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Zachariah Julian (Albuquerque, New Mexico)
Zachariah Julian (Jicarilla) has produced the We Are the Seeds stage since its inception. He curates programs that are diverse, balanced, interesting, and entertaining. A musician and performer, he is knowledgeable in production and stage management. He has lived on the Apache Nation for nineteen years and has been playing piano for over 20 years. Zachariah started composing when he was sixteen and attended University of New Mexico majoring in Music Theory and Composition. He has just released a CD called These Marked Trees.
Interviewed by Raquel Paraíso, 09/15/2020.
Zion Charity (Surry County, Virginia)
Zion S. Charity is a bass guitarist and native of Surry County, Virginia. Inspired by his uncle, bassist Alvin Parker, Zion picked up the instrument and later studied with jazz and gospel musicians Alvin “Web” Wilson and Randolph “Randy” Ellis. In college, Zion studied with James Holden, Jr., Harold Houghton, Sr., and Mark Johnson. Zion has toured internationally and performed alongside artist such as Earl Bynum, Cora Armstrong, and DeeDee Bridgewater. As a recording artist, Zion plays bass for artists worldwide, as well as produces his own solo work. He has performed with many groups in the Virginia area, including the Carl Waterford Band and the KGExperience (Detroit, Michigan), and served as music director for Damon Little (Baltimore , Maryland). As an educator, he is the CEO of Zionite Bass University, a privately-run bass guitar school for students of all ages. Beyond music, Zion is involved in community service both locally and nationally.
Interviewed by Tamar Sella, 10/02/2020.
This item is a set of examples from the collection [United States, North and South Carolina, Georgia, African Americans, 1920s-1930s] collected by Lawrence Gellert. Some content and language may be offensive. The examples have been selected to accompany the monograph, A Sound History: Lawrence Gellert, Black Musical Protest, and White Denial, by Steven Garabedian, published by the University of Massachusetts Press in 2020. The larger collection of Lawrence Gellert recordings are described in the IUCAT record (https://iucat.iu.edu/catalog/2231335 ). Some of these recordings were made using a primitive recording device and the audio quality is very poor. Titles are taken from those provided in Gellert's notes or have been created based on the song content. Gellert did not document the names of performers for their safety, and that is why the performers for most of these recordings are unknown.