Kiane Zawadi, the trombonist who tamed the awkward euphonium into an acceptable jazz instrument, and who played with a wide variety of artists such as Charles Tolliver, Hank Mobley, Joe Henderson, Dizzy Gillespie Orchestra, Areatha Franklin, Clark Terry, and Archie Shepp, died on May 21 at New York Methodist Hospital in Brooklyn. He was 91.
His transition was confirmed by Ima Zawadi, his wife of 53 years; no cause of death was given.
An activist who was committed to community involvement, Zawadi worked with Jazzmobile as a performer and as one of the organization’s music workshop instructors. He was co-founder of the Central Brooklyn Jazz Consortium and the Collective Black Artists, also in Brooklyn.
He was born Bernard Atwell McKinney on November 26, 1932, in Detroit, Mich., to a musical family: His father, Herman McKinney, was a school music teacher and conducted private lessons, and his mother, Bessie, was an accomplished musician. He was one of 10 siblings (seven boys and three girls). Some of his siblings were also prominent musicians.
“Kiane was a very quiet and gentle man, who knew a lot without flaunting it. He’s from a family of fine musicians called the McKinneys,” noted saxophonist Bill Saxton. “He knew how to get to the point without wasting a lot of notes. I am honored to have shared the bandstand with him on many occasions. He was truly a giant.”
The young trombonist attended Northwestern High School and Wayne State University, majoring in music composition and theory. Anxious to begin his music career, he discontinued his college studies for the live-in-the-moment bandstand experience. With a good musical perception and command of his instrument, Zawadi found work in Detroit’s fertile local jazz scene, often playing at the popular Blue Bird Lounge. His first paid gig was with pianist and fellow Detroit native Barry Harris and saxophonist Sonny Stitt.
In the early 1950s, he joined bassist Alvin Jackson’s band (brother of vibraphonist Milt). Just before Art Blakey formed the Jazz Messengers, Zawadi teamed with him, along with saxophonist Yusef Lateef and trumpeter Donald Byrd.
He took the name Kiane Zawadi at the height of the Civil Rights Movement, when Black consciousness was more than a thought. After the turbulent ’60s, looking to explore all aspects of the music, he performed and recorded with such diverse saxophonists as Archie Shepp, Carlos Garnett, Harold Vick, and the large ensemble of Frank Foster.
Lateef and Zawadi went to New York together for a performance in 1959, and during that visit, Zawadi decided to stay. With a reputation preceding him from Detroit, he landed a job with saxophonist Illinois Jacquet’s Big Band and trombonist Slide Hampton. He also recorded with baritone saxophonist Pepper Adams; Afro Futurist pianist, composer, and philosopher Sun Ra, Arkestra; trumpeter Freddie Hubbard; pianist Rodney Kendrick; saxophonist James Moody; trombonist Curtis Fuller; and Reggie Workman’s African Brass Ensemble.
“My friend Kiane Zawadi has left the planet, but he will always be remembered as one of my best friends,” said trombonist and composer Dick Griffin. “When I came to New York, he was so helpful and kind to me, always very professional, and paid me to sub for him when he could not make a rehearsal.”
His 1964 “DownBeat” magazine award as an “Artist Deserving of Wider Recognition” rather sums up Zawadi’s career. He was a musician who deserved wider recognition from the media, but as far as his many fellow musicians whom he performed and recorded with and his many fans, he was an incredible musician, a quiet genius who exposed a greater light. He was an exceptional musician who processed a warm lyrical vocabulary that reverberated into outrageous riffs, whether on straight-ahead jazz compositions or the edge of avant garde. As a multi-instrumentalist, he would grab his trusty euphonium and drift into the blues or a soothing ballad.
“Kiane Zawadi was a man who shared his wisdom on life’s challenges and rewards of being a musician. He shared his vast expertise on music in a non-egotistical way,” said saxophonist Patience Higgins. “We played many times with the large and small ensembles of Dr. Barry Harris. Barry had the utmost respect for him. Kiane and I recorded on the classic album ‘Live in Harlem at the St.Nick’s Pub.’ Kiane was a man whose spirituality was personified in all aspects of life.”
As time went on, he had a stint with saxophonist and composer Benny Golson and Art Famer, the Dizzy Gillespie Orchestra from 1963–72, and the Clifford Jordan Big Band. He also served as trombonist for the Larry Ridley Jazz Ensemble.
In 1969, Zawadi married his Detroit sweetheart, Ima. They met while she was a senior in high school, at the World Stage, introduced by trumpeter Donald Towns.
“He was always a gentleman and exceptional musician. The world needs more people like him,” said NEA Jazz Master Golson.
In 1978, Zawadi played in the pit orchestra for the Broadway production of “Dancin’.” He appeared at a Charlie Parker tribute at Town Hall in New York City in 1985.
“Kiane Zawadi was one of the great ones! Early on, he played with the Sun Ra Arkestra; however, I came to know him from his work with Roland Alexander. They had a group that worked together for years and as music director of Sistas’ Place, I had the pleasure of booking them many times. Even after Roland left the planet, we continued to book Kiane. The history of the music was in his sound.”
Throughout his career, Zawadi appeared on more than 50 albums with a varied host of legendary musicians, too many to name.
He is survived by his wife Ima, son Kiambu Zawadi, daughter Kaia Zawadi, and sister Carol Robinson.
Funeral arrangements are being confirmed.
Kiane’s father’s name was Clarence McKinney, Herman was one of uncle Kiane’s brothers, I know because Kiane was my mother’s brother.
Sorrow rises from within 🎵🎶losing another musical friend.🙏🏾Though we never met- not to be .😣He sounding art settled with me.✨✨rest👑💫