"What’s the Real Power of a Black Voice? Exploring the Legacy and Evolution of Vocal Improvisation"
The Roots of Black Vocal Improvisation
When I examine the origins of black vocal improvisation, it can be traced back to the rich tapestry of African music and oral traditions. These musical expressions were transported to the Americas and Europe through the African diaspora, evolving and adapting amidst the backdrop of slavery and oppression. In the face of adversity, improvisation became a form of resistance, enabling individuals to reclaim agency and preserve cultural identity.
Research indicates that black vocal improvisation possesses a tonal and experiential distinctiveness, setting it apart from its Western counterparts. It captures the spirit of the African diaspora, imbued with resilience, creativity, and communal storytelling.
As a Vocal Musician
As a vocal musician, I have been fortunate to traverse the globe, discussing and demonstrating the incredible power of the voice. The myriad sounds that the human voice can produce have fascinated me from a young age, a journey that began with my avid consumption of music. Growing up, my home resonated with the sounds of jazz, soul, and calypso. Yet, the most profound influence on my vocal journey was, perhaps unexpectedly, the musicality and percussiveness of my parents' daily conversations. This had a monumental impact on me, to such an extent that I experienced an epiphany at the tender age of seven.
Imagine a seven-year-old me, sitting in my bedroom, perched at the edge of my bed with two cassette players at hand. There, in that moment, recording my voice onto two cassette players, I was determined to capture the essence of the sounds I had absorbed into a tangible reality. I identified three primary influences: the ordinary, everyday sounds of my home; the rich legacy of jazz, soul, and blues music; and the discovery of sounds I never knew existed.
Through a meticulous process of layering these influences, I crafted songs. My bedroom, with its modest setup, became my sanctuary, a creative lab where I explored the foundational elements of music: bass and rhythm, inspired by the mundane actions of doors opening and shutting, and melody, influenced by the diverse styles of artists like George Benson, Public Enemy, and Marvin Gaye.
We are all immersed in a sonic landscape, a soundscape that surrounds us whether we acknowledge it or not. Our auditory system is incredibly complex, arguably more so than the language we use daily. It was designed to perceive the symphonies of life and nature, to experience sound not just as a mechanical vibration, but as a conduit of emotion and meaning.
"I am deeply grateful for coming across Paul Newham's book The Healing Voice in 2001. Paul Newham, the esteemed pioneer of Voice Movement Therapy, has had a profound influence on my practice. Thanks to his work, I have been dedicatedly practicing and integrating these techniques ever since."He stated in the book "Before there were words, there were feelings." In my journey, I've come to realise that even before those feelings, there were sounds—sound feelings waiting to be heard, interpreted, and played with.
A Journey of Self-Expression and Self-Love
This orientation to sound, has served as a powerful celebration of self-expression and self-love. It provides me and individuals like myself with a platform from which to tap into their authentic voices, free from the constraints and expectations imposed by society. This form of artistic expression is deeply intertwined with the concepts of freedom, liberation, empowerment, and enjoyment.
Audre Lorde, a renowned Black feminist, poet, and civil rights activist, whose work focused on the intersectionality of race, gender, and sexuality, once said, "Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare." Through vocal improvisation, Black artists reclaim their voices and assert their existence in a world that often attempts to silence them. This act of self-preservation becomes an act of defiance, challenging the status quo and dismantling oppressive systems.
The Vocal Power of Black Expression
For me, the power of black vocal expression possesses a unique tonality that resonates deep within the soul, tapping into primal and elemental sources. In VMT terms, the richness of Clarinet and Saxophone timbre opening into maximum shape can act as liberation for a community separated from their sorrows, transcending the limitations of words and language.
Grammy Award-winning American singer-songwriter, producer, and cultural icon Erykah Badu, known for her deep connection to Black identity and her influential role in the neo-soul movement, once stated, "The tone that is closest to the soul's tone is blackness." This quote reflects her profound understanding of the cultural and spiritual resonance of Blackness in music."
Research highlights the telepathic-like responsiveness among black vocalists during improvisation. There is an intuitive connection, a shared language of music that allows for seamless collaboration and harmonious expression. This interconnectedness echoes the words of Angela Davis, a prominent American political activist, scholar, and author known for her work on civil rights, prison reform, and social justice, who states, "We have to talk about liberating minds as well as liberating society."
