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Introspection

by Theodore W. Burgh

When I met Derrick Gardner

It’s befitting that I heard Derrick Gardner before I met him. It was my third year in Hampton University’s (Hampton, VA) marching band; my second year as drum major. It was the height of mid-August—hot, humid, and the scheduled time for band camp. I was in the band room on one knee next to the conductor’s stand, gathering my thoughts and prepping for practice. My back was to the doors located at the top of the amphitheatre-designed room we all used to enter the space. The door handles clanked repeatedly, punctuating the entering bandmates’ chorus of cacophonous voices. Blaring trombones, trilling flutes, and booming tubas soon joined the fray. Some were still assembling their equipment. Others were joyfully embracing returning bandmates.

Trumpets and other instruments were warming up, noodling, when over this cacophony of sound, I heard someone ripping off nasty, hip bebop licks. They were crisp, clean, and way too mature to come from this group. I snapped my head around in search of who was delivering this delicious ear candy. My eyes and ears worked together quickly and found this stocky, baby-faced young man smiling, laughing, and chatting with other instrumentalists, all while effortlessly blowing intricate, smoking lines from his silver trumpet. It was Derrick Gardner.

After that band camp, we ended up taking some of the same music classes and playing in ensembles together. Although it was obvious that Derrick played at a more elevated level than most of us music majors, he was always humble and encouraging. These attributes, along with his virtuosity and easy-going demeanour, endeared him to nearly all with whom he interacted. I learned a lot about why I love music observing his passion for this art form.

What I Bring to Writing the Liner Notes

I come to this project with not only a love of music, but also a fervour for Black history. From the United States, Morocco to Spain to Africa, I find this aspect of the past enlightening, intriguing, and humbling. Every day, I realize there is still so much to learn, and misinformation to unlearn. I am grateful to have the opportunity to share my thoughts academically via the fields of archaeology, religion, anthropology, and archaeomusicology (music archaeology). My work in these areas shapes how I hear and interact with music in general, and with this venture in particular.

The Importance of This Project

Derrick Gardner’s offering is an essential artistic endeavour. This master musician and composer presents an expression of how facets of the African diaspora, African history, visits to various landmarks, and the heroic acts of certain individuals affected him and helped to shape this creation. The ancestral connections are palpable and real in the work, where honouring the ancestors is paramount.

Ghana is a staple in African history. This West African country sits between Côte d’Ivoire, Togo, and Benin. It is known for its Gold Coast, the Kwame Nkrumah Memorial Park, and of course, Elmina Castle.

Derrick Gardner shared with me that the music was inspired by his trip to Ghana in the summer of 2021. He spent five weeks there performing with his band and visiting important historical sites relative to the Transatlantic Slave Trade, Ghanaian independence, and the Pan African movement.

Theodore W. Burgh is the professor and department chair of the Department of Philosophy and Religion, University of North Carolina Wilmington

the music

1. Djemba Kan

2. Appointment in Ghana

3. 10,000 Ships

4. The Sixth Village

5. Highlife Suite

6. Blues for the Diaspora

7. Vicente, The Afro Mestizo

8. NKRUMAH ‘da RULAH

9. Assin Manso … The Last Bath

Musicians of Pan Africa

Derrick Gardner
Trumpet

Vincent Gardner
Trombone

Robert Dixon
Alto and tenor saxophone

George Caldwell
Piano

Obasi Akoto
Bass

Kweku Sumbry
Drums and African
percussion

Djembe Kan

(traditional)

Drums are a central component of most African cultures. The djembe, a West African drum, typically played with the hands, is identified as a goblet hand drum. Griots (storytellers, historians) and other prominent musicians use the drum for storytelling, conveying critical spiritual, cultural, and historical information. Drummer Kweku Sumbry opens the work with a beautifully crafted, intricate, unaccompanied Djembe Kan (the sound of the djembe) to initiate the call to everyone that it’s time to gather to hear what Derrick Gardner and his group have to say.

Appointment in Ghana

Sumbry continues the Djembe Kan to introduce Derrick Gardner’s arrangement of Jackie McLean’s composition, Appointment in Ghana. The arrangement of the trumpet, trombone, tenor sax, and djembe beckon the listener to prepare themselves. As the rhythm section lays down a solid groove for the horns, one can envision folks making their way to congregate in anticipation. Vincent Gardner, and Rob Dixon then initiate a punctuated, up-tempo call to which Derrick Gardner responds, and the journey begins. Derrick Gardner, Dixon, and Vincent Gardner all blow blistering solos. After Vincent Gardner’s offering, Sumbry briefly takes the reins with a tasteful eight-measure break that ushers in a scorching soli section (trumpet, sax, and trombone). This powerful segment punctuates each soloist’s statement about what happened in Ghana. With Appointment in Ghana, the band establishes a tone that makes the listener yearn for what is to come.

