By Hailey Stangebye

The iconic sounds developed during the Harlem Renaissance shaped the history of jazz and swing music. From the compositions of Duke Ellington to the sounds of Bessie Smith’s voice, black artists and musicians paved the way for the music of today. That influence is particularly noticeable this time of year.

The holidays are a time to dust off old records and revisit the tunes that have been celebrated over the course of a century. So many of those Christmas songs are rooted in the Harlem Renaissance. To celebrate the history of that music, we’ve compiled a collection of classic holiday tunes from the jazz legends we know and love.

Listen along.

Duke Ellington – “The Nutcracker Suite”

Duke Ellington, alongside Billy Strayhorn, reinterpreted the age-old tunes of Tchaikovsky’s “The Nutcracker.” Tchaikovsky originally composed “The Nutcracker” in 1892. Ellington released his reimagined version of those songs in 1960.

Billie Holiday – “I’ve Got My Love to Keep Me Warm”

“I’ve Got My Love to Keep Me Warm” was originally written by Irving Berlin in 1937. That same year, Billie Holiday recorded a version that became incredibly successful. Today, scores of artists have adapted and re-recorded the classic tune. 

Louis Armstrong – “Christmas in New Orleans”

Louis Armstrong was born August 4, 1901 in New Orleans, so this Christmas tune was close to home. Recorded in 1955, Louis brought his characteristic voice and smooth jazz rhythms to the sounds of Christmas. 

Ella Fitzgerald – “Ella Wishes You a Swinging Christmas”

Ella Fitzgerald was a prolific figure in the Harlem Renaissance. In her lifetime, she recorded two Christmas albums. The first, recorded and release in 1960, contained classics from “Santa Clause Is Coming to Town” to lesser known tracks like “What Are You Doing New Year’s Eve.”

By Hailey Stangebye

Goosebumps.

When Evan Tyrone Martin took the stage at the Lincoln Theatre on Sunday, Dec. 9. to perform An Unforgettable Nat King Cole Christmas, I knew the audience (myself included) was in for a great show. What I didn’t expect was that this Christmas concert would actually be a heartfelt journey through the lives of both Nat King Cole and Evan Tyrone Martin. Like I said, goosebumps.

Not only did Evan Tyrone Martin capture the tonality and sentiment of Nat King Cole’s sound, but he also captured the story behind Cole’s voice through the lens of Martin’s life experiences.

Not only did Evan Tyrone Martin capture the tonality and sentiment of Nat King Cole’s sound, but he also captured the story behind Cole’s voice through the lens of Martin’s life experiences.

Growing up, Martin says that he spent hours in his grandmother’s basement listening to record after record. Among those many tunes were the silky sounds of Nat King Cole. And, like Cole, Martin grew up as the son of a preacher. 

In the middle of the show, Martin paused to share that his father, who had been his greatest cheerleader and inspiration, passed away earlier this year. The audience hung on the silence that swelled after the closing of that story until the band slowly began the next tune, which Martin dedicated to his father. It was a heartwarming rendition of “Unforgettable.”

As the show began to draw to a close, students from the Columbus Children’s Theatre stepped onto the stage to perform a few Christmas tunes. The entire production was orchestrated to help raise funds for the children’s theatre — a cause Martin wholeheartedly supports.

The Chicago Sun-Times called Martin “a golden-voiced actor of sweetness and grace.” That description certainly held true for Sunday’s production. Martin’s rendition of Nat King Cole’s classics was nothing short of a delight.

By Malcolm White

It was date night for me on the second Monday of October, but my girlfriend got sick, so I ended up taking my daughter instead. It was a first for both of us: her first major theatrical performance and my first time in the Ohio Theatre as an adult. Though I’m invested in Columbus’ art scene, there was always something mystic about that beautiful facility that made it feel inaccessible to me. I was very happy to be able to take my daughter there at such a young age so that that feeling of not being good enough would never even entreat her.

That sentiment of exploring spaces that might not stereotypically belong to you re-occurred throughout the Black Violin performance. It was an incredible show. Their resume includes performing at President Barack Obama’s inauguration, so you can rightfully assume that the pair of violinists were talented. More than that though, they were unapologetically black. I don’t know what I expected when I first saw the trailers—I imagined there would be a violin performance backed by some hip hop instrumentals, not unlike an act I remember from my childhood called Nuttin But Stringz. There was something transcendental about Black Violin.