The Influence of Black Vocal Improvisation in Society
Black vocal improvisation has permeated various genres of music, leaving an indelible mark on the musical landscape. From jazz and blues to gospel and hip-hop, its influence can be heard in the melismatic vocal stylings of Aretha Franklin, the scatting of Ella Fitzgerald and Al Jarreau, and the soulful improvisations of Bobby McFerrin. These artists pushed the boundaries of vocal expression and paved the way for future generations.
Black vocal improvisation extends beyond the realm of music, influencing poetry, theatre, and spoken word. Its impact transcends artistic boundaries, inspiring social and political movements. As Nina Simone famously stated, "An artist's duty, as far as I'm concerned, is to reflect the times."
For example, in connecting to Nina Simone's ethos when I moved to Folkestone in 2015, I immediately noticed a clear and often harsh representation of racial attitudes compared to the subtler biases in London. The direct exposure to these prejudices gave me a transparent view of the societal barriers still in place. In response, motivated by the environment my mixed-race sons would grow up in, I developed a workshop for local children to foster understanding and coexistence within our diverse community.
The workshop was inspired by the life of Walter Tull, a pioneering British footballer and war hero, known as one of the first Black professional footballers in the UK and the first Black officer to lead white British troops in combat during World War I. His remarkable achievements both on the football field and in the military have made him an enduring symbol of courage and resilience.Walter Tull, who was raised in Folkestone by a mixed-race family, much like my own children. Walter Tull's background and experiences made him a particularly relevant figure for the workshop. He not only broke significant racial barriers as one of the first black professional footballers in England, but also as a British soldier during World War I. Tull's admirable qualities and his progression to becoming one of the first Black sergeants in the British Army showcased his ability to transcend the racial prejudices of his time. He was widely respected and loved by those around him, making him a symbol of resilience and leadership.
By integrating Tull's story into the curriculum, I aimed to connect the children to these historical lessons of courage and acceptance. My sessions - which incorporated voice, movement, and storytelling - provided a dynamic platform for exploring Tull’s legacy and its contemporary relevance. This approach allowed the children to see beyond the superficial differences and appreciate the deeper human connections we all share. This initiative was not only about correcting misconceptions but also about building a foundation for a more inclusive and understanding community, reflecting Nina Simone's philosophy that art cannot be isolated from the socio-political landscape.
Throughout history, influential black leaders have recognised the power of the black tonal voice as a tool for social change and liberation. One such remarkable figure whom I admire is bass baritone vocalist, actor, and activist Paul Robeson, whose journey embodies the spirit of his voice and its profound impact on culture and society.
In 1933, Paul Robeson made history by taking on the role of Jim in the London production of "Chillun" and starring as Brutus in the film "The Emperor Jones." His portrayal in these roles made him the first African American to have a starring role in a film, breaking barriers and challenging the prevalent racial discrimination of the time. Despite facing immense challenges and racial discrimination in the United States, Robeson maintained his dignity on set and publicly criticised African Americans' rejection of their own culture upon returning to England. He adamantly expressed his refusal to perform central European opera, as it had no connection to his heritage.
Driven by a deep desire to embrace his ancestry and learn more about African history and culture, Robeson enrolled in the School of Oriental and African Studies at the University of London in early 1934. There, he immersed himself in the study of phonetics and Swahili, exploring the linguistic and cultural aspects of his African roots. This newfound interest aligned with his essay "I Want to be African," in which he passionately expressed his longing to reconnect with his African heritage.
Robeson's involvement in the anti-imperialist movement and his association with British socialists led him to embark on a transformative journey to the Soviet Union in December 1934. Upon his arrival in Moscow, he experienced a profound sense of liberation and recognition as a human being from the expression of his voice.
