Washington DC Jazz Oral History Project, Chapter 9

Howard Chichester

Howard Chichester – a native Washingtonian and professional drummer –played with a number of groups over the years, and retired in 1979. He came out of retirement at the request of a trumpet player that he had recorded with in 1979, and he gave his last public performance in 2012. In his November 2017 interview for the Washington DC Jazz Oral History Project, Chichester discussed the joys of growing up with music, having his own group in the 1970s, and performing at the Top of the Foolery Club.

“I started [playing professionally] in 1960, and over the years I was always playing with other groups. I wasn’t the bandleader. I was always in the rhythm section playing drums, up until 1979. Then, for the first time in my career, I had my own group.”

“It was just a piano, bass, drums, and a vocalist, at a club called The Top of the Foolery on Pennsylvania Avenue. We stayed in there about a year or a year and a half, and it was really great. The music was good. In fact, I think I played better then than I had ever played,”

“I started playing drums when I was about five years old. Back in the 40s, my parents bought me one of those little toy sets that had cardboard drum heads, drumsticks about as long as a pencil, and a little tin pie-plate kind of cymbal. I used to stand up and put the radio on WOOK AM, and play along with the records that came on the radio. Then, when I was about 12, my aunt bought me a semi-professional set.”

“I was always a little guy, so with a drum seat, I would have been off the floor. My legs weren’t long enough to reach the bass drum pedal and the hi-hat, so I stood up until I was about twelve years old playing the drums.”

Interviewed on November 1, 2017
By Dr. Regennia N. Williams
Life Member, Oral History Association
Founder and Director, The RASHAD Center, Inc.
Photograph Courtesy of Dr. Regennia N. Williams
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About Dr. Regennia N. Williams, Founder, President, and Executive Director

Dr. Regennia N. Williams is the Founder and Executive Director of The RASHAD Center, Inc., a Maryland-based non-profit educational corporation. Williams holds a PhD in Social History and Policy from Case Western Reserve University in Cleveland, Ohio. A native Clevelander and a four-time alumna of Cleveland State University, information on RASHAD's “Praying Grounds, African American Faith Communities: A Documentary and Oral History” project is now available online at www.ClevelandMemory.org/pray/, a site that is maintained by CSU's Library Special Collections, home of the Praying Grounds manuscript collections. Praying Grounds was the primary inspiration for the launching of the Initiative for the Study of Religion and Spirituality in the History of Africa and the Diaspora (RASHAD) at CSU, and links to RASHAD's scholarly journal and newsletter are also available on the Praying Grounds site. On April 28, 2020, the RASHAD Center, Inc. became a tax-exempt 501(c)(3) nonprofit organization. In 2010, Dr. Williams was a Visiting Fulbright Scholar at Nigeria’s Obafemi Awolowo University, where she taught history and directed a RASHAD-related oral history project that focused on the role of religion in recent Nigerian social history. Other research-related travels have taken her to Canada, China, France, South Africa, and Austria. In 2013, she conceived and produced “Come Sunday @ 70: The Place of Duke Ellington’s Sacred Jazz in World History and Culture, c. 1943-2013,” a project that included scholarly presentations and performing arts activities. From September 1993 until May 2015, she was a faculty member in the Department of History at Cleveland State University. She served as a Fulbright Specialist at South Africa's University of the Free State in the summer of 2019, and completed a short-term faculty residency at Howard University in the fall of 2019. She is based in Cleveland, Ohio. As a public scholar, her current research projects focus on African American history and culture, especially as it relates to music, religion, and spirituality. She is a member of the Oral History Association, the Western Reserve Historical Society, and the National Museum of African American History and Culture.
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