Monday, June 23, 2014

Frank Wess, Basie Band Saxophonist and Flutist


Frank Wess, 91, Saxophonist and Flutist With the Basie Band, Dies


Steve Berman/The New York Times

From left, Frank Wess, playing tenor sax, with Joe Wilder and Benny Powell in 2004.
By 
Published: November 3, 2013
  • FACEBOOK
  • TWITTER
  • GOOGLE+
  • SAVE
  • E-MAIL
  • SHARE
  • PRINT
  • REPRINTS

Frank Wess, who helped popularize the flute as a jazz instrument in the 1950s and ’60s with the Count Basie Orchestra, where he was also a standout saxophone soloist, died on Wednesday in Manhattan. He was 91.
Arts Twitter Logo.

Connect With Us on Twitter

Follow@nytimesarts for arts and entertainment news.
Arts Twitter List: Critics, Reporters and Editors
Arts & Entertainment Guide
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.

The cause was a heart attack related to kidney failure, said his longtime companion, Sara Tsutsumi.
Mr. Wess was not the first flutist in jazz. But his tonally rich and technically deft flute solos enjoyed an unusually prominent platform: the front row of the powerhouse Basie ensemble.
Mr. Wess had been studying flute at the Modern School of Music in Washington when Basie asked him to join a big band he had formed in 1952 to highlight new compositions and arrangements, many of them by Neal Hefti. It became known as Basie’s “New Testament” band, to distinguish it from the equally impressive and popular big band he had led in the ’30s and ’40s.
Mr. Wess, who had earlier played with bands led by Billy Eckstine and others, initially resisted, saying he was weary of the road and wanted to finish school. But Basie kept calling.
“And at about the end of my school year, he called again and said he thought he could get me more exposure than I had,” Mr. Wess recalled in a 2005 interview with the website All About Jazz. “That struck a chord in me. I said, ‘Maybe that’s what I need.’ ”
He joined in 1953 and was an immediate success. Mr. Wess would play tenor saxophone for a few tunes, swapping solos with his fellow tenor player Frank Foster, then switch to flute on the next song. Beginning in 1959, he was voted best jazz flutist for five years in a row in Down Beat magazine’s critics’ poll.
The critic Gary Giddins called that Basie band “the most irreproachable virtuoso ensemble ever to work the dance-band idiom.”
Mr. Wess left Basie in 1964 and moved to New York. There, he played with a band led by the trumpeter Clark Terry and alongside the pianist Roland Hanna in the New York Jazz Quartet. He also led groups of his own and played on television (he was a member of the “Dick Cavett Show” orchestra), in recording studios and in the pit of Broadway musicals.
In the 1980s, he and Mr. Foster formed a quintet, Two Franks, that stayed together for two decades. Mr. Wess also led a big band that toured Japan and featured many Basie alumni, including the trumpeter Harry Edison, the trombonist Benny Powell and the saxophonist Billy Mitchell.
In 2007, he was named a Jazz Master by the National Endowment for the Arts.
He released several albums as a leader and continued to record and perform until earlier this year. He released “Magic 101,” featuring the pianist Kenny Barron, in June. “Magic 201” is to be released in February.
“Retire?” he said in response to a question from All About Jazz. “To what? I’ve never done anything else in my life. I never had a 9 to 5, or none of that — I wouldn’t even know where to start. So you just do what you know how to do.”
Frank Wellington Wess was born on Jan. 4, 1922, in Kansas City, Mo. His father was a school principal, and his mother was a teacher who encouraged him to learn music. When he was a boy, she took him to hear the classical tenor Roland Hayes and the blues singer Ida Cox. He received his first instrument, a saxophone, when he was 10.
He trained as a classical musician early on — on saxophone, not flute. He played in a state high school orchestra in Oklahoma, where the family had moved. The family later moved again, to Washington, where met the pianist Billy Taylor in high school. The two became lifelong friends, and Mr. Wess appears on the 1959 recording “Billy Taylor With Four Flutes.”
In addition to Ms. Tsutsumi, his survivors include two daughters, Francine and Michelle; two grandchildren; and four great-grandchildren.
He played tenor saxophone and clarinet in an Army band during World War II. Afterward, he played in the Eckstine orchestra before he began studying flute in 1949 at the Modern School. He studied under Wallace Mann of the National Symphony in Washington as well as with Harold Bennett, the longtime principal flutist for the Metropolitan Opera. And a few years later, Count Basie called.