Paul Robeson's journey to the Soviet Union in December 1934 marked a pivotal moment in his life, deeply intertwined with his activism against imperialism and his ties to British socialists. Amidst the pervasive racism and discrimination he faced in the United States, Robeson's trip to Moscow offered a transformative experience. In the Soviet capital, he found not only refuge but also a profound sense of liberation. Here, Robeson's rich baritone voice, with its commanding yet soulful tone, was met with genuine appreciation, free from the racial prejudices that plagued him elsewhere. His voice became a symbol of his humanity, transcending boundaries of race and nationality. In Moscow, Robeson experienced a rare recognition of his intrinsic worth as a human being, derived from the power and authenticity of his expression. This validation affirmed his commitment to social justice and fuelled his determination to continue his struggle against oppression on a global scale.
Cultivating Evolution and Exploration
Black vocal improvisation is not confined to the past; in my experience, it continues to evolve and explore new frontiers. Contemporary artists like myself and Cleveland Watkiss, who for over 40 years has been part of the evolving expression of this across genres, are on a mission to push the boundaries of this art form. We strive to create a future sound experience that honours the roots while embracing innovation. Through our own vocal expression in a project called Duo, we wish to improve the visibility of Black, Indigenous, and People of Colour, and majority world artists in the vocal improv scene in the UK which is currently a victim of white institutionalised gatekeeping. We see that artistic expression should flow freely from the depths of the soul, going beyond intellectualisation. We have to reclaim our tonal folkloric heritage. Alongside vocal syncopation and polyrhythms (view here), we are discovering how black vocal improvisation has shaped and influenced the global landscape through some of these key elements.
Preserving the Legacy of Black Vocal Improvisation
As one of the two leading black male improvisers in the UK, I know that the preservation and documentation of our work is essential to ensure the enduring legacy of black vocal improvisation. Archiving recordings, films, and written texts that capture the essence of this art form has, for me, become crucial. These preservation efforts allow for my continued study, appreciation, and reinterpretation of black vocal improvisation and storytelling, most of which takes place in the performance arena, and the insights that come from expressing it.
Maya Angelou a celebrated American poet, memoirist, and civil rights activist, best known for her autobiographical work I Know Why the Caged Bird Sings, which explores themes of identity, racism, and resilience stated "We need joy as we need air. We need love as we need water. We need each other as we need the earth we share." Preserving the legacy of black vocal improvisation is not merely an act of documentation; it is a testament to the resilience and creativity of a people whose voices have often been marginalised, silenced, and colonised, and I take part in this legacy and includes:
Call and Response: Originating from African musical traditions, call and response is a dynamic interaction between a lead vocalist or instrumentalist and a group or audience that responds. Improvisation: Black vocal traditions, particularly jazz and its offshoots, have embraced the art of improvisation. The ability to spontaneously create and develop musical ideas in the moment has influenced numerous genres and has become a hallmark of black musical expression. Vocal Techniques: Black music showcases a diverse range of vocal techniques, such as melisma (ornamental vocal runs), gospel-style vocal histrionics, and soulful emotive delivery. These techniques have influenced various genres, from R&B and soul to pop and rock music. Blues Notes: The inclusion of "blue" or flattened notes, known as blues notes, adds a distinct emotional flavour to melodies. Originating from the blues genre, these notes have permeated numerous musical styles, contributing to the expressive and soulful nature of black music. Rhythmic Complexity: Black music often incorporates intricate and complex rhythms, utilising syncopation, cross-rhythms, and polyrhythms. These rhythmic innovations have left an indelible mark on genres like jazz, funk, Afrobeat, and Latin music. Spiritual and Gospel Influences: The rich heritage of spirituals and gospel music has profoundly impacted not only religious music, but also genres like soul, R&B, and even rock music. The passionate vocal delivery, harmonies, and themes of faith and resilience have resonated globally.
In the words of James Baldwin a renowned American writer, essayist, and social critic ."Artists are here to disturb the peace." Through our artistic exploration, we aim to challenge societal norms, provoke thought, and inspire conversations that transcend the confines of music. By unearthing the multifaceted nature of black culture, we contribute to a more inclusive and enlightened society.
Conclusion:
The influence of black vocal improvisation is undeniable. For me, it represents a powerful form of artistic expression, rooted in resilience, liberation, and cultural identity. This biographical essay has explored only a small part of its roots, its impact on self-expression and society, the unique power of black vocal expression, and the importance of preserving its legacy. As I continue to embrace the journey of black vocal improvisation, my wish is to continue to honour its past, celebrate its present, and pave the way for its future to enable others.
