Kemp Harris’ Song Stories
Photo by Dan BuslerKemp Harris is a singer and songwriter, a master weaver of American musical styles. He’s an actor, activist, author, and storyteller, and an award-winning educator who has taught young public school students for more than 40 years. The Kemp Harris Group returns to atac on Friday night, June 2nd. Grab yourself some tickets here.
atac: Hello! Who are you?
Kemp Harris: I am a composer, musician, performer, author and former teacher with years of theater and band performing experience. I am a son, a brother, a husband, a friend, an artist.
atac: Where are you originally from; how’d you start performing?
KH: I was born in Edenton, NC (the title of my second album). It's a small southern town, which was segregated at the time. I used to bang on an old upright in the hallway of neighbors. I also heard my mother singing gospel songs at an early age. I joined singing groups in high school as well as a local gospel choir. I taught myself to play piano at age 14. My first time performing was in a coffeehouse in Cambridge and I've never looked back.
I have so many influences, but the trick is to listen and learn from others, but figure out how to make it your own. Performing provides a platform to express and reflect what I see in the world around me.
atac: Those early coffeehouse years—what were the venues, and were you always solo or in local bands?
KH: My first time playing publicly was in a Cambridge coffeehouse called Reflections on Mt. Auburn St. I got to sit in with Koko “Queen of the Blues” Taylor at Joe’s Place in Cambridge, too. I played a bunch of PorchFests in Somerville—in the early years, I was solo piano/vocals and then began to open up to other friends joining me.
atac: What are your top "stuck on an island" records?
KH: Aja from Steely Dan is—start to finish—brilliant on every track. When I was in 12th grade with a lot of change going on, Joni Mitchell’s Blue was my go to. Brenda Russell’s So Good, So Right is pure soul, a great composer. There’s Stevie Wonder with Songs In The Key Of Life, and every Christmas I loudly play
Laura Nyro’s Christmas And The Beads of Sweat. Talking Heads’ Remain In Light…”Letting the days go by…”
atac: How about a live show or two? Who has set the bar?
KH: Joni Mitchell, as a writer, is a very big influence for me. There’s Janis Joplin at Tanglewood & Harvard Stadium. Patti Labelle, one of my favorite vocalists and also, Mahler's 2nd Symphony. This was spectacular.
atac: Any rough gigs? How do you handle them?
KH: I was in an R&B, funk, spoken word, beatnik kind of band. Somehow, we got booked into an Irish pub and it was clear from the very beginning…this was not a good match. We got through calls of "Leonard Skinnard", and "Freebird". It was good to get home.
Generally, you have to be secure in knowing that folks have come to hear you perform. Don't doubt yourself. Bring your best effort. If you don't believe it, how will the audience?
atac: You mentioned being a former teacher—what ages and subjects?
KH: I was a kindergarten teacher in the Newton Public Schools for 38 years. I'm now retired but I continue to visit schools and other institutions as a storyteller. I perform original stories as well as established classics. I've also told stories for adults on WGBH's Stories From The Stage. I love the interaction with the audience, be they older or younger listeners.
atac: What have you learned from kindergarten audiences over the years?
KH: The students in my first class (1974) are now 54 years old. The cool thing is that they’ve found me through social media and I’ve reconnected with so many. I’m always amazed at the things that they tell me were most important for them, sometimes things that I did not realize how important little moments can be. I’ve learned that teachers have a lot of influence and that we should be aware that small moments shape lives.
atac: At Berklee, you lead a master class on Artists as Activists—can you speak to that a bit?
KH: As a black, gay man living in America, I find myself drawn to writing/composing pieces that reflect my thoughts on what is happening in our country these days. I got to take part in the creation of a dance piece with students at Berklee with Chad Stokes (Dispatch) and members of Urban Bush Women Dance Company. What came out of it was a politically reflective piece with music, spoken word and movement. I never "preach" about my views. I share my thoughts/reactions and hope I’m clear in my delivery. My audiences have always been amazing at letting me "be" all that I am. I love that.
atac: This approach feels very apparent on Ruthie’s off your Live at the Bird record. There are places and people you’ve had to walk away from—I’m curious if any relationships have healed with time?
KH: I think time and understanding can heal many things. I’ve seen friends and family open and grow in their attitudes and for that, I’m grateful. There are times when you have to face the fact that there are people and places that are not good for you. Doesn’t mean you have to hold a grudge. It only means that you have a new understanding and you act in the best interest of both parties.
atac: The closing track on 2002’s Sometimes In Bad Weather, If Loneliness Was Black, was—if I'm not mistaken—written for Alvin Ailey American Dance Theater? Can you tell us a bit about that collaboration, and the role collaboration plays in your process generally?
KH: I knew choreographer Dwight Rhoden and Desmond Richardson when they were in The Alvin Ailey Company. Dwight had the opportunity to create a ballet for the company and asked if I’d like to write a session. I gleaned through pages of his prose. The phrase “if loneliness was black” stood out to me and I wrote the piece in one afternoon. I find that collaboration presents a whole new palette to paint on if you find the right people, and believe me, they were the right people.
atac: You recorded for The Wang Center’s Ghost Light Series. What’s it like playing for 3,500 empty seats?
KH: It is such a beautiful space. I had been there many times, either seeing a show, or teaching songwriting to high school students in the basement. I even got to watch The Alvin Ailey Company from the side lines/backstage. However, nothing compared to sitting on that stage at a piano with my friend, Jim Lucchese (drums). Looking out was so surreal. I looked at the seats my mom and I sat in when I took her to see the piece I had written for. I was honored, overwhelmed and grateful all at the same time.
atac: What are some great discoveries from time on the road? Best diners, bookshops, music stores, roadside gems from around the country?
KH: Whenever we play at The Rockwood Music Hall in NYC, we always go to Katz's Deli, which is around the corner. Also, there's a great Portuguese restaurant (don't have the name) right down the street from atac. We've stopped in there for dinner every time we've played in Framingham, MA.
Editor’s Note: Downtown Framingham has a lot of awesome food. Here’s a map.
atac: As a Club Passim board member, I imagine you’re hip to a lot of emerging talent. Who’s catching your ear?
KH: There are so many great artists who perform at Passim, check out their website. Vance Gilbert is awesome. Butcher, Baglio & Estes make up a great folk group. XRB is my cousin’s band; they play a lot in the area. I was hoping to get Robin Welch’s to sing with me at the atac gig, but his band has a show the same night…so I''m not going to pump them up too hard :-). LOL
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The Kemp Harris Group returns to atac on Friday night, June 2nd. Grab yourself some tickets here.
