. . . White . . .
(from http://www.capitalbop.com/musician-profile-andrew-white-keeper-of-the-trane-is-a-living-legend-unknown-to-many/) ". . . Andrew White began his career as the leader of an innovative quintet on one of the world’s top jazz labels, then went on to record with McCoy Tyner and Weather Report and toured with Stevie Wonder. . . White hasn’t been as celebrated as certain other D.C. musicians is his refusal to compromise with the music industry. In an age when so-called DIY music production and promotion were unheard of, he founded his own label, Andrew’s Music. From there, he recorded, produced, pressed and disseminated his own records – more than 40 in all. He also used the label as a vehicle for publishing his writing, which has ranged from essays and “treatises” on music and life to adult fiction to an 850-plus-page autobiography. . . With the possible exception of Sun Ra’s El Saturn label, Andrew’s Music is the longest-lasting self-run, self-produced jazz record label in the world. . . “All of my records are still in print,” he mentioned, pulling out several shrink-wrapped LPs available for me to purchase. “If you’re interested, I also have copies of my autobiography for sale. Everything is in there, at least everything up till now.” . . . As I flipped through the impossibly thick autobiography, it quickly became apparent that this aging man had done it all, seen it all – most of which he had meticulously documented in the tome titled Everybody Loves The Sugar. Sitting down with me to discuss some important moments in his life, White pinpointed his freshman year in college as the beginning of his long career in music and the arts. . . Born in D.C. but raised in Nashville, Tenn., “I came back to Washington, D.C. to attend Howard University, where my father had gone to school,” White told me. “Within six months, I was already involved on the jazz scene – and I wasn’t but 18 years old.” With an intense interest in music, he majored in music theory with a minor in Oboe. But the music program at Howard in 1960 was vastly different from how it stands today. “Back then, there were no jazz musicians there,” White recalled. “This was before the Jazz Studies program had started. There were students interested in classical music and music theory, but it was primarily an educational institution.” . . ."
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