That group’s music channeled the racial politics and intellectual adventurousness of the late 1960s. While at Oberlin he got involved in campus activism, pushing for the college to enroll more Black students and establish a Black studies department, and he converted to Islam, in large part because of the influence of his older bandmates in the Black Unity Trio. Wadud continued his classical studies at Youngstown State and Oberlin, with extracurricular gigs in local jazz groups. While Wadud was studying cello with members of the Cleveland Orchestra as a teenager, he was exposed to the latest developments in free jazz through the work of the saxophonist Albert Ayler, a fellow Clevelander who often returned to his hometown to perform and find new musicians. (Their group was invited to play with the New York Philharmonic.) Similarly, his duets with the violinist LeRoy Jenkins bring to mind Bartók’s percussive, dissonant string quartets.īorn in Cleveland in 1947, Wadud was raised in a musical family with expansive tastes: his father, a member of their church choir, also played French horn and trumpet his sister, an opera singer, was nearly hired by the Met the R&B group the O’Jays tried to recruit his brother, a guitarist, but their mother wouldn’t let him drop out of high school to tour. “He knows he could do the same.” Adept at walking basslines on bebop tunes, Wadud could also make his cello sound like a guitar by strumming chords on it-Newton described this facet of Wadud’s style as “Robert Johnson playing the cello,” while the critic Gary Giddins referred to Wadud’s “Delta cello.” In a trio with Newton and Anthony Davis, the pianist and opera composer, he invoked Romantic and modernist chamber music. “I feel like I could play anything, and he would respond,” Hemphill said. When Wadud moved to New York in the late 1960s, the jazz avant-garde had become omnivorous, and he was soon highly valued for his ability to improvise in many musical languages using the full range of his instrument. A classically trained cellist who started playing jazz at a young age, he worked with some of the most adventurous and demanding improvisers of the 1970s and 1980s, including the flutist James Newton, the saxophonist Arthur Blythe, and the pianist Muhal Richard Abrams of the Association for the Advancement of Creative Musicians (AACM). Abdul Wadud, a frequent collaborator of Hemphill’s, exemplified this openness. “Tradition in African-American music is wide as all outdoors,” the saxophonist and flutist Julius Hemphill said. The standard deviation for this album is 16.4.Jack Vartoogian/Front Row Photos/Getty ImagesĪbdul Wadud performing at Washington Square Church during a concert hosted by the World Music Institute, New York City, 1990 This album has a Bayesian average rating of 75.0/100, a mean average of 77.3/100, and a trimmed mean (excluding outliers) of 77.3/100. This album is rated in the top 12% of all albums on. (*In practice, some albums can have several thousand ratings) The second average might be more trusted because there is more consensus around a particular rating (a lower deviation). However, ratings of 55, 50 & 45 could also result in the same average. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. This figure is provided as the trimmed mean. Rating metrics: Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. You can include this album in your own chart from the My Charts page! Happy End Of The World collection Total Charts: The total number of charts that this album has appeared in. All 11 charts that this album appears in: Sort ranks
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