It was an incredible show. Their resume includes performing at President Barack Obama’s inauguration, so you can rightfully assume that the pair of violinists were talented. More than that though, they were unapologetically black.

Their performance didn’t feel like they were trying to take the violin somewhere it’d never been before; instead, I felt like their instruments were an extension of their culture. To start the show, they called out, “This is not a typical strings performance. We don’t want you to sit in your seat. This is a party!” They made good on that declaration. It was such a pure expression of emotion that, at parts of the show, I was moved to tears. They infused Donald Glover’s “This Is America” with Cardi B’s “Bodak Yellow” and chills went down my spine. My daughter jumped out of her seat when they tackled Bruno Mars’ “Uptown Funk.” People in the crowd strutted up and down the aisles, doing line dances while Black Violin broke it down on stage. Each member of the band had multiple chances throughout the show to showcase their solo talents, and one of the violinists took that opportunity to sing a classic R&B song to the love of his life: his instrument. It was touching. The DJ and drummer even got chances to jam out. It was pure and electric energy, and I loved it.

But, what inspired me the most was the speech that one of the members gave about 90 percent through the performance. He acknowledged how they were dressed (he wore a fitted cap, jeans and tennis shoes instead of the stereotypical formal wear, something that I had noted to myself earlier), that black people don’t normally occupy these spaces, that their show stepped outside of a lot of traditional boundaries, and that picking up strings when they were younger was the less popular option when given choices like basketball and football.

His message was: Think Outside The Box, You Can Do Anything.

His message was: Think Outside The Box, You Can Do Anything. That was the perfect conclusion for the night and succinctly wrapped up what I’d felt throughout the evening. I was proud of the excellence that exuded from the stage, and overjoyed that I was able to present such a positive impression on my baby queen’s mind. I hope that it’s an experience she will remember for the rest of her life because it certainly feels like one that I will remember for the rest of mine.

Black Violin is a blend of musical styles performed by two classically-trained string instrumentalists: Wil Baptiste and Kevin “Kev Marcus” Sylvester. On stage, the violinists are accompanied by turntable artist DJ SPS. They performed an ovation-worthy set on Mon., Oct. 8 at the Ohio Theatre.

By Hailey Stangebye

Urban Strings Columbus joined forces with the New Albany High School Chamber Orchestra to perform a series of pieces inspired by the spirit of the Harlem Renaissance on Saturday, Oct. 6 at The Jeanne McCoy Center for the Arts.

The young musicians brought a wide range of music to life — from the iconic St. Louis Blues, to an original piece, “Sankofa,” by contemporary composer Mark Lomax, II, PhD. The final piece, “Reflections of a Rebirth” by Matthew Brazofsky, was also a modern composition.

Both composers attended to watch the students perform their respective pieces.

Bettye J. Stull, independent curator and Harlem Renaissance consultant, announces the “Journey to Harlem Exhibition” that immediately followed the orchestra performance.

Following the performance, the attendants were invited to a reception to mingle, eat and enjoy a gallery of artwork curated to honor the Harlem Renaissance. On display were photographs by Marshall Shorts and portraits carved out of wood by Percy King.

The event was a beautiful melody of music, art and community, all of which came together to celebrate the 100th anniversary of the Harlem Renaissance. Bravo!

Aaron Wilburn, director of orchestras at New Albany Local Schools, introduces the collaborative performance between Urban Strings and the New Albany High School Chamber Orchestra.

Students perform pieces inspired by the spirit of the Harlem Renaissance at The Jeanne McCoy Center for the Arts on Sat., Oct. 6.

Students perform pieces inspired by the spirit of the Harlem Renaissance at The Jeanne McCoy Center for the Arts on Sat., Oct. 6.

Dr. Mark Lomax, II talks about the inspiration for his piece, “Sankofa,” which was performed by the orchestra.

Students perform pieces inspired by the spirit of the Harlem Renaissance at The Jeanne McCoy Center for the Arts on Sat., Oct. 6.

