Yusef A. Lateef: The Late, Legendary Musician
By Herb Boyd Special to the NNPA | 12/30/2013, 2:45 p.m.
NEW YORK – At the close of his autobiography, Yusef A. Lateef, the renowned musician, composer, and Grammy-winning recording artist wrote, “My life has been a series of ‘warm receptions,’ and, after a while, it becomes difficult to separate them, to determine which was most rewarding and heartwarming.” Lateef’s thousands of admirers will ponder now about which of his concerts and recordings were most rewarding for them in his highly productive life. Lateef, 93, died Monday morning, Dec. 23, at his home in Amherst, Mass.
Lateef, a versatile artist of global influence, made his transition peacefully, according to his wife, Ayesha Lateef.
“My dear husband was himself an extension of warmth and love towards others,” his wife said. “He saw every human being with the utmost value and respect. He approached all of us as he did his music, with enthusiasm, imagination and longevity.”
While Lateef chose to define his music as autophysiopsychic, that is, “music from one’s physical, mental and spiritual self,” his critics and fans heard him as the embodiment of jazz and the blues, and that expressive quality, however termed, placed him among the finest performers and composers of his generation.
Born William Emmanuel Huddleston on Oct. 9, 1920 in Chattanooga, Tenn., he moved with his family to Detroit in 1925, settling in the heart of the city’s storied Paradise Valley. It was about this time that his father—for an unknown reason—changed their surname to Evans.
Paradise Valley was basically the entertainment enclave of “Black Bottom,” where the city’s Black population was centered, and where William Evans (he changed his name to Yusef Lateef in 1948 and became a member of the Ahmadiyya Muslim Community and for the rest of his life he remained a devout Ahmadi Muslim fulfilling requirements, including the lesser and greater pilgrimage to Mecca) was immersed in a vibrant culture where a profusion of music was part of the daily routine.
At Miller High School, he fell under the tutelage of John Cabrera and joined such illustrious future jazz immortals as Milt Jackson. But it was a local saxophonist, Lorenzo Lawson, who most impressed and influenced him to set aside the oboe and drums and focus on the tenor saxophone.
Soon, he was so proficient that he had the first chair in Matthew Rucker’s Band, and given the band’s prominence, Lateef’s reputation reached across the city and all the way to Chicago where he was now a member of Lucky Millinder’s big band. In 1948, along with his adoption of Islam, he joined the Dizzy Gillespie Orchestra, which included an array of world class musicians such as James Moody, J.J. Johnson, Ray Brown, Kenny Clarke, and the amazing Cuban conga drummer Chano Pozo.
By 1951, Lateef was back in Detroit with his first wife, Sadie, a daughter, Iqbal, and a son, Rasheed. In no time at all he was back in the swing of things performing with a number of groups and at several of the top clubs in town. Among the stellar leaders who requested his presence was guitarist Kenny Burrell. When bassist Alvin Jackson, Milt’s brother, assembled a quartet, Lateef was featured on tenor saxophone and flute, which he had begun studying at the Larry Teal School of Music. The group, including pianist Barry Harris and trombonist Kiane Zawadi (Bernard McKinney) was the house band at the Blue Bird Inn, a legendary jazz spot on Detroit’s Westside.