Abdul Wadud – By Myself
(Bisharra Records – 1977)
Personnel: Abdul Wadud, cello
“The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized.”
Audre Lorde’s words from Poetry is Not A Luxury were published in 1977, the same year Abdul Wadud’s By Myself was released. Lorde’s argument that poetry is crucial applies equally to music like Wadud’s solo cello masterpiece. This art fills the actions and spaces of our lives with emotion, understanding and meaning. So it is our sincere hope at TNB that all will hear By Myself – those who listen will hear a record of great innovation and beauty.
But how to have access and listen to this album has been the question! Wadud released By Myself on his own Bisharra imprint with limited distribution. The album has never been re-issued or made available in any digital format. Good luck finding a copy of the LP, and if you do, you can expect to pay an eye popping sum for it. If it were not for the community of music lovers posting this on You Tube – you can find the whole album here – the vast majority would have no access to this music at all.
Who is Abdul Wadud? Wadud is unjustly obscure. Fortunately, there are two terrific interviews that you can find, one from 1980 and the other from 2014, where we can encounter Wadud speaking in his own voice. Wadud grew up in Cleveland Ohio, in a large family with diverse musical interests – one brother played jazz trombone, a sister sang opera, and a brother played rhythm and blues guitar. Wadud concentrated on cello from grade school and says that his interest in the avant garde goes back to Albert Ayler, also from Cleveland and who used a cello in his band. In 1960’s Cleveland there was a community of progressive musicians, and by age 18 Wadud was on his first recording of the new music with the legendary Black Unity Trio (recently reissued – you can get it here).
By inclination and to make a living as a musician, Wadud made a name for himself in two worlds – by day he played for classical symphonies such as The New World Symphony and The Jersey Symphony, and by night gigged with a who’s who of creative musicians on the 1970’s – Julius Hemphill, Frank Lowe, Arthur Blythe, Leroy Jenkins, James Newton, Anthony Davis and others. After a decade of playing in ensembles led by others, Wadud recorded By Myself in 1977. The interviews linked above provide an important key to understanding Wadud’s playing and to appreciating By Myself in particular. In an exchange with Tomeka Reid, she praises Wadud’s importance to creative music, and in response Wadud explains his innovation on cello:
“Tomeka: I think in my mind, I think of you as how Pablo Casals was with the Bach suites. To me it’s like Abdul Wadud is that important figure in this music. I don’t know if you know what I mean. There were other cellists before him of course but he definitely set the bar, especially in regards to Bach Suites. I feel like as far as creative music on the cello, to me you were that person.
Abdul: I think I said that in my liner notes on By Myself. I approached the cello not in the lyrical sense that it was known for. I had a percussive approach at times, chordal approach, as well as linear approach and tried to incorporate all of that depending on the situation and the demands of the music at that time.”
Wadud expands on this idea in the 1980 interview with David Lee:
“My approach, as I outlined in the liner notes of my solo album [By Myself], is to approach the instrument in its totality. I don’t believe in boundaries, I don’t believe in the cello being necessarily limited to being an accompanying instrument, or a rhythm instrument, or a so-called “lead” instrument. The cello can be anything that I want it to be. If I want it to be a drum, it can be a drum. There are times when I use it as such. When I want it to be a horn, it can be a horn.”
This multifarious approach characterizes the music on By Myself – just play the opening tune “Oasis” to hear the expanded technique Wadud displays. The tune starts with free tempo pizzicato playing, quickly bridging into resonant strummed “blue” chords, followed by a frenzied cubist-like structure which intersperses three different thematic elements in rapid succession. The tune then settles down into a blues based vamp that rides the performance out. The quick intercutting of so much material pushes this performance to the limits of virtuosity. It’s fascinating, complex, and begs to be heard multiple times to appreciate and savor all Wadud is doing here.
The tune “Camille” has become somewhat better known for being included in the New York Times 2020 piece “5 Minutes That Will Make You Love the Cello.” Cellist Tomeka Reid (one of Wadud’s interviewers above) says of Wadud on “Camille” “He uses the whole range of the cello and moves between lyrical, free playing and groove with ease.” “Camille” starts with a slightly melancholy bowed introduction, then switches to pizzicato for the song-like theme. The melody of “Camille” is memorable and really affecting. It closes Side A of the LP and leaves the listener with a lasting impression of Wadud’s depth and ability to communicate.
The album closer “Happiness” starts with a section played on the bow which alternates between deep tonal and dissonant fragments. The tune then transitions into Wadud’s guitar-like strumming, the tempo rapidly picks up and we realize why the tune is called “Happiness.” The rush of music in the last two minutes of this song is truly joyous and life affirming.
By Myself is a brilliant demonstration of Abdul Wadud’s comprehensive technique, not to mention a perfectly programmed album. Wadud has created a work of art that draws the listener in and shares lasting beauty. It’s also an album that speaks across 43 years to the moment that we live in, art created in solitude which through it’s grace and power makes us appreciate the beauty of being alive.
Now somebody needs to get this lost gem a proper reissue!
Where to go next:
For a musician with such a slender discography, Wadud has contributed to a wealth of astounding musical moments. Most notable are his collaborations with Julius Hemphill, foremost being the legendary Dogon A.D. – the subject of this blog’s inaugural post! Wadud’s’s playing on this seminal album is notable throughout, from his fearsome vamps on the title track, to the deep bass tones he gets at the cello on the tune “Rites”, to the earthy pizzicato work on “The Hard Blues.” All essential.
There’s tons of amazing Wadud on the 2021 release of archival recordings from Hemphill, which a whole albums’ worth of duets with Wadud. All of the Wadud/Hemphill duets are terrific, and you should also check out Live in New York and Oakland Duets. These are musicians who had a special bond.
Arthur Blythe was another important collaborator and features Wadud with the unusual lineup of alto sax, cello, drums and tuba on The Grip, Metamorphoses and Illusions. There’s a couple of incredible YouTube clips of this unconventional and amazing band in Berlin in 1980 and Montreux in 1981. The only other video I know of Wadud in performance is a duet with James Newton from 1981. Check out Wadud’s solo here – it deploys the blues in such a unique and powerful way. You’ll notice the melody he plays at the end of this solo is drawn from “Camille”, and played here to stunning effect.
Unfortunately Wadud was sidelined by ill health in the 1990s and he has not recorded since. Much of his discography is out of print, but every recording he appears is something to celebrate. Spread the word!
