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Wynton Marsalis Takes Concertgoers Through a Symphony of Blues

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By Breanna Edwards, The Root

Taking their seats, the symphony orchestra begins with a wave of the conductor’s baton, led by the cheerful sound of the piccolo and the rhythm of the drums—which the program notes is supposed to signify the American Revolution and the birth of the possibility of the blues.

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On Wednesday night, the Music Center at Strathmore in North Bethesda, Md., played host to Wynton Marsalis’ Blues Symphony for hundreds who turned out—filling the expansive hall all the way to the balconies—to witness the premiere of the award-winning musician’s ambitious journey to chart the history of the blues throughout America.

No ordinary piece of work from the renowned trumpeter, the six-movement piece, a fusion of different types of music, bestows the feel of the blues, all through the use of orchestral instruments.

Of course, Marsalis isn’t the first to fuse different genres of music together, but what makes his piece unique, he says, is his insider knowledge of both classical and jazz.

“I think I may be the first one who really is in the inside of jazz and the inside of classical music the way I’ve been since I was a kid,” Marsalis told The Root Tuesday during a dress rehearsal before the performance. “People have tried to put the two forms together, but I’m trying to be inside of the actual reality of it from a jazz musician’s perspective.”

Wynton Marsalis playing with his quintet. CHRIS BURCH

Wynton Marsalis playing with his quintet. CHRIS BURCH

The piece was years in the making, Marsalis having partially unveiled it in 2010 with the Atlanta Symphony Orchestra. However, the commitment required significant rehearsal time to pull off with an entire 100-piece symphony orchestra, often a luxury for a top-tier professional group, thus delaying the work’s premiere.

With Marsalis partnering with the Shenandoah Conservatory, its symphony orchestra and Washington Performing Arts, the debut was finally made possible. The piece was made part of the orchestra’s curriculum, allowing for the grueling practice needed to see the symphony’s full potential. Even as the musicians practiced, the piece was edited here and there and fine-tuned. Marsalis is under no impressions of grandeur. Music to him is living and ever ongoing.

“Every piece is ongoing,” Marsalis said. “I work on the pieces, and they come and we continue to work on them and they improve over time.”

Even with this symphony, which he worked on for years, he wrote it in such a way as to allow some other musician down the line to be able to learn and take from him.

“I put enough of the ideas down to give them just a blueprint. It covers a wide range of music, from church music to Brazilian choro to Cuban danzón to ragtime to different types of jazz … spiritual … New Orleans counterpoint,” the nine-time Grammy Award-winning artist said. “[There are] many different questions in it.”

Many different questions, and many different answers, and as the audience sat there Wednesday in the vast hall listening to the students play for a little over an hour without a pause between movements, they were transported to the streets of New Orleans, Cuba and Brazil, even to the streets of New York, for which the sounds of bustling traffic came through via the orchestra.

Jan Wagner conducting the Shenandoah Conservatory Symphony Orchestra’s performance of Blues Symphony. CHRIS BURCH

Jan Wagner conducting the Shenandoah Conservatory Symphony Orchestra’s performance of Blues Symphony. CHRIS BURCH

It begs a mention that before the orchestra wowed the audience, Marsalis brought out his quintet, consisting of Walter Blanding (tenor saxophone), Dan Nimmer (piano), Carlos Henriquez (bass) and Ali Jackson Jr. (drums), to start the show with a bang. They blew through piece after piece in a full set lasting about an hour, with Marsalis engaging the audience, at one point even leaving the stage to play among the attendees.

When the show was over, some 1,800 people rose to their feet, whistling and cheering. The students in the orchestra had done Marsalis proud; but of course, he had expected no less with the work they put in.

“For me it’s a learning experience, I want [the students] to enjoy themselves,” Marsalis said. “I want them to feel great about all the experiences they have in music ….They practiced a lot [and] I’m pleased with the effort.”

“The type of respect they’ve shown me and that they’ve shown to the music, and the seriousness they’ve brought to it? Yeah, I’m proud!” he added.

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COMMENTARY: The National Protest Must Be Accompanied with Our Votes

Just as Trump is gathering election data like having the FBI take all the election data in Georgia from the 2020 election, so must we organize in preparation for the coming primary season to have the right people on ballots in each Republican district, so that we can regain control of the House of Representatives and by doing so, restore the separation of powers and balance that our democracy is being deprived of.

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Dr. John E. Warren Publisher, San Diego Voice & Viewpoint
Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper. File photo..