*****

Frank Wellington Wess (January 4, 1922 – October 30, 2013) was an American jazz saxophonist and flautist.

Biography[edit]

Wess was born in Kansas City, MO, the son of a principal father and a schoolteacher mother. He began with classical music training and played in Oklahoma in high school. He later switched to jazz on moving to Washington, D. C. and by nineteen was working with Big Bands. His career was interrupted during World War II although he did play with a military band in the period. After leaving the military, he joined Billy Eckstine's orchestra.[1] He returned to Washington DC a few years afterwards and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute.
He was a member of Clark Terry's big band from 1967 into the 1970s and played in the New York Jazz Quartet (withRoland Hanna).[2] He also did a variety of work for TV.[3] In 1968 Wess contributed to the landmark album The Jazz Composer's Orchestra.
In the 1980s and 1990s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra. In the 2000s, Wess released two albums with Hank Jones. In 2007, Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.
Frank Wess died from a heart attack related to kidney failure on October 30, 2013.[4][5]

Discography[edit]

As leader[edit]

  • Jazz for Playboys (Savoy, 1957)
  • Wheelin' & Dealin' (Prestige, 1957)
  • Opus De Blues (Savoy, 1959)
  • The Frank Wess Quartet (Moodsville, 1960)
  • Southern Comfort (Prestige, 1962)
  • Yo Ho! Poor You, Little Me (Prestige, 1963)
  • Wess to Memphis (1970)
  • Flute of the Loom (1973)
  • Two for the Blues (1983)
  • Two at the Top (Uptown, 1983)
  • Entre Nous (Concord. 1990)
  • Going Wess (1993)
  • Tryin' To Make My Blues Turn Green (Concord, 1994)
  • Hank and Frank (2002)
  • Hank and Frank II (2009)
  • Magic 101 (IPO, 2013)

As sideman[edit]

With Thad Jones
With Woody Shaw
With Zoot Sims
  • Passion Flower: Zoot Sims Plays Duke Ellington (1979) [6]

*****

Frank Wellington Wess (January 4, 1922 – October 30, 2013) was an American jazz saxophonist and flautist. 

Wess was born in Kansas City, Missouri, the son of a school principal father and a schoolteacher mother. He began with classical music training and played in Oklahoma in high school. He later switched to jazz upon moving to Washington, D. C., and by nineteen was working with Big Bands. His career was interrupted during World War II although he did play with a military band during the period. After leaving the military, he joined Billy Eckstine's orchestra.  He returned to Washington, D. C. a few years afterwards and received a degree in flute at the city's Modern School Of Music. From 1953 on, he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late 1950s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute.

He was a member of Clark Terry's big band from 1967 into the 1970s and played in the New York Jazz Quartet (with Roland Hanna).  He also did a variety of work for TV. In 1968 Wess contributed to the landmark album The Jazz Composer's Orchestra. 

In the 1980s and 1990s, Wess worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Torme, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.   In the 2000s, Wess released two albums with Hank Jones. In 2007, Wess was named an NEA Jazz Master by the United States National Endowment for the Arts.  

Frank Wess died from a heart attack related to kidney failure on October 30, 2013.

Posted by at No comments:

Ruby Dee, Actress and Activist




Ruby Dee, a Ringing Voice for Civil Rights, Onstage and Off, Dies at 91

By 






    SLIDE SHOW|9 Photos

    Ruby Dee Dies at 91

    Ruby Dee Dies at 91

    G. Paul Burnett/The New York Times



    ​ Top Stories

    This article and others like it are part of our new subscription.
    Learn More »
    Ruby Dee, one of the most enduring actresses of theater and film, whose public profile and activist passions made her, along with her husband, Ossie Davis, a leading advocate for civil rights both in show business and in the wider world, died on Wednesday at her home in New Rochelle, N.Y. She was 91.
    Her daughter Nora Davis Day confirmed the death.
    A diminutive beauty with a sense of persistent social distress and a restless, probing intelligence, Ms. Dee began her performing career in the 1940s, and it continued well into the 21st century. She was always a critical favorite, though not often cast as a leading lady.
    Her most successful central role was Off Broadway, in the 1970 Athol Fugard drama, “Boesman and Lena,” about a pair of nomadic mixed-race South Africans, for which she received overwhelming praise. Clive Barnes wrote in The New York Times, “Ruby Dee as Lena is giving one of the finest performances I have ever seen.”
    Her most famous performance came more than a decade earlier, in 1959, in a supporting role in “A Raisin in the Sun,” Lorraine Hansberry’s landmark drama about the quotidian struggle of a black family in Chicago at the dawn of the civil rights movement. Ms. Dee played Ruth Younger, the wife of the main character, Walter Lee Younger, played by Sidney Poitier, and the daughter-in-law of the leading female character, the family matriarch, Lena (Claudia McNeil).