10,000 Ships

The title of this piece immediately conjures images from slave ship journals and chilling stories of the thousands of Africans packed in dark, cramped hulls—shackled to one another, unable to move, lying in their own waste, being fed just enough to sustain them on these horrific, unwanted voyages.

In 10,000 Ships, composer Rob Dixon opens the song with serious, somber energy. Obasi Akoto provides a bewitching bass line, accented by Sumbry’s cymbal work. George Caldwell then paints the musical canvas with warm, mysterious chords. The horns follow, laying a haunting, harmonized melody on top. Akoto drives the B part of the melody, which is an excellent complement to the A section. Dixon introduces a playful solo that grows exponentially, taking us with him to a wonderful climax. Just as Dixon brings us back, Derrick Gardner picks up, sending us soaring into the stratosphere. Eventually, he returns us to the initial groove.

As we catch our breath, Sumbry offers a tasteful solo that emulates the tumultuous waves of the sea the ancestors torturously endured for countless months. After the group repeats the melody, all three horns take turns blowing intensely over the repeated B section striving for a zenith, ultimately exhaling to end the song.

The group gives voice to the captured Africans and their horrific visions of ships carrying their stolen lineages to another world. Dixon’s composition reminds us that these were not slaves on these ships. They were snatched from their lives. Mothers, fathers, sons, daughters, artisans, chiefs, and queens wedged into a space not meant for humans en route to an imprisoned life. This artistic endeavour moves beyond words to remind us to never forget the cruelties that happened upon these ships.

The Sixth Village

The African diaspora has received attention regarding potential unification with Africa from prominent leaders such as Malcolm X and Martin Luther King. The goal was to connect all parts of the diaspora into a massive group with a specific cultural distinctiveness. The African Union had identified five regions of Africa—north, south, east, west, and central. The African diaspora was recognized as the sixth region in 2006. Derrick Gardner’s The Sixth Village represents this sixth addition—its importance and its impact.

Derrick Gardner and I have used and will continue to use the terms Pan Africa and the African diaspora in describing this work. Pan Africanism is an ideology, while the African diaspora is an identity. Both possess the goals to attain social, political, economic, and cultural development of Africans in Africa and throughout the diaspora. They also share a common history or heritage, as well as a universal destiny that surpasses prejudices from an atrocious history of slavery, colonialism, and racial discrimination.

This song swings from the jump. Sumbry’s percussion work and Akoto’s bass lay down an infectious African groove with different time signatures effectively playing against each other. The horns introduce a strong, robust melody over the groove. Close harmonies in the melody help convey the strength and depth of the diaspora. Following each solo, the horns play an interlude which is incredibly slick—an extremely hip part of the composition. While all the solos are wonderful, Caldwell puts together a well-crafted piano offering that astounds. While playing warm, rich chords with the left hand, his spirited ideas undulate with his right. The lines Derrick Gardner has the horns play after Caldwell are wicked. Culmination of the song swells quickly with the horns improvising simultaneously. The plethora of sounds appear to represent the countless voices of the diaspora—its vastness, depth, numerous languages, and cultural features.

Highlife Suite

This tune is a distinct contrast from the previous ones, taking the listener on a trip to a relaxing place full of colour and fun. Highlife, a popular African music genre, has that “feel good” groove. It makes one smile upon hearing it. Derrick Gardner sets up the song nicely with a danceable, playful melody. The horns all give beautiful solos, but the rhythm section shines. Akoto initiates the solos and shares a delightful, melodic, fastidious bass offering. It feels as if he’s dancing with the bass. Caldwell gives a rhythmic contribution that echoes Akoto’s expression. Sumbry picks up and continues the dance.

One walks away from this song on a wonderful musical high.

Blues for the Diaspora

This minor blues opens with Derrick Gardner using his trumpet to beckon and reflect. He reminds us about what happened in Ghana and its contribution to the creation of the diaspora. Carefully placed harmonies from the sax and trombone buttress the haunting melody. There’s an eeriness underlying the melody that is difficult to explain but omnipresent. It may be a sense of mourning for the ancestors. Nevertheless, each solo is deeply sermonic—reminding us to never forget what has happened. It is a Sankofa-like message.

The fade-out in this composition feels different than others. Even though the song “ends,” it’s as if it is still playing, communicating the voices of the ancestors. Although we may not hear it, they remind us that although we may not always realize it, the ancestors are ever-present and constantly speak to the diaspora.