Armond Wimberley conducts the orchestra for their performance of “Sankofa.”

Matthew Brazofsky announces his original work, “Reflections of a Rebirth,” at the performance on Sat. Oct., 6 at the Jeanne McCoy Center for The Arts.

Members of Urban Strings and the New Albany High School Chamber Orchestra stand to take a bow after performing “Reflections of a Rebirth,” by Matthew Brazofsky.

By Hailey Stangebye

Photos by Kenny V.

Growing up, TrigNO was only allowed to listen to gospel music in the house.

But TrigNO and his brother were crafty. His brother would sneak VHS tapes of Usher videos into the house when their parents weren’t home.

“I feel old saying this, but they were tapes,” TrigNO laughs. “So he’d put them in the VCR and I’d watch them and see somebody moonwalking on their knees. He used to listen to a lot of rap and stuff when my mom and dad weren’t home. I was just like, ‘Yo, this is what I want to do. I like it.’ So I started training myself.”

“He used to listen to a lot of rap and stuff when my mom and dad weren’t home. I was just like, ‘Yo, this is what I want to do. I like it.’ So I started training myself.”

TrigNO became a dancer. But his interests extended far beyond just dance, as he practiced everything from rapping to acting — and, for a brief stint, the trumpet. Today, he defines himself broadly as “an entertainer” because that’s the most inclusive label for his talents.

He still remembers his first performance: It was fifth grade, his school was celebrating black history month and he had to rap.

“I had to rap in front of the whole school and I think I was the only one who remembered the words, and people really liked my verse,” TrigNO says.

It was around that age that he also met one of his most influential mentors — Mr. Malik Willoughby.

“We’re just so alike. Him and his brothers used to rap. They still do. And he’s a phenomenal dancer,” TrigNO says. “He taught me a lot. He also gave me good advice about finances and a whole lot of different stuff.”

With his own drive to create and help from mentors like Malik, TrigNO has honed his creative craft in rapping, dancing, acting and beyond. Today, he continues to rap and he also teaches dance for kids in Columbus.

“When I started, people knew me mainly for dance because that’s how I was in the community. I was teaching kids to dance as a kid,” TrigNO says. “Just imagine people knowing you for this one thing. As soon as I said, ‘Hey, I do music too, come and check out my project,’ they were like, ‘Aw yeah, but when’s your dance class?’”

“Just imagine people knowing you for this one thing. As soon as I said, ‘Hey, I do music too, come and check out my project,’ they were like, ‘Aw yeah, but when’s your dance class?’”

Breaking that limiting mold has proven to be one of his greatest challenges. Despite the resistance he’s faced, TrigNO continues to write and perform because he knows that there’s a need for his music in the community. He witnesses that need every day when he teaches his students.

“I know that the music that they listen to is very reckless, very young. There’s not a lot of wisdom to it,” TrigNO says. “I’ve had the pleasure of having both parents, and a father in my life who actually cared about me. They poured everything they had into me to make sure that I had everything I needed as far as my morals go.

“I’m not sure if these kids have that or not. But, I’m going to treat it as if they don’t. Or as if they just need to hear what I have to say.”

“I know that the music that they listen to is very reckless, very young. There’s not a lot of wisdom to it.”

TrigNO says that his music is for all ages. He doesn’t curse, he recently stopped saying the “n-word” and he focuses on the power of a message that he feels is missing in the hip hop canon. He says there’s value to preserving that innocence, even with raw subject matter.

“I can’t help but rap. I can’t help it. A lot of people feel like they have to dumb stuff down. Me? I’m not too complex because I want you to understand what I’m saying,” TrigNO says. “It’s real. It’s thought provoking.”

TrigNO’s Work

By Hailey Stangebye

Photos  courtesy of Matthew Vaughn

If he were an animal, Matthew Vaughn says he’d be a snake.

That’s because he can create melodies that glide elegantly through themes of heartbreak and death. Then, in the next track, he can write a verse that bites down with a ruthless edge. A snake represents the practiced union of grace and force.

Practice is a crucial component of the equation. He didn’t master his voice and style overnight.

“I started writing poetry at a very young age, like elementary,” Matthew says. “My uncle wrote poetry a lot. He would just walk around the house and recite it and I thought what he could do with words was super cool. So I started writing and continued to write throughout middle school and high school.”