    Sidney Poitier and Ruby Dee in “A Raisin in the Sun,” which opened on Broadway in 1959. via Photofest

    Ruth is a character with far too much on her plate: an overcrowded home, a troubled husband, a young son, an overbearing mother-in-law, a wearying job and an unwanted pregnancy, not to mention the shared burden of black people everywhere in a society skewed against them. Ms. Dee’s was a haunting portrait of a young woman whose desperation to maintain grace under pressure doesn’t keep her from being occasionally broken by it.
    The play had 530 performances on Broadway and was reprised, with much of the cast intact, as a 1961 film. On screen, Edith Oliver wrote in The New Yorker, Ms. Dee was “even more impressive” than she was onstage. “Is there a better young actress in America, or one who can make everything she does seem so effortless?” Ms. Oliver wrote.
    The loyal but worried loved one was a role Ms. Dee played frequently, in films like “The Jackie Robinson Story” (in which she played the wife of the pioneering black ballplayer, who starred as himself) and “No Way Out,” a tough racial drama in which she played the sister of a young doctor (Mr. Poitier).
    Over the course of Ms. Dee’s career, the lives of American blacks, both extraordinary and ordinary, belatedly emerged as rich subject matter for mainstream theater productions and films, and black performers went from being consigned to marginal and often belittling roles to starring in Hollywood megahits.
    Ms. Dee went from being a disciple of Paul Robeson to starring with Mr. Poitier on Broadway. She was a featured player in the films of Spike Lee and an Oscar nominee for a supporting role in the 2007 movie “American Gangster,” about a Harlem drug lord (Denzel Washington); she played a loving mother who turned a blind eye to her son’s criminality.
    But Ms. Dee not only took part in that evolution; through her visibility in a wide range of projects, from classics onstage to contemporary film dramas to television soap operas, she also helped bring it about.
    In 1965, playing Cordelia in “King Lear” and Kate in “The Taming of the Shrew,” she was the first black woman to appear in major roles at the American Shakespeare Festival in Stratford, Conn. In 1968, she became the first black actress to be featured regularly on the titillating prime-time TV series “Peyton Place.”
    She appeared in two of Mr. Lee’s earliest films, “Do the Right Thing” and “Jungle Fever.” (On Thursday, Michelle Obama tweeted about Ms. Dee: “I’ll never forget seeing her in ‘Do the Right Thing’ on my first date with Barack.”)
    Ms. Dee picketed Broadway theaters that were not employing black actors for their shows and spoke out against film crews that hired few or no blacks.
    Having made her name in films that addressed racial issues, she began seeking out more of them. She collaborated with the director Jules Dassin on the screenplay for “Up Tight!,” a 1968 adaptation of “The Informer,” Liam O’Flaherty’s 1925 novel set after the Irish civil war. (It had also been filmed by John Ford.) Mr. Dassin and Ms. Dee shifted the tale of betrayal among revolutionaries to 1960s Cleveland; Ms. Dee played a welfare mother who helped feed her family by resorting to prostitution.
    She also lent her voice and presence to the cause of racial equality outside show business. She was an active member of the Congress of Racial Equality, the Student Nonviolent Coordinating Committee, the Southern Christian Leadership Conference and the National Association for the Advancement of Colored People.
    At the Tony Awards ceremony on Sunday, Audra McDonald, in accepting her sixth acting award for her portrayal of Billie Holiday in “Lady Day at Emerson’s Bar and Grill,” acknowledged Ms. Dee as one of five black women whose shoulders she stands upon. (The others were Holiday, Maya Angelou, Diahann Carroll and Lena Horne.)
    A revival of “Raisin in the Sun,” now playing at the Ethel Barrymore Theater on Broadway, the same stage as the original production, won three Tonys, including one for Sophie Okonedo, who plays Ruth Younger. In a statement, Ms. Okonedo called Ms. Dee “one of my heroines.”
    Ruby Ann Wallace, as she was known when she was born in Cleveland on Oct. 27, 1922, grew up in Harlem. The third child of teenage parents, she was reared mostly by her father, Marshall Wallace, who became a waiter on the Pennsylvania Railroad, and his second wife, the former Emma Amelia Benson, a college-educated teacher who was 13 years older than he. Ms. Dee described her as a strict but loving mother, a stickler for elocution and the person who introduced her to poetry, music and dance.
    By the mid-1940s, when she graduated from Hunter College, Ms. Dee was already a working actress, having appeared on Broadway and in productions of the American Negro Theater, then a fledgling professional company housed in the basement of the Harlem branch of the New York Public Library.
    She had also been married, in 1941, to the singer Frankie Dee Brown. The marriage dissolved within four years, but it gave Ms. Dee the name by which she would be known for the rest of her life.




