A Short Talk with Faruq Z. Bey

his is suttwa, a. k. a., Terrill S. Wyche for OpenAir. Last night, GCL and I attended a poetry set called The First Peace and Love Poetry and Jazz Jam. It was hosted by Lauren Chaisson in the Ray Mix Room #E-125 at Wayne County Community College District, Downriver Campus at 21000 Northline Road in Taylor, MI.

The featured artists were The Barefootpoet Ann Holdreith and M. L. Liebler and the Magic Poetry Band, with special guest jazz musicians Dan Mayberry on upright bass and Jabiya E. Dragonsun on percussion.

During the open mic portion of the set, GCL noticed this tall man playing immaculate saxophone with an oxygen pack. Mr. Bey has a chronic bronchial condition that requires him to wear and take oxygen. Yet he played brilliantly without apparent fatigue. We later learned that it was Mr. Faruq Z. Bey. He has played with everyone in the jazz community locally and many internationally. I first learned about him via my music instructor Mr. Kasusku Mafia, a local jazz and motown legend, whose work was featured in the film documentary, Standing in the Shadows of Motown. Ms. Aurora Harris has performed with him, and she has featured his band Griot Galaxy in past shows. Though I only had the empty backs of two pieces of paper and GCL's felt-tipped pen, when GCL told me to, 'Get 'im,' in the facetious sense of course, I knew that I was officially on assignment. So we begin.

TW: When did you find your musical gift?

FB: Well as a child, my two older cousins were both bebop musicians. When I was 13, I started playing bass until I went into the Air Force, playing in blues bands around the base. When I got out, I heard John Coltrane playing 'My Favorite Things' on soprano, and I realized I couldn't do that on bass, so I found the saxophone.

TW: How did you learn the saxophone at such an advanced age?

FB: It's about intent, then desire, and then discipline. The saxophone is a lifelong study. You never master it. You may master an aspect of it or master musical theory, but you never master it. It's about whatever you intend to do with it and applying yourself. When I started practicing, I used to measure it in terms of hours, but now I play wherever I can, although I have to deal with the mundane, making a living and so forth.

TW: How did you find M. L. Liebler?

FB: M. L. and I have been together for 20 years. When I was with the Griots, the Magic Poetry Band went through a lot of changes, and again it goes back to intent. What is called music now is derived from speech, especially with Africans in the diaspora. Music is a true attempt to communicate on the level of speech.

TW: What keeps you going?

FB: It's desire and intent and application. Sound is axial to my existence. We are far from realizing it. All the things the ancients did, I believe they did with sound. It's a matter of proper utilization of sound. In one of the oldest books, a brother said, "All is wave."
I'm not so much into entertaining as in the manipulation of sound. If someone hears it, all the better...

TW: Well thank Mr. Bey. This has been suttwa, a. k. a., Terrill S. Wyche for OpenAir.