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Weston grew up in the Bedford-Stuyvesant section of Brooklyn, where his father, the owner of a soul food diner, emphasized to his son, "You are an African born in America." The elder Weston laid down a strict rule for Randy: Practice the piano at home each day or feel the edge of a ruler on your knuckles. When the now six-foot- eight Weston was in his early teens he was already six- feet-two-inches tall and eager to play basketball, but his father ensured that he did not stray too far from his piano. Passing along his vast knowledge of calypso, jazz, and blues to his son, Weston's father frequently took him to see bandleader Duke Ellington at the Sonia Ballroom or Brooklyn Palace, as well as to Harlem to hear calypso. In addition, Weston's mother, who was from Virginia, exposed her young son to spirituals.
While Weston was a youngster in Brooklyn in the 1930s and 1940s, musicians Miles Davis, Max Roach, and George Russell all lived in the borough at one time or another, and each had stopped into the elder Weston's luncheonette for soul food. Weston felt steeped in the African American music community as a teenager; he especially made a point of seeing Coleman Hawkins perform whenever possible and, through Hawkins, was able to meet pianist Thelonious Monk. Weston spent many hours at home listening to Monk's recordings.
At the age of 14, Weston was taught by drummer Al Harewood (a fellow Harlem Speaks honoree) how to play a tune on the piano by ear; Weston was then able to imitate current releases by Ellington, Hawkins, and Count Basie. Weston used to go to the Atlantic Avenue section of Brooklyn to hear Arabic musicians play the oud, a type of lute. He told Down Beat's Fred Bouchard, "We were searching for new sounds. We'd get into quarter and eighth tones. But here was Monk doing it, with spirit power, with magic! ...For me it was pure African piano." Besides Monk, Basie, Hawkins, and Ellington, jazz greats Nat King Cole and Art Tatum were also early influences for Weston.
Voted "new star pianist" in a 1955 Down Beat critics' poll, Weston spent most of the 1950s playing in clubs around New York City with Cecil Payne and Kenny Dorham. He also toured colleges with historian Marshall Stearns, who lectured while Weston and a few other musicians performed African, calypso, Dixieland, and bebop music. Weston wrote a string of popular songs, including "Saucer Eyes," "Pam's Waltz," "Little Niles," and his best-known tune, "Hi-Fly," which is about being six-foot-eight and looking at the ground. Among the 11 albums he released during the fifties were Cole Porter in a Modern Mood (1954), Randy Weston Trio (1955), Piano a La Mode (1957), and Little Niles (1958).
In 1960 Weston recorded Uhuru Africa with composer, arranger, and trombonist Melba Liston, and narration by writer Langston Hughes. The recording featured African traditional styles with a jazz orchestra. Weston told Down Beat, "I developed a lot playing with African drummers: Candido, Chief Bey, Big Black, Olatunji."
Weston's first encounter with African musicians was in Lagos, Nigeria. The rhythms impressed themselves on Weston's psyche, and he eventually traveled and played in 18 African nations. In 1966 he visited 14 African countries while on a U.S. State Department tour. Finally deciding to settle in Tangiers, Morocco, he owned a nightclub there from 1968 until 1972. He then lived in Paris during the mid- to late 1970s, and his recordings—frequently licensed from European labels—appeared sporadically throughout the decade. He continued to perform in Africa, including at the 1977 Nigerian Festival, which attracted musicians from 60 different cultures.
The 1980s saw Weston receive recognition for his unique style of blending various cultures in his music. In 1982 the televsion special Randy Weston: A Legend in His Own Time was filmed for WGBH-TV in Boston. Randy Weston Week was declared in 1986 by the Brooklyn Borough President's Office and the Brooklyn Academy of Music in 1986. And, between 1987 and 1989, Weston was the subject of three documentary films: Jazz Entre Amigos, for Spanish television, Randy in Tangiers, for Spanish and French television, and African Rhythms, for WGBH-TV.
The early to mid-1990s were busy years for Weston, whose appearances included a tour with a Moroccan Gnawa group, a troupe of dancers and musicians traveling from Morocco to the Niger region. In 1992 the pianist released another album, Spirits of Our Ancestors, underscoring the African link between forms of modern-day American music and featuring musicians Melba Liston, Pharoah Sanders, Dizzy Gillespie, and Dewey Redman. Volcano Blues was released a year later and was followed by Weston's Monterey '66 in 1994. Two albums were cut in 1995, The Splendid Master Musicians of Morocco and Marrakesh: In the Cool of the Evening.
Weston's music reflects his diverse paths in life and his desire to interweave the past with the future, and traditional with new sounds. Like Morocco and Africa itself, his music sounds both mysterious and beautifully simple.
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