Black History Month is a time to recognize and honor the many contributions of Black Americans throughout U.S. history. Conn Maciel Carey LLP’s Chief Operating Officer, Mikel Koon, shares her dad’s accomplishments as a jazz musician against the backdrop of the Civil Rights Era – a time when Black musicians battled for recognition – when he carved a path that would become a bridge between cultures and a beacon of resilience.

Warren playing percussion.
Musical Career
Warren Smith is a disciplined New York-based drummer and percussionist with a long history of pitching in on various masterworks, from the recordings of soul queen Aretha Franklin to the avant-garde saxophone maverick and fascinating composer Sam Rivers. Smith has also been a longtime member of one of the great percussion projects, the Max Roach M’Boom ensemble of drummers.
His reputation has always been that of a no-nonsense, hard-working, and dedicated performer, so he is a favorite working partner of bandleaders or composers who want to present projects with an absolute minimum of hassle or attitude from their collaborators. This list includes Anthony Braxton, Charles Mingus, Henry Threadgill, Van Morrison, Count Basie, Sam Rivers, Tony Williams, and Joe Zawinul. As each new generation of players enters the ever-developing world of jazz, Warren Smith has never been one to lord over newcomers or put up barriers against innovative jazz forms; on the contrary, he seems to always be part of the crew that is out front.

Warren and his daughters in Cape May.
During the late-’70s/early-’80s “loft jazz” scene in New York City,his Studio Wis was one of the few so-called “lofts” that actually was a loft. It was also not a “pay-to-play” loft; in other words, rather than exploit the city’s hungry musicians, Smith gave generously of his personal studio space so that talented newcomers to the New York City scene such as Oliver Lake and Wadada Leo Smith could present concerts without having to worry about outrageous rental fees. Warren Smith often attended these events, smiling wider as the music went further and further out, approaching the unknown players to pay compliments and offer advice. His work in studio sessions and Broadway pit bands made him a likely source of wisdom on all subjects related to sight reading, arranging, or composition. When a young guitarist in a group performing at Studio Wis asked for advice on sight-reading exercises after a gig in 1979, Smith‘s response was Continue reading →
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