    She made her Broadway debut in December 1943 in a short-lived play called “South Pacific,” unrelated to the Rodgers and Hammerstein musical that came along more than five years later. In 1946 she joined the cast of a Broadway-bound play called “Jeb,” about a black soldier who has lost a leg in World War II and discovers that his sacrifice for his country is of little value in the face of the racism he encounters on his return home.
    Hired as the understudy for the role of Libby, the title character’s loving girlfriend, Ms. Dee not only replaced the original actress in the role before opening night but also fell in love with the star, Ossie Davis. The show lasted for nine performances, the relationship nearly 60 years, until Mr. Davis’s death in 2005. They married in 1948.
    Besides her daughter Nora, Ms. Dee is survived by another daughter, Hasna Muhammad; a son, the singer Guy Davis; a sister, Angelina Roach; and seven grandchildren.
    The partnership between Ms. Dee and Mr. Davis was romantic, familial, professional, artistic and political, and they jointly received the National Medal of Arts from President Bill Clinton.
    During their careers they performed together many times, including in “Raisin,” when Mr. Davis took over the stage role of Walter Younger from Mr. Poitier, and in “Purlie Victorious,” Mr. Davis’s own broad satire about a charismatic preacher in the Jim Crow South, on Broadway in 1961 and in the 1963 film version, “Gone Are the Days!”
    In 1998 they published a joint autobiography, “With Ossie & Ruby: In This Life Together,” to commemorate their 50th wedding anniversary. The book is remarkable for its candor, not only about their careers and upbringings but also about their intimate lives, together and apart, and their reflections on race relations, politics and art. Told in separate, alternating voices, it was a book-length public conversation that testified to a lifelong private one.
    Ms. Dee and Mr. Davis stood together, far to the political left, on behalf of numerous causes. They spoke out in the 1950s against the executions of Julius and Ethel Rosenberg and against the persecution of American Communists (and purported Communists) in the investigations by Senator Joseph McCarthy and the House Un-American Activities Committee. When, under the McCarran Internal Security Act, the government revoked the passport of Robeson, the great black actor, singer and outspoken socialist, they helped organize the campaign to have it restored.
    They were friends and supporters of both the Rev. Dr. Martin Luther King Jr. and Malcolm X, whose eulogy, after his assassination in 1965, was delivered by Mr. Davis. On Aug. 28, 1963, the day of the March on Washington for Jobs and Freedom, which culminated in Dr. King’s “I Have a Dream” speech, Ms. Dee and Mr. Davis were the M.C.'s of the entertainment event at the foot of the Washington Monument that preceded the march to the Lincoln Memorial. They raised money for the Black Panthers. They demonstrated against the Vietnam War.
    In 2005 Ms. Dee received a lifetime achievement award from the National Civil Rights Museum in Memphis.
    “You can only appreciate freedom,” she said then, “when you find yourself in a position to fight for someone else’s freedom and not worry about your own.”

    *****

    Ruby Dee (née Wallace; October 27, 1922 – June 11, 2014)[1] was an American actress, poet, playwright,screenwriter, journalist and activist. She is perhaps best known for co-starring in the films A Raisin in the Sun (1961),Do the Right Thing (1989), and American Gangster (2007) for which she was nominated for an Academy Award for Best Supporting Actress. She was the recipient of Grammy, Emmy, Obie, Drama Desk, Screen Actors Guild Award, andScreen Actors Guild Lifetime Achievement Awards as well as the National Medal of Arts and the Kennedy Center Honors. She was married to actor Ossie Davis until his death in 2005.

