Washington DC Jazz Oral History Project, Chapter 18

“I try to do a little bit of everything to bring as many people into my music as I can.” –Mark G. Meadows

 

Mark G. Meadows

MARK G. MEADOWS – a DC-born, classically-trained pianist, keyboardist, and composer– moved to Dallas at the age of five, and lived a bi-regional life (in Texas and DC), due to his family’s ties to both areas. After graduating from high school, he enrolled in the Peabody Conservatory’s Jazz Studies Department, and the rest, as they say, is music history! In his May 2017 interview for the Washington DC Jazz Oral History Project, Meadows, who had just returned from travels and performances in Africa, discussed his efforts to create music that he described as “genre-less.”

 

“I am influenced by many genres. My dad used to always play Stevie Wonder, Earth, Wind, and Fire; Ahmad Jamal, and Miles Davis. We were also a big Gospel family. We went to church every Sunday. Although I did not play my entire life in the church, I was around the music, and I heard it.”

“I went to St. Luke United Methodist Church in Dallas, Texas, which is where an amazing keyboardist named Bobby Sparks was the organ player. Bobby Sparks tours with the best, the greatest. Just hearing that music every single Sunday had a huge influence on my writing. Although I did study jazz and classical music, I think there is no way to hear my original music without hearing Gospel, R&B, Pop, and all these different influences that I was fortunate enough to have been around.”

“It’s not my doing. It is just whoever you believe in who put me in the world surrounded by all the people that have been giving me new music—and beating me over the head with hearing these recordings. It has definitely come out in my compositions and the way I play. . .”

“I hope that my music is a music that speaks to all different generations, and can touch everybody in a certain way: the people that like Straight-Ahead, the people that like Contemporary, the people that like R&B, Neo-Soul, Cool Jazz. I try to develop a sound that is almost genre-less, which, in many ways, isn’t the smart move, because, you want to have a sound so people can say, “Ooh, that’s this, and that’s what I like . . .”

“Part of who I am as an artist is someone who tries to really connect to people, and not always put a label on things. Just accept it, and let it be. That is what I aspire to and try to bring forth with my music . . .”

“So, I don’t really have a specific sound. I love Straight-Ahead, and you will hear that in my music. I love R&B, I love Gospel, I love Contemporary. I try to do a little bit of everything to bring as many people into my music as I can.”

 

Interview Date: May 3, 2017

All Interviews Conducted, Recorded, and Reviewed by

Dr. Regennia N. Williams

Life Member, Oral History Association

Founder and Director, The RASHAD Center, Inc.

For more information, please visit: https://rashadcenter.wordpress.com/.

 

*Photograph (Still from Oral History Video, Shot at Gibson Guitar, Inc.) Courtesy of Dr. Regennia N. Williams

 

https://markgmeadows.com/

 

Mark Meadows, “Somethin’ Good”

 

#WashingtonDCJazz

#DCLegendaryMusicians

#OralHistoryRocks

 

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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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