Although Lateef's main instruments are the tenor saxophone and flute, he is known for his innovative blending of jazz with Eastern music. In addition to the oboe and bassoon, both rare in jazz, Lateef plays various non-Western instruments, notably the bamboo flute, shanai, shofar, arghul, sarewa, and koto.
Throughout his early life Lateef came into contact with many Detroit-based jazz musicians who would gain prominence, including vibraphonist Milt Jackson, bassist Paul Chambers, drummer Elvin Jones, and guitarist Kenny Burrell. Lateef was a proficient saxophonist by the time of his graduation from high school at age 18, at which point he launched his professional career and began touring with a number of swing bands.
In 1949, Lateef was invited by Dizzy Gillespie to tour with his world-renowned orchestra. At this time, Lateef was known by the name William Evans, thereby making him one of three well-known jazz musicians (besides the pianist and the tenor saxophonist) bearing this name. Notably, all three played with Miles Davis during their careers.
In 1950, Lateef returned to Detroit and began his studies in composition and flute at Wayne State University. It was during this period that Lateef converted to Islam as a member of the Ahmadiyya Muslim Community.
Lateef began recording as a leader in 1957 for Savoy Records, a non-exclusive association which continued until 1959; the earliest of Lateef's album's for the Prestige subsidiary New Jazz overlap with them. Musicians such as Wilbur Harden and Hugh Lawson were among his collaborators during this period.
In 1960, Lateef again returned to school, studying flute at the Manhattan School of Music in New York. He received a Bachelor's Degree in Music in 1969 and a Master's Degree in Music Education in 1970. Starting in 1971, he taught courses in "autophysiopsychic" music at the Manhattan School of Music, and he became an associate professor at the Borough of Manhattan Community College in 1972.
Autophysiopsychic Music, Lateef's term, refers to music which comes from one's physical, mental, and spiritual self. Lateef has written extensively on the topic and includes it in his book Method To Perform Autopsyiopsychic Music. In this view, it should be the goal of every musician to combine their theoretical knowledge with their life experience, and to offer to and accept knowledge from their personal source of strength, inspiration and knowledge.
Yusef's teaching of autophysiopsychic music is very simple. It strays from what has become the standard dorian mode over the two chord, mixolydian over the five, and ionian over the one chord. You learn what works for you, and you embellish those notes.
By 1961, with the recording of Into Something and Eastern Sounds, Lateef's dominant presence within a group context had emerged. His 'Eastern' influences are clearly audible in all of these recordings, with spots for instruments like the rahab, shanai, arghul, koto and a collection of wooden Chinese flutes and bells along with his tenor and flute. Even his use of the western oboe sounds exotic in this context; it is not a standard jazz instrument. Indeed the tunes themselves are a mixture of jazz standards, blues and film music usually performed with a piano/bass/drums rhythm section in support. Along with trumpeter Don Cherry, Lateef can lay claim to being among the first exponents of the world music jazz subgenre. Lateef also made numerous contributions to other people's albums including his time as a member of saxophonist Cannonball Adderley's Quintet during 1962-64.
Lateef's sound has been claimed to have been a major influence on the saxophonist John Coltrane, whose later period free jazz recordings contain similarly 'Eastern' traits. For a time (1963-66) Lateef was signed to Coltrane's label, Impulse. He had a regular working group during this period, with trumpeter Richard Williams and Mike Nock on piano. They enjoyed a residency at Pep's Lounge during June 1964; an evening of which was issued across several albums.
In the late 1960s he began to incorporate contemporary soul and gospel phrasing into his music, still with a strong blues underlay, on albums such as Detroit and Hush 'N' Thunder.
In 1975, Lateef completed his dissertation on Western and Islamic education and earned a Ed.D. in Education from the University of Massachusetts Amherst.
In the early 1980s Lateef was a Senior Research Fellow at the Center for Nigerian Cultural Studies at Ahmadu Bello University in the city of Zaria, Nigeria. Returning to the US in 1986 he took teaching positions at the University of Massachusetts and Amherst College. Presently, he continues to teach at the University of Massachusetts at Amherst and Hampshire College in western Massachusetts.