Poetry was his first passion. Taking after his uncle, Matthew would write poem after poem, filling up notebooks with the written word. Things changed, though, his freshman year of high school.

“I had gotten one of my journals stolen, and so I was just really upset about that,” Matthew says. “Then, my oldest brother passed away and I just didn’t feel any motivation to do poetry. Over the summer, I still wanted to write, but I didn’t want to write poetry. So I started rapping.”

“Then, my oldest brother passed away and I just didn’t feel any motivation to do poetry. Over the summer, I still wanted to write, but I didn’t want to write poetry. So I started rapping.”

That summer between freshman and sophomore year in high school, Matthew started recording his tracks. Looking back, he describes those early recordings as disturbing; those songs show how he processed every complex emotion he encountered after losing so much.

When he recorded that first song, he didn’t have any fancy equipment.

“I started by blasting the music out of the computer speakers, and then recording the verse with the music in the background on my sister’s cellphone,” Matthew says. “Then I would upload those tracks to my SoundCloud. I still have a few of them.”

Over the next few years, Matthew honed his craft and practiced with a rap group. Once the group disbanded, though, he decided to take a leap of faith and perform at his first open mic. Until then, he had never performed anything live.

“I was shaking and everything and afraid of everything. I went on stage with sunglasses on because I didn’t want to look at the crowd, and it was just very, very scary,” Matthew says. “But I fell in love with performing, and so I started writing more spoken word. It was pretty much a wrap after that because I fell in love with the expression and the connection to people that I could have. Now I’m here.”

“I was shaking and everything and afraid of everything. I went on stage with sunglasses on because I didn’t want to look at the crowd, and it was just very, very scary.”

So where is “here?” It’s a place and time where Matthew proudly introduces himself as an artist. That’s because the term “rapper” doesn’t cover half of his creative endeavors.

“Yes, I can rap. Yes, I can do poetry — write it and perform it — but I also like to take pictures, I also like to sing (I’m in the gospel choir at my university), I also like to do a little bit of graphic design,” Matthew says. “I like to introduce myself as an artist because I feel like I can do a lot of things. Even dancing.”

Currently, Matthew is a published author of Intentional Scribbles and a student at Wilberforce University majoring in sociology. He says he owes a great deal of his success to support from Underdog Academy and his friends at Sun Tribe — or, as he describes the tight-knit group: “Those people in your life that give you motivation and hope for the future of humanity.”

“My purpose in life is to create, and I literally don’t know how to go about my life without doing it. It’s my form of breathing,” Matthew says. “My way of breathing is through art and creation. That’s my way of understanding and describing things.”

“My purpose in life is to create, and I literally don’t know how to go about my life without doing it. It’s my form of breathing.”

Matthew Vaughn’s Work

The August Gallery Hop was magic.

The warm, summer breeze carried the rhythmic rise and fall of spoken word down the streets of the Short North. Poetry and music rose in the air before finally settling in the hearts and minds of those who listened. There was a vibrancy and energy in the atmosphere, the likes of which the Short North has rarely seen.

Some people joined in the bustle. They followed their maps and strolled from one end of the neighborhood to the other, taking in every experience that the night had to offer. Others came to see specific installations in support of their friends and family. And others stopped in front of one mural or one piece of art and paused, luxuriating in a rare state of peace and stillness. Regardless of how each and every individual participated that night, every person experienced something delightfully unexpected.

Regardless of how each and every individual participated that night, every person experienced something delightfully unexpected.

They might have discovered a new artist with whom they identified, they may have met a new friend, or they may have learned something about themselves and their role in the community.

The artists involved ranged from well-established Columbus icons to up-and-coming creatives just starting to leave their footprints on the Columbus arts scene. Other artists boasted national acclaim and accolades from cities such as San Francisco, Los Angeles and New York, but they had yet to receive much recognition in their hometown — or even their home state of Ohio. 

That was the case for Bryant Anthony, or, as most people know him, Bee1ne. Bryant hails from the east side of Cleveland where he says, “The streets were my gallery.”