Vicente, The Afro-Mestizo

One may ask why General Vicente Ramon Guerrero is included in a work focusing on Africa. While General Guerrero is not of Ghanaian descent, he is unquestionably part of the African diaspora. A mestizo is a man of mixed race, thus some refer to him as “The Black Mexican.” Guerrero’s history is fascinating, as he was involved in warfare, rebellions, and politics. Guerrero was also the first person of African descent to serve as president of Mexico. During this time, he was instrumental in the abolishment of slavery in Mexico. Thus, Derrick Gardner found Guerrero’s liberation to be inspiration for the composition.

The song opens with a short piano solo over a smooth, syncopated, timbale-driven rhythm that lays the groundwork for an energetic, yet mellow melody from the horns. The close harmonies are reminiscent of the tensions generated in warfare and liberation. They grab and engage the listener. The first part of the melody has an implied regal, stately feel that resolves into a set of warm, mellifluous, moving chords. The regal feel continues into the solo section as it takes off and swings hard. Vincent Gardner blazes the way leading the charge in much the way a general would. Dixon follows in the same fashion with a smoking contribution. Caldwell picks up the torch and seems to strategically take the listener in another direction with a hip, punctuated solo. Akoto follows and creates magic with his bass playing in the same manner. After a hot, soli horn interlude, Derrick Gardner takes charge and walks the song home playing over the repeated warm, moving chords from the second part of the melody. General Guerrero would be pleased.

Nkrumah ’da RULAH

Another ancestor receives a musical tribute from Derrick Gardner—Kwame Nkrumah in NKRUMAH ’da RULAH. After serving as Ghana’s prime minister in 1952, Kwame Nkrumah became the first president of Ghana after successfully liberating the country from British rule in 1957. Nkrumah led a fascinating life, part of which led him to be educated in the United States at Lincoln University, the University of Pennsylvania, and through his interactions with Harlem intellectuals and others in New York City. These influences helped Nkrumah develop an understanding of Pan Africanism he used to help free Ghana from British colonial rule.

The audio piece at the beginning of the track is of Ghanaian horn blowers used to announce the presence of a chief. Derrick Gardner learned this when he visited Kwame Nkrumah’s mausoleum. There were sculptures representing these horn blowers displayed in front of Kwame Nkrumah’s statue. The rhythm section eases in as the Nkrumah horns fade, laying a cool, solid foundation for reflection. Derrick Gardner continues the reflective theme when introducing the melody. It settles in a ruminating space when Vincent Gardner and Dixon join him with their harmonies. Each solo carries a meditative swinging groove. The lines played behind the horn solos help to hold this state of mind in place. Akoto presents an exquisite offering. Sumbry dazzles with a virtuosic solo with the punctuated horn lines supporting. The piece ends with the horns holding a marvelous chord that sustains the reflective theme.

Assin Manso … The Last Bath

The composer wrote this in tribute to Assin Manso, a city located in the central region of Ghana. It contains the Assin Manso River (also called Nnonkonsuo or Donkor Nsuo) where captured Africans took their final baths on African soil before being marched to the Ghanaian slave dungeons of Elmina and Cape Coast.

Derrick Gardner reminds us again about the urgency of the appointment at Ghana. What transpired here must always be remembered. His approach to sharing this reminder is similar to Blues for the Diaspora. He uses his trumpet and Sumbry’s djembe initially to beckon, call, mourn, and reflect. The band soon joins to push the message with piano rolls, djembe tones, and drums. Derrick Gardner speaks, recognizing the atrocities and indelible alterations to families forever. Dixon picks up Derrick Gardner’s mantle and continues the story. Caldwell follows with somber reflection.

Sumbry finishes the song as Appointment in Ghana began—with djembe and drums. He gives us moments of mourning what happened at Assin Manso, Ghana and the theft of the ancestors, as well as a sense of joy and elation that their stories will be told and never forgotten.

In loving memory of my father Burgess Lamar Gardner. Death is not the end, but rather a continuance of life. As you have transitioned from this earth you will never be forgotten. You are now one with our ancestors and heaven just got a lot more soulful. Rest in Power, Rest in Peace.

Produced by Derrick Gardner

Recording, editing and mixing at AY Productions, Winnipeg, Manitoba, January 7–9, 2022

Engineering, editing and pre-mastering by Adam Young/AY Productions (adamyoungmusic.com)

Final mastering by Colin Hanson/AY Productions

Photography by Joe Oczerklewicz (joeoczerklewicz.com)

Design by John Funk (underscorefunk.com)

Proofing by Kim MacRae (kimacrae@shaw.ca)

Videography by AY Productions

Management by Judith Humenick
(jhumenickproductions.com)

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.