Washington: James Mtume, the R&B and jazz percussionist, recording artist and producer best known for the 1983 smash ‘Juicy Fruit’ and his work with Miles Davis and other top jazz musicians, has died at the age of 76.
According to Variety, the news was confirmed by his son to a music publication, among other sources, though no cause was cited.
Mtume’s affiliation with Davis began with 1972’s funk-driven ‘On the Corner,’ and he also worked with jazz greats such as pianist McCoy Tyner, trumpeter Art Farmer, keyboardist Lonnie Liston Smith Jr., saxophonists Gato Barbieri and Pharoah Sanders and even Duke Ellington.
In his solo music, Mtume ran the gamut from disco to avant-garde jazz, as well as dramatic compositions for television (‘New York Undercover’) and film (‘Native Son’).
Mtume also produced and co-wrote hit singles for Stephanie Mills (‘Never Knew Love Like This Before’) and Roberta Flack and Donny Hathaway (‘The Closer I get To You’) in collaboration with his musical partner and fellow Davis alum Reggie Lucas.
He was born into jazz royalty in Philadelphia as the son of saxophonist Jimmy Heath. Raised by his stepfather, Philly jazz pianist James Forman, the young musician grew up with activist roots and moved to California in the mid-’60s on a swimming scholarship.
There, he joined the Black empowerment group, the U.S. Organization, and recorded his earliest solo albums starting with ‘Alkebu-Lan – Land of the Blacks’.
After returning to the East Coast, Mtume played with jazz bandleaders such as McCoy Tyner and Freddie Hubbard as well as recording with his uncle, Albert ‘Tootie’ Heath on the ‘Kawaida’ album.
Around this time Mtume joined Miles Davis’ band for a four-year stint that included some of the jazz legend’s most adventurous material, including ‘Dark Magus’ and ‘Pangaea’.
As per Variety, an active advocate for young musicians, executives and activists, Mtume said in a 2014 Red Bull Music Academy speech, “I believe that every generation produces its own music, and actually, this is one of the most fertile times ever for young artists, with the Internet and social media.”
He continued, “But we are reaching the point of considering ‘How are we defining and redefining originality?’ One of the things that is missing is people having their own fingerprint on their music. And that’s the most important thing, having your own voice.”