By  Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper

As thousands of Americans march every week in cities across this great nation, it must be remembered that the protest without the vote is of no concern to Donald Trump and his administration.

In every city, there is a personal connection to the U.S. Congress. In too many cases, the member of Congress representing the people of that city and the congressional district in which it sits, is a Republican. It is the Republicans who are giving silent support to the destructive actions of those persons like the U.S. Attorney General, the Director of Homeland Security, and the National Intelligence Director, who are carrying out the revenge campaign of the President rather than upholding the oath of office each of them took “to Defend The Constitution of the United States.”

Just as Trump is gathering election data like having the FBI take all the election data in Georgia from the 2020 election, so must we organize in preparation for the coming primary season to have the right people on ballots in each Republican district, so that we can regain control of the House of Representatives and by doing so, restore the separation of powers and balance that our democracy is being deprived of.

In California, the primary comes in June 2026. The congressional races must be a priority just as much as the local election of people has been so important in keeping ICE from acquiring facilities to build more prisons around the country.

“We the People” are winning this battle, even though it might not look like it. Each of us must get involved now, right where we are.

In this Black History month, it is important to remember that all we have accomplished in this nation has been “in spite of” and not “because of.” Frederick Douglas said, “Power concedes nothing without a struggle.”

Today, the struggle is to maintain our very institutions and history. Our strength in this struggle rests in our “collectiveness.” Our newspapers and journalists are at the greatest risk. We must not personally add to the attack by ignoring those who have been our very foundation, our Black press.

Are you spending your dollars this Black History Month with those who salute and honor contributions by supporting those who tell our stories? Remember that silence is the same as consent and support for the opposition. Where do you stand and where will your dollars go?

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Activism

Dorothy Lee Bolden: Uniting Domestic Workers

Domestic work followed Bolden beyond high school. According to sources from the New York Times, Bolden said she would wake “at 4 a.m. to leave home by 6 a.m., and be on the job by 8 a.m., perform all those duties necessary to the proper management of a household for eight hours, leave there by 4 p.m. to be home by 6 p.m. where I would do the same things I’ve done all over again for my own family.”

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Dorothy Lee Bolden. File photo.
Dorothy Lee Bolden. File photo.

By Tamara Shiloh

Her first experience with domestic work was at the age of nine. For $1.25 per week, Alabama-born Dorothy Lee Bolden (1923–2005), alongside her mother, washed soiled diapers for a White employer. Little did anyone know that this profession would spur Bolden to spearhead the movement for basic dignity and respect for generations of domestic workers.

Domestic work followed Bolden beyond high school. According to sources from the New York Times, Bolden said she would wake “at 4 a.m. to leave home by 6 a.m., and be on the job by 8 a.m., perform all those duties necessary to the proper management of a household for eight hours, leave there by 4 p.m. to be home by 6 p.m. where I would do the same things I’ve done all over again for my own family.”

It was Bolden’s experiences working as a domestic in 1940’s Atlanta that inspired her civil rights activism. A White female employer demanded that Bolden remain beyond her shift and wash dishes. Bolden refused. She was arrested and held in a county jail because “she was crazy.” There was no other reason for disobeying an order from a White person.

Bolden was never sentenced or institutionalized, but this event was the seed that grew into organization that would protect domestic workers across the United States: the National Domestic Workers Union of America.

Rosa Parks had made public transportation a major breeding ground for civil rights activism, so Bolden began organizing during the long bus rides her peers made to the wealthy neighborhoods. Many were fed up, working long hours for little pay, with little to no worker protections.

This organization of women would go on to fight for worker’s rights, create training programs, and teach workers to advocate for themselves. It was also important to Bolden to teach communication skills.

In the book Household Workers Unite, Bolden is quoted as saying: “You have to teach each maid how to negotiate… And this is the most important thing — communication. I would tell them it was up to them to communicate.”

But respect for Bolden’s activism was not shared by everyone. Although she consulted presidents Ford, Reagan, and Carter, she received several death threats from the Ku Klux Klan.

The New York Times reported that during the makings of an oral history project, Bolden said that “men claiming to be members of the KKK called her house and spoke about “whipping my behind,” but in coarser terms. “I told them any time they wanted to, come on over and grab it,” Bolden said during the interview. “It didn’t scare me, didn’t bother me. It made me angry. It made me determined to do what I had to do.”

Representative John Lewis of Georgia said that Bolden “spoke up, and she spoke out, and when she saw something that wasn’t fair, or just, or right, she would say something.”

The NDWU of America ran until the mid-1990s, but Bolden’s legacy lives on.

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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