When he arrived in Columbus to attend the Columbus College of Art and Design, the city didn’t welcome his style. Galleries turned him down, saying his art was too “street” or too “urban.” It wasn’t until Bryant rose to fame in Miami and Los Angeles that Columbus began to warm up to his form of expression.

Now Bryant has a mural, “Spread More Love,” in the city that first turned him down. Nothing could be more indicative of Bryant’s character. He turned a harsh environment into an opportunity to spread love and inclusion.

He turned a harsh environment into an opportunity to spread love and inclusion.

Bryant’s mural, along with others, served as a source of inspiration for the live performances that brought the streets to life. Poets including Wali, Judazya, Tripp Fontane and Vye performed in front of his mural.

On the other side of the Short North, Mason Pryor, Richard Pryor’s son, made an appearance in front of Terry Norman’s mural of Richard Pryor. At Antoinette Savage’s mural, The Exodusters, dancers brought her work to life.

Through dance, music, art and spoken word, the community came together to celebrate and support our local, African American artists. It was an event like no other and an unforgettable experience.

Likeness of Richard Pryor recreated with permission granted by Jennifer Lee Pryor and Indigo, Inc.

Meet the Muralists

Annie Chrissy Burley | Anime Omission (Composite) | 1020 N. High St.

Annie Chrissy Burley is an animator and visual artist. This piece shows a figure named “Anyia,” and her characteristics are based off of a character called Ayanami Rei from the animated series “Neon Genesis Evangelion.” Annie sees Ayanami Rei as a cultural opposite compared to the common representation of a character that looks like Anyia. She’s breaking down the “Big Black Woman” archetype to show a more nuanced picture.

Antoinette Savage | The Exodusters | 921 N. High St.

Antoinette Savage creates dolls that tell the stories of her ancestors: “I strongly believe that, as African Americans, we are our ancestors’ answered prayers. Prayer knows no time or space. So a prayer that was prayed 400 years ago, I’m living right now. But they’re not here to see it. For me, it has been very important that I tell our stories and I tell them with dignity.”

April Sunami | Dviza, 2017 | 772 N. High St.

April Sunami is an artist that strives to impact culture through creating art. This mural, along with her other works, depicts an African, female figure in an active position of power: “It’s just a way of celebrating a history that a lot of people don’t know about. As a person who studied history, I always felt that African history was excluded from the picture.”

Bee1ne | Spread More Love | 1033 N. High St.

Bee1ne, or Bryant Anthony, is a Cleveland-based artists who came to Columbus to attend CCAD. His mural is a part of his current campaign, Spread More Love. In his experience, Bee1ne has learned that people need to show and receive more love in this day and age. His artwork reflects that goal.

Cameron Granger | Urn, Or Another Way To Say I Love You (video still), 2017 | 777 N. Wall St.

Cameron Granger is a filmmaker that came to Columbus to attend CCAD. He has since found a community in this space. His mural is a video still from his film Urn, Or Another Way To Say I Love You. It’s about the distance between “I” and “you” that his love tries to cover.

Debbie Jackson | Bogolan Queen | 790 N. High St.

Debbie Jackson creates African-inspired art jewelry. Her work is currently featured in the Smithsonian’s National Museum of African History and Culture in Washington, D.C. She literally wrote the book on her medium of choice, Polymer Clay Jewelry. She says: “Africa speaks through my art.”

Edmund Boateng | BREAKING LOOSE | 1288 N. High St.

Edmund Boateng is a visual artist and photographer originally from Ghana. “I’m inspired by nature. My explanation of nature is everything that God has created, including humans,” Edmund says. This mural, BREAKING LOOSE, is a self-portrait that illustrates Edmund fighting against his reserved nature.

Malcolm J | Goodale Park | 15 E. Second Ave.

Malcolm J is a Columbus icon. He has gained local acclaim for his images of the Short North. This piece, Goodale Park, shows a view of the fountain in Goodale Park.

Marshall Shorts | I, Too, Sing Columbus | 858 N. High St.

Marshall Shorts is a local branding creative and the man who designed our Harlem Renaissance logo. He wants this campaign to not only celebrate the Harlem Renaissance, but to also ask questions: “Where are we 100 years later? Are we still facing some of the challenges that black folk had during that time period? Are artists still facing the same challenges 100 years later?”

