Having established herself as a leading performer of bharata nāṭyam, by 1960 Chandralekha Prabhudas Patel—professionally known as Chandralekha—felt a need to move beyond the genre’s boundaries and began to pursue ideas about fusing Indian dance traditions with modern idioms.
Chandralekha was a firm believer in the need for resuscitating older forms with contemporary energy, drawing also on martial art and therapeutic traditions. Always a controversial figure, she criticized plastic smiles, fake religiosity, and mindless repetition of mythological themes. A voracious reader, a gifted writer, and a poet, she lived a full life and influenced a whole generation of young dancers.
This according to “Rebel with a cause” by Sunil Kothari (Sruti 269 [February 2007] pp. 16–19).
Today would have been Chandralekha’s 90th birthday! Below, a brief documentary about her life and work.
John Hartford’s mammoth collection of fiddle tunes (Franklin, TN: StuffWorks, 2018) comprises 176 of Hartford’s original compositions. Most of these tunes are previously unpublished and unrecorded, taken from Hartford’s personal music journals.
Compiled and narrated by the fiddler Matt Combs, John’s daughter Katie Harford Hogue, and the musicologist Greg Reish, the book illuminates Hartford’s creative process through original tune compositions, his own reflections on the fiddle, and interviews with family and fellow musicians.
The volume includes more than 60 of Hartford’s personal drawings—ranging in theme from steamboats and the river, to fellow musicians, home and everyday life—as well as several never-before-seen photographs.
Above, a page from the book: Hartford’s Annual waltz as part of a holiday card and invitation to his 1980 wedding; below, the composer performs the song and tune.
Jùjú, a type of popular music that combines indigenous Yorùbá musical practices with Christian hymnody, was first popular in Lagos in the 1930s.
The tambourine, introduced in Lagos in 1920 by missionaries, was integrated into jùjú because of its musical and symbolic associations. The spiritual dimension of this instrument is partly responsible for the name jùjú, which is an extension of the term used by colonialists to describe the various African traditional belief practices. Other stylistic resources of jùjú include the samba of the Brazilian community of Lagos and songs and musical instruments of the Liberian Kru sailors.
In the 1940s jùjú bands began to experiment with new musical instruments such as gangan (talking drum), pennywhistle, organ, and mandolin. The projection of Yorùbá elements and the introduction of accordion and harmonica are identified with Isaiah Kehinde Dairo (above). The rapid changes in social and political structures of the 1960s and 1970s in Nigeria were reflected in further developments.
This according to “A diachronic study of change in jùjú music” by Afolabi Alaja-Browne (Popular music VIII/3 [October 1989] pp. 231–42).
Below, King Sunny Adé, one of the performers discussed in the article.
The eclecticism of Don Byron and his music reflects the decentralization of music in the U.S., where there is no single musical culture but rather mini-, micro-, and subcultures that continually mutate into new idioms.
While eclectic music seems to characterize culture in the U.S. at this moment, the discussion about it reveals certain cultural biases. Byron’s works highlight the tension between assimilation and difference and dispel prevalent assumptions regarding style politics and identity politics.
This according to “Making mischief in the melting pot: The intercultural music of Don Byron” by Barbara White, an essay included in Intercultural music. III (Richmond: MRI, 2001, pp. 15–37).
Today is Byron’s 60th birthday! Below, a track from Don Byron plays the music of Mickey Katz.
The life of the jazz trumpeter Rowland Bernard “Bunny” Berigan resembles nothing less than an ancient Greek tragedy: a heroic figure who rises from obscurity to dizzying heights, touches greatness, becomes ensnared by circumstances, and comes to a disastrous early end.
Berigan was a charismatic performer. His artistry made a deep and lasting impression on everyone who heard him play, while the body of recorded work he left continues to evoke a wide range of emotions. He played a key role in a golden age of American popular music and jazz.
This according to Mr. Trumpet: The trials, tribulations, and triumph of Bunny Berigan by Michael P. Zirpolo (Lanham: Scarecrow Press, 2011).
Today is Berigan’s 110th birthday! Below, his classic 1937 recording of I can’t get started, which was inducted into the Grammy Hall of Fame in 1975.
For the opening of a 1976 exhibit on Kurt Weill and Lotte Lenya at the New York Public Library for the Performing Arts, the curator, Don Vlack, created an aperitif inspired by Lenya and named in her honor.
Vlack described the drink, which is made with Mandarine Napoléon liqueur and Kritter Brut sparkling wine, as “very much like the great singer in that it is slightly bittersweet, gentle but potent (even volatile), and is, in color, a light orange, the tint of her hair.”
This according to “Lenya: A moment in history (and a drink)” (Kurt Weill newsletter XXIX/2 [fall 2011] p. 9).
Today is Lenya’s 130th birthday! Above, enjoying her namesake aperitif at the opening reception; below, singing Seeräuber-Jenny, one of her signature songs.
Jelly Roll Morton probably wrote Frog-i-More rag in 1908 to accompany a fellow vaudevillian known as Frog-i-More, a contortionist who performed in a frog costume, but he did not deposit the music for copyright until 1918 for fear that any form of public record was an invitation to purloin his ideas.
Morton’s piano style and musical greatness are nowhere better demonstrated. All of the most typical features are abundantly evident: his wealth of melodic invention and skill in variation; the tremendous swing; his feeling for formal design and attention to detail; his effective use of pianistic resources; the contrasts of subtle elegance with hard hitting drive; and the variety of harmony yet freedom from complication and superficial display.
This according to “Jelly Roll Morton and the Frog-i-More rag” by William Russell, an essay included in The art of jazz: Essays on the nature and development of jazz (New York: Oxford University Press, 1959, pp. 35–36).
Today is Morton’s 135th birthday! Below, a performance of the piece via mediated piano roll.
B.B. King’s guitar technique drew from many sources, both direct and indirect.
At first he functioned primarily as a vocalist, making little idiomatic use of the instrument; in subsequent recordings the influence of T-Bone Walker became quite apparent.
He also adapted embellishments used by earlier blues guitarists (Lonnie Johnson) as well as those of jazz guitarists (Charlie Christian, Django Reinhardt, Bill Jennings). King’s distinctive finger tremolo was inspired by Bukka White’s bottleneck style.
This according to “B.B. King: Analysis of the artist’s evolving guitar technique” by Jerry Richardson (American Music Research Center journal VI  pp. 89–107.
Today would have been King’s 90th birthday! Below, live in 1974.
In an interview, Oscar Peterson discussed his aesthetics and teaching.
“I’m an admirer of the beautiful long line that starts out and then reaches a point of definition. If you reach a point of definition, it validates all the other aspects of the line.”
“One thing I try to convey to my students when I’m teaching is the relativity of notes. From a melodic standpoint there are wrong notes. But from a creative standpoint there are no wrong notes because every note can be related to a chord. Every note can be made part of your line, depending on how fast you can integrate it into your schematic arrangement.”
“It’s not a matter of technique; it’s time….You have an idea, and it’s confined to a certain period in a piece on an overlay of harmonic carpeting. You have to get from here to there in whatever time you’re allotted with whatever ideas you have.”
Quoted in “Oscar Peterson” by Leonard Lyons, an interview included in The great jazz pianists: Speaking of their lives and music (New York: Thomas Morrow, 1983, pp. 130–43).
Today would have been Peterson’s 90th birthday! Below, the pianist as jazz encyclopedia.