    Early life[edit]


    Dee by Carl Van Vechten
    Dee was born Ruby Ann Wallace in Cleveland, Ohio in 1922,[2] to Gladys Hightower and Marshall Edward Nathaniel Wallace, a cook, waiter and porter. After her mother left the family, Dee's father remarried, to Emma Amelia Benson, a schoolteacher.[3][4][5][6]
    Dee was raised in Harlem, New York.[7] She attended Hunter College High Schooland went on to graduate from Hunter College with a degree in romance languagesin 1945.[8] She was a member of Delta Sigma Theta.[9]

    Career[edit]


    Dee at the Miami Book Fair International, 1991
    Dee joined the American Negro Theater as an apprentice, working with Sidney Poitier, Harry Belafonte, and Hilda Simms.[8] She made several appearances onBroadway. Her first onscreen role was in That Man of Mine in 1946. She received national recognition for her role in the 1950 film The Jackie Robinson Story.[7] In 1965, Dee performed in lead roles at the American Shakespeare Festival as Kate inThe Taming of the Shrew and Cordelia in King Lear, becoming the first black actress to portray a lead role in the festival. Her career in acting crossed all major forms of media over a span of eight decades, including the films A Raisin in the Sun, in which she recreated her stage role as a suffering housewife in the projects, and Edge of the City. She played both roles opposite Poitier.[8]
    During the 1960s, Dee appeared in such politically charged films as Gone Are the Days and The Incident, which is recognized as helping pave the way for young African-American actors and filmmakers. In 1969, Dee appeared in 20 episodes of Peyton Place.[7] She appeared in the role of as Cora Sanders, a Marxist college professor, in the Season 1/Episode 14 of Police Woman, entitled “Target Black” which aired on Friday night, January 3, 1975. The character of Cora Sanders was obviously, but loosely, influenced by the real-life Angela Y. Davis. She appeared in one episode ofThe Golden Girls' sixth season. She played Queen Haley in Roots: The Next Generations, a 1979 miniseries.[7]
    Dee was nominated for eight Emmy Awards, winning once for her role in the 1990 TV film Decoration Day.[10] She was nominated for her television guest appearance in the China Beach episode, "Skylark". Her husband Ossie Davis (1917–2005) also appeared in the episode. She appeared in Spike Lee's 1989 film Do the Right Thing, and his 1991 filmJungle Fever.[7]
    In 1995, she and Davis were awarded the National Medal of Arts.[11] They were also recipients of the Kennedy Center Honors in 2004. In 2003, she narrated a series of WPA slave narratives in the HBO film Unchained Memories.[12] In 2007 the winner of the Grammy Award for Best Spoken Word Album was shared by Dee and Ossie Davis for With Ossie And Ruby: In This Life Together, and former President Jimmy Carter.[8][13]
    Dee was nominated for an Academy Award for Best Supporting Actress in 2007 for her portrayal of Mama Lucas in American Gangster. She won the Screen Actors Guild award for the same performance. At 83 years of age, Dee is currently the second oldest nominee for Best Supporting Actress, behind Gloria Stuart who was 87 when nominated for her role in Titanic. This was Dee's only Oscar nomination.[14]
    On February 12, 2009, Dee joined the Aaron Copland School of Music at Queens College orchestra and chorus, along with the Riverside Inspirational Choir and NYC Labor Choir, in honoring Abraham Lincoln's 200th birthday at the Riverside Church in New York City. Under the direction of Maurice Peress, they performedEarl Robinson's The Lonesome Train: A Music Legend for Actors, Folk Singers, Choirs, and Orchestra, in which Dee was the Narrator.[15]

    Personal life and activism[edit]


    Dee speaking in 2006
    Ruby Wallace married blues singer Frankie Dee Brown in 1941, and began using his middle name as her stage name. The couple divorced in 1945.[8] Three years later she married actor Ossie Davis, who she met while costarring in the 1946 Broadway play Jeb.[16] Together, Dee and Davis wrote an autobiography in which they discussed their political activism and their open marriage.[17] Together they had three children: son, blues musician Guy Davis, and two daughters, Nora Day and Hasna Muhammad. Dee was a breast cancer survivor of more than three decades.[18]
    Dee and Davis were well-known civil rights activists.[19] Dee was a member of the Congress of Racial Equality (CORE), theNAACP, the Student Nonviolent Coordinating Committee, Delta Sigma Theta sorority and the Southern Christian Leadership Conference. In 1963, Dee emceed the March on Washington for Jobs and Freedom.[20] Dee and Davis were both personal friends of both Martin Luther King, Jr. and Malcolm X, with Davis giving the eulogy at Malcolm X's funeral in 1965.[21] In 1970, she won the Frederick Douglass Award from the New York Urban League.[7]
    In 1999, Dee and Davis were arrested at 1 Police Plaza, the headquarters of the New York Police Department, protesting the police shooting of Amadou Diallo.[22]
    In early 2003, The Nation published "Not In My Name", an open proclamation vowing opposition to the impending US invasion of Iraq. Ruby Dee and Ossie Davis were among the signatories, along with Robert Altman, Noam Chomsky, Susan Sarandon and Howard Zinn, among others.
    In November 2005 Dee was awarded – along with her late husband – the Lifetime Achievement Freedom Award, presented by the National Civil Rights Museum located in Memphis. Dee, a long-time resident of New Rochelle, New York, was inducted into the New Rochelle Walk of Fame which honors the most notable residents from throughout the community's 325 year history. She was also inducted into the Westchester County Women's Hall of Fame on March 30, 2007, joining such other honorees as Hillary Rodham Clinton and Nita Lowey.[23] In 2009 she received an Honorary Degree from Princeton University.[13]