In 1992, Lateef founded YAL Records, his own label for which he records today. In 1993, Lateef was commissioned by the WDR Radio Orchestra to compose the African-American Epic Suite, a four part work for orchestra and quartet based on themes of slavery and disfranchisement in the United States. The piece has since been performed by the Atlanta Symphony Orchestra and the Detroit Symphony Orchestra.
Lateef has expressed a dislike of the terms "jazz" and "jazz musician" as musical generalizations. As is so often the case with such generalizations, the use of these terms do understate the breadth of his sound. For example, in the 1980s, Lateef experimented with new age and spiritual elements. His 1987 album Yusef Lateef 's Little Symphony won the Grammy award for Best New Age Album. His core influences, however, are clearly rooted in jazz, and in his own words: "My music is jazz."
Lateef has written and published a number of books including a novella entitled A Night in the Garden of Love and the short story collections Spheres and Rain Shapes. Along with his record label YAL Records, Lateef owns Fana Music, a music publishing company. Lateef publishes his own work through Fana, which includes Yusef Lateef's Flute Book of the Blues and many of his own orchestral compositions.
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Why Do I Love You
Yusef Lateef Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But for what I am when I'm with you
I love you not only for what you've made of yourself
But for what you're making of me
I love you for ignoring the possibilities of the fool in me
And for laying firm hold of the possibilities for good in me
Why do I love you I love you for closing your eyes to the dischords
And for adding to the music in me by worshipful listening
Not a tavern but a temple
And out of the words of my everyday not a reproach but a song
I love you because you have done more than any creed to make me happy
You have done it without a word without a touch without a sign
You have done it just by being yourself and after all perhaps that's what love means
These lyrics are a beautiful tribute to someone the singer loves deeply. The opening line asks a question, "Why do I love you?" and then the rest of the song answers that question. The singer explains that they don't just love the person for who they are, but also for how they make them feel. They appreciate how this person brings out the best in them and helps them become a better person.
The singer loves how this person sees the good in them, even when they are being foolish, and how they encourage them to be their best self. The person they love listens to them without judgment and helps them to turn their life into something meaningful and beautiful. They also love how this person makes them happy, without doing anything obvious or showy.
Line by Line Meaning
Why do I love you I love you not only for what you are
I love you for more than just your personality and appearance; my love extends to the way you make me feel.
But for what I am when I'm with you
I love how being with you brings out the best version of myself.
I love you not only for what you've made of yourself
I love you for more than just your achievements and accomplishments.
But for what you're making of me
I love you for being a positive influence in my life and helping me grow into a better person.
I love you for ignoring the possibilities of the fool in me
I love you for not judging me when I make mistakes and for seeing beyond my flaws.
And for laying firm hold of the possibilities for good in me
I love you for recognizing my potential and encouraging me to be the best version of myself.
Why do I love you I love you for closing your eyes to the dischords
I love you for accepting me despite the disagreements we may have had and for focusing on the positive aspects of our relationship.
And for adding to the music in me by worshipful listening
I love you for being a good listener and for being attentive to my needs and desires.
I love you because you're helping to make of the lumber of my life
I love you for helping me turn the ordinary aspects of my life into something meaningful and fulfilling.
Not a tavern but a temple
Instead of a place of drinking and partying, my life is becoming a sacred and spiritual place with you in it.
And out of the words of my everyday not a reproach but a song
I love you for seeing the beauty in the mundane aspects of my life and for helping me appreciate them by turning them into something positive.
I love you because you have done more than any creed to make me happy
I love you more than any philosophical or religious belief because you have brought true happiness to my life.
You have done it without a word without a touch without a sign
You have made me happy through your mere existence; I don't need grand gestures or physical touch to feel loved.
You have done it just by being yourself and after all perhaps that's what love means
You have made me realize that love can be simple and doesn't need to be complicated; it's about being true to oneself and accepting others for who they are.
Lyrics © Universal Music Publishing Group
Written by: JEROME KERN, OSCAR II HAMMERSTEIN
Lyrics Licensed & Provided by LyricFind