioneer. This piece is performed with mallets.
4. Bosom of Abraham - has the feel of New
Orleans and its famous second line, while the melody is
inspired by the Negro Spiritual, Rock-A-My Soul.
5. Which Train? - remembers
the Harlem Renaissance and the clubs made famous by the bands of Duke
Ellington, Chick Webb, Fletcher Henderson, et al.
6. Andrew, Milford, &
Rashied
- is dedicated to three distinct drum voices in U. S. African avant-garde
music: Andrew Cyrille, Milford Graves, and Rashied Ali. Gentlemen
whose musical excellence encourages humanity throughout the world.
7. MarchinŐ David - honors the marching bands found in so
many southern U.S. African communities. Such marching bands used European
military drum rudiments to play remnants of African rhythms, referencing the
polyrhythmic character of West African drum ensembles. The result is a music
that inspires marching with emotion and feeling — the antithesis of
military training.
8. Handpeace - honors the hand
drum, from Hambone to djembe, and speaks to the power of the drum to unite all
humanity through its universal language.
All selections composed and performed by Newman Taylor Baker
(without overdubbing or other special effects).
Newman
Taylor Baker, Jazz Artist, has performed with Kenny Barron, Billy Bang, Henry
Grimes, Billy Harper, Joe Henderson, Abdullah Ibrahim, Ahmad Jamal, Leroy
Jenkins, Gloria Lynne, James Moody, Diedre Murray, Dewey Redman, Sam Rivers,
Henry Threadgill, McCoy Tyner, and others. At the young age of 67, Baker has found a new music and
instrument by joining the Ebony Hillbillies — the only NYC-based black
string band — and playing washboard, a magical experience.
Newman Taylor Baker, Classical
Percussionist, was a member of the Richmond Symphony (with guest composer Aaron
Copland), the Delaware Symphony, and the Wilmington Ballet orchestra.
Newman
Taylor Baker, Composer, has written works as composer-in-residence for the
Avodah Dance Ensemble since 1989.
Newman
Taylor Baker, Teaching Artist, has taught at Rutgers University-Newark, Widener
University, Livingstone College, York Correctional Institute, Baylor
Correctional Institute, public and private schools, and music conservatories in
New York City; Nassau County. NY; Szczecin, Warsaw, Lodz, Poland; and, Osaka,
Japan.
Contact:
Down the Street Productions, downthestreet@verizon.net
Thanks
to my family for support, encouragement, inspiration, and love: Dr. Margaret G.
Dabney, Dr. T. Nelson Baker III, Anne D. Arnason, Stefani
B. Moore. Mary Ellen Segal, Verna Mae A. Segal, Xander Taylor Segal, Alexander
V. Segal, John Michael Bullock, Dyami E. Jackson, Andrea B. Herd, Gwendolyn M.
Baker, Melanie A. MacLennan, Ruth P. Baker, JoAnne Tucker, Mickey Davidson,
Kezia Gleckman-Hayman, Susan Ragan, Julie G. Kris, Julie A. Kessler, Gerry
Eastman, Joe Ford, and Billy Harper.
Drum – Suite
– Life
is dedicated to Virginia State College (1940Ős-1970Ős) my home, an
extraordinary community of U. S. African women and men who were the first or
second U. S. Africans to achieve doctorate degrees in their fields from
universities such as Yale, Harvard, Cornell, Ohio State, Michigan, Boston, and
others. With special gratitude to Dr. Undine Smith Moore, Dr. F. Nathaniel
Gatlin, and Dr. Thomas C. Bridge from the Department of Music who nurtured me
and taught me music from my first interest in music at 9 months old.
THANK YOU TO ALL
NEWMAN TAYLOR BAKER
Recorded: August 2000 Acoustic Concepts, Inc. John Vanore,
engineer
Mastered by John Vanore at Acoustic Concepts, Inc.
Producer by Jeanette Vuocolo
Liner notes edited by John Voigt
Photo by Andrea
Boccalini
Cover art by NYFA
Fellow, Terry Boddie:
The Infinite
Rehearsal, and Sanctuary
innova is supported by an
endowment
from the McKnight
Foundation.
Philip Blackburn:
Director, design
Chris Campbell:
Operations Manager
www.innova.mu
Supported in part by a grant from the National Endowment for
the Arts. InnovaŐs NYFA Series celebrates music by the New York Foundation for
the Arts Fellows in Music Composition.