    Death[edit]

    Dee died on June 11, 2014, at her home in New Rochelle, New York, from natural causes at the age of 91.[24] In a statement, Gil Robertson IV of the African American Film Critics Association said, "the members of the African American Film Critics Association are deeply saddened at the loss of actress and humanitarian Ruby Dee. Throughout her seven-decade career, Ms Dee embraced different creative platforms with her various interpretations of black womanhood and also used her gifts to champion for Human Rights. Her strength, courage and beauty will be greatly missed."[7]
    Following her death the marquee on the Apollo theater read “A TRUE APOLLO LEGEND RUBY DEE 1922-2014”.[25]
    Dee will be cremated, and her ashes will be held in the same urn as that of Davis, with the inscription "In this thing together".[8]

    Work[edit]

    Filmography[edit]

    Features:
    Short subjects:
    • Lorraine Hansberry: The Black Experience in the Creation of Drama (1975)[33]
    • The Torture of Mothers (1980)[26]
    • Tuesday Morning Ride (1995)[34]
    • The Unfinished Journey (1999) (narrator)[35]
    • The New Neighbors (2009) (narrator)[36]

    Television[edit]

    Stage[edit]

    Discography[edit]

    Awards and nominations[edit]

    Awards
    Nominations

    Bibliography[edit]

    • Davis, Ossie; Ruby Dee (1984). Why Mosquitos Buzz in People's Ears (Audio Cassette). Caedmon. ISBN 978-0-694-51187-7.
    • Dee, Ruby (1986). My One Good Nerve: Rhythms, Rhymes, Reasons. Third World Press. ISBN 0-88378-114-X.
    • Davis, Ossie; Dee, Ruby (1998). With Ossie and Ruby: In This Life Together. William Morrow. ISBN 978-0-688-15396-0.

    *****

    Ruby Dee, byname of Ruby Ann Wallace   (b. October 27, 1922, Cleveland, Ohio,  - d. June 11, 2014, New Rochelle, New York), was an American actress and social activist who was known for her pioneering work in African American theatre and film and for her outspoken civil rights activism. Dee’s artistic partnership with her husband, Ossie Davis, was considered one of the theatre and film world’s most distinguished.
    After completing her studies at Hunter College in Manhattan, Dee served an apprenticeship with the American Negro Theatre and began appearing on Broadway. She met Davis on the set of the play Jeb and married him in 1948. She often appeared with her husband in plays, films, and television shows over the next 50 years. Among Davis and Dee’s most notable joint stage appearances were those in A Raisin in the Sun (1959; Dee also starred in the film version in 1961) and the satiric Purlie Victorious (1961), which Davis wrote; Davis and Dee also appeared in the film version of the latter (Gone Are the Days, 1963). The couple acted in several movies by director Spike Lee, including Do the Right Thing (1989) and Jungle Fever (1991). Among their television credits are Roots: The Next Generation (1978), Martin Luther King: The Dream and the Drum (1986), and The Stand (1994). The couple’s partnership extended into their activism as well; they served as master and mistress of ceremonies for the 1963 March on Washington, which they had helped organize.
    Dee continued to act into the early 21st century, and her later films include The Way Back Home (2006) and American Gangster (2007). Her performance as the mother of a drug kingpin (played by Denzel Washington) in the latter film earned Dee her first Academy Award nomination. She also appeared in numerous television productions, notably Their Eyes Were Watching God (2005), an adaptation of Zora Neale Hurston's novel. In addition to her acting, Dee authored several books. Dee and Davis were jointly awarded the National Medal of Arts in 1995 and a Kennedy Center Honor in 2004.
    Posted by at No comments:
    Subscribe to: Posts (Atom)