Omar Shaheed | Lady in the Window, 2018, two angles shown | 642 N. High St.

Omar Shaheed is a sculptor who works primarily in limestone. When he first came to Columbus, he says that the arts scene — especially for African Americans — was limiting. Lately, he’s starting to see a shift: “I didn’t really feel comfortable in Columbus from an artist’s perspective because art wasn’t focused on as it is today. I think it was pretty bland. I used to sit and talk with other artists who were here and most of them saw the same thing I saw. For us, for African American artists, to be in the Short North, that’s totally different.”

Richard Duarte Brown | Fleaux Child | 1359 N. High St.

Richard Duarte Brown originally hails from Atlantic City New Jersey. Since then, though, he has become a beloved Columbus artist that works to inspire our local youth. He is an art educator and his mural, Fleaux Child, depicts Louis Othello Berry (a local poet, dancer and Transit Arts alum) performing live.

Terry Norman | Richard Pryor. Medium: Charcoal | 685 N. High St.

Terry Norman is an artist whose charcoal portraits are the stuff of legend. This mural or Richard Pryor is often mistook for a photograph. Make no mistake, Terry drew this piece using charcoal. He is a Columbus native and a self-taught artist.

Likeness of Richard Pryor recreated with permission granted by Jennifer Lee Pryor and Indigo, Inc.

Beauty in the Pain

By Hailey Stangebye

Photos by Kenny Williams

Before he goes on stage, Kashis Keyz visualizes a physical button.

It’s a button that controls all of his energy. In an instant, he can press this button and completely change his behavior. It doesn’t matter if he’s sick, upset or hasn’t slept in days. That button changes everything. He turns his energy all the way up to perform.

The only thing it takes to press that button is a pure love for music.

“I feel like love has to be the prerequisite with it all, with anything creative,” Kashis says. “You have to love it to a point where you love it more than eating and sleeping. I feel like when you get to that point, when you love something that much, it just flows out of you. And that’s what happens to me every time I perform. Every time.”

“You have to love it to a point where you love it more than eating and sleeping. I feel like when you get to that point, when you love something that much, it just flows out of you.”

Kashis began performing when he was just a child growing up in Connecticut. His grandmother ran a non-profit that brought the arts to middle schools. The first song she had him perform was “I Know I Can,” by Nas. After that, he learned “Jesus Walks” by Kanye.

“I did that for probably eight months to a year. To the point where I was like ‘I’m tired of rapping other people’s stuff. I wanna make my own music,’” Kashis says. “So I started writing myself.”

Even though Kashis was only 11 years old, his first song was a hit. He performed it for a talent show that was broadcast on local television and won third place. The prize was $100 and he never forgot that moment.

“At that age, for me to win that for my first song, I was like, ‘Shit, I’m supposed to do this,’” Kashis says.

“At that age, for me to win that for my first song, I was like, ‘Shit, I’m supposed to do this.'”

As a teenager, Kashis moved back to Columbus, where he was originally born, to stay with his father. Throughout high school and his time at the University of Cincinnati and then Columbus State, Kashis continued to dabble and write.

But it wasn’t until March of 2016 that everything changed. At that point, he had been working on an album project for nearly three years with no end in sight.

Then he lost his job.

He took this as a sign. He turned his negative situation into an opportunity to pursue the career that truly inspired him.

“I thought, ‘Music must be it.’ So I finished the project, put it out two years ago and then started getting shows. Everything started moving from there,” Kashis says.

Kashis takes special care to connect with his audience through his live performances and his words. He knows that if he can hook a new listener with his presence, then they’ll go home and really listen to the individual words in his songs and feel even more connected.

His ultimate goal is to create music that touches people. Billions of people.

“My message is that with anything you’ve gone through, you can flip it and make it into a positive. Everybody goes through different situations in their life. Everybody has trauma and drama associated with experiences,” Kashis says. “But, we can take that, mold it, and create something beautiful. There’s beauty in the pain.”  

“Everybody goes through different situations in their life. Everybody has trauma and drama associated with experiences. But, we can take that, mold it, and create something beautiful. There’s beauty in the pain.”

Kashis Keyz’ Website

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