Since 2007 we have dedicated the summer issue of American Legacy magazine to the contributions African-Americans and other people of color have made to music. Our influence in that broad field is enormous; it touches every genre—ragtime, blues, gospel, classical, jazz, rock ’n’ roll, soul, funk, hip-hop—on what is an ever-evolving list. After reviewing the manuscripts for this issue, I was struck by what a creative people we are, and I think you’ll feel the same as you read the feature stories. They shed light on the kind of musical energy that has long flourished in our communities, and they remind us of what some individuals have had to endure to bring their creative genius to the fore.

Mention the name Jimi Hendrix and it’s fair to say that most people think of Woodstock and his performance at what is now considered one of America’s most fabled concerts. That Hendrix was among the world’s most brilliant guitarists is a given, and those fortunate enough to have seen and heard him in concert must treasure it as an unforgettable experience. Many years ago my wife and I took my nieces and her sisters to see Prince in concert. The opening act was the Isley Brothers featuring Ernie Isley on the guitar. I cannot help but think how Hendrix must have inspired those two great guitarists, especially Isley, who had known Hendrix from his days playing backup for Ernie’s older brothers. While I never had the chance to see Hendrix perform, I know his spirit was there that night in Cleveland. Often misunderstood, Hendrix died much too young, at just 27. Greg Tate’s in-depth article about him begins on page 42.

Well before Hendrix’s arrival on the scene, there was Charlie Christian, and he, writes Rick Petreycik, was the first to elevate the electric guitar to the realm of a solo instrument. Born in Texas in 1916, Christian achieved stardom at an early age. He too died young, but not before dazzling his bandstand colleagues; Mary Lou Williams, the superb jazz pianist, once said he was the best guitarist she’d ever heard. Christian played in numerous bands, most notably in Benny Goodman’s. The story behind the “genius of the electric guitar” begins on page 18.

Eliot “Ellie” Mannette is well known as one of steel pan’s most important innovators; he helped refine the instrument and is responsible for teaching a new generation of steel pan players in the United States. Recognized by the National Endowment for the Arts as a National Heritage Fellow, Mannette has made his dream of spreading the art of the pan beyond the island of Trinidad into a reality. Christine Gibson, a pan player herself, chronicles his lifelong goal beginning on page 11.

This past April, while visiting relatives in Evansville, Indiana, I had a chance to stop by the Evansville African-American Museum. For years I used to travel to Evansville to see my grandmother and grandfather, whom we all affectionately called Mama Short and Papa Short. For a time my grandparents lived in what was then known as Lincoln Gardens, a housing project that arose as part of President Franklin D. Roosevelt’s New Deal program. Built in 1938, the dwellings were eventually torn down until only one building was left standing.

In April 2007 the city’s African-American museum opened in that last remaining building. Showcasing life at Lincoln Gardens and the surrounding black communities during the early years of its existence, the museum also promotes arts and educational programs and hosts cultural events throughout the year. The actor Ron Glass, an Evansville native who serves as the national chairman of the museum’s capital campaign, says, “The museum will serve as an oasis of culture and peace where all can celebrate the diversity that is in the community.”

I’d like to commend the Evansville community for developing such a fine museum for generations to come. Log on to eaamuseum@sbcglobal.net for additional information. I urge you to support this effort and all of the endeavors of all who work to preserve our history.

Rodney J. Reynolds
Founder/Publisher & CEO
American Legacy Magazine