LENNYWHITE-OVER

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Beat

Adventures of Astral Pirates
“Revelation”
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“BIG CITY”
1977
1. Big City – Brian Auger’s Oblivion Express, Lenny White
2. Sweet Dreamer – Patrick Gleeson, Ray Gomez, Lenny White
3. Egypt (Interlude) – Marcus Miller, Lenny White
4. Nocturne (Interlude) – Lenny White
5. Rapid Transit – Patrick Gleeson, Ray Gomez, Lenny White
6. Ritmo Loco – Lenny White
7. Dreams Come and Go Away – Ray Gomez, Lenny White
8. Enchanted Pool Suite: Prelude/Pts. 1 and 2 – Patrick Gleeson, Miroslav Vitous, Lenny White
9. And We Meet Again – Ray Gomez, Bennie Maupin, Lenny White

Stanley Clarke Live 1976-1977 (w/Ray Gomez)
VERNON REID (INSTRUMENT OF CHANGE)
Yellowjackets w/ Robben Ford/ Jimmy Haslip

1980 — SUMMER IN THE CITY (HIP-HOP, FUNK, AND FUSION)
1981 — SUMMER OF SPACE AND TIME (MTV SHUTTLE DIPLOMACY)
1982 — SUMMER OF CONSCIENCE (JUST SAY NO NUKES)

• BLUE [THE ORIGINAL COLOR OF SIN]
The Wonderful World of Living Colour

 

guitars
VERNON REID

John McLaughlin
Larry Coryell
Bill Connor
Earl Klugh
Al Di Meola
Carlos Santana
Neil Schon
Tommy Bolin
Jimmy Herring
Ron Carter
Stanley Clarke
Jaco Pastorius
Marcus Miller

 

“East St. Louis”
Lenny White
Present Tense
1995 —
((( miles’ home )))

 

 

 

 

Lenny White

— .!

1969 — When he receivedLong before Lenny White was traveling the world with Return to Forever … playing legendary night clubs, Jazz Festivals, Sports Stadiums, and Carnegie Hall, Lenny was a kid, growing up in Jamaica Queens, New York.

— Once again, on his second professional recording, Lenny found himself in the company of that day’s Jazz Royalty. Freddie Hubbard (trumpet), Joe Henderson (saxophone), Herbie Hancock (piano), and Ron Carter (bass), all known musicians, who had earned their well deserved reputations in the 1950s and 1960s, when Miles Davis made jazz “cool.” When Straight Ahead Jazz was Pop.

When Miles Was “Cool.”

Storm Is Rising  — Lenny’s career had ignited, and without hesitation, he rocketed toward the future. After Bitches Brew, another innovative jazz trumpeter, Freddie Hubbard, called to ask Lenny, as Miles had, to play on his new record, Red Clay. Also like Miles, Freddie was among the upper echelon, one pushing at the boundaries, and reshaping the language of jazz.

To celebrate its 50th Anniversary, Jazz Times magazine asked a number of its most knowledgeable and respected writers and critics to pick the “top 10” jazz records made in the 1970s, the decade of the magazine’s inception. Bitches Brew and Red Clay (Lenny’s first two recordings) were number one and two on the list.

Let there be ‘Fusion.’
March 1970 — Bitches Brew
May 1970 —  Red Clay 

The Holy Trinity
1971 — Mahavishnu Orchestra (John McLaughlin)
Return to Forever (Chick Corea)
Weather Report (Joe Zawinul)
Lenny also recorded with Jaco Pastorius, on the self-proclaimed, world’s greatest bassist’s self-titled (of course) debut, ranked sixth on the Jazz Times “top 10” jazz recordings of the 1970s list. Looking at the list further, one sees that by the end of the decade, Lenny will have worked with nearly all the musicians who complete the list, including Miles and Bitches Brew alum: Chick Corea, John McLaughlin, Wayne Shorter, and Dave Holland.

1972 —
1973 —

1974 — Lenny joined Bitches Brew mate, Chick Corea’s band, Return to Forever. Important to  Miles in his creating Bitches Brew, was it being electric, and Chick had been one of the keyboardist he invited to join his new band. Joe Zawinul was another, and John McLaughlin played guitar.

“s” is for solar (system)

1974 — Return To Forever “The Shadow Of Lo”
1975 —
1976 — Tommy Bolin
1977 —
1978 —
1979 — Trio of Doom
Tony Williams, John McLaughlin, Jaco Pastorius (Larry Young)
1980 —

Azteca
Lenny’s first big step out of Jamaica Queens was when he joined the Escovido Brothers’ band, Azteca. It was also the first time Lenny would play in a band as a core member.

“Whatcha Gonna Do”
Azteca

 (((play)))

— .!

1972 — West Bound (#9)

Thomas “Coke” Escovido and his brother, Pete Escovido, had just left Carlos Santana after recording Abraxas, and with their recent success, quickly assembled their own band, Azteca. Azteca quickly became a part of the Chicano scene in San Francisco, and caught the attention of Columbia Records. The label signed the Escovidos, hoping Azteca, like Santana, would become the next big, commercially successful, Latin hit (thing).

Lenny recorded two records (albums) with the Escovido Brothers’ band, Azteca. Azteca (1972) and Pyramids Of The Moon (1973). Lenny also played a reunion show played in Hollywood, California in 2007. A recording of the show, that included Sheila E. (Pete Escovido’s daughter)was released the following year. From The Ruins accompanied, La Piedra Del Sol, a video recording of the show.

Beyond Santana, Azteca was a large (15-20 members) Afro-Cuban, Jazz-Rock orchestra, and was one of the first serious efforts to electrify such a big Latin band. Adding electric keyboards and guitars (Neal Schon) to the horns, woodwinds, three vocalists, and you never knew how many percussionists.

Azteca toured with Stevie Wonder., and played in London with Weather Report and Earth, Wind and Fire. Not able to live up to the high (commercial) expectations, the band dissolved after two albums,  Azteca (1972) and Pyramid Of The Moon (1973).

Azteca players included: vocalists Wendy Haas and Errol Knowles, guitarist Neal Schon, trumpeters Tom Harrell and Eddie Henderson, bassist Paul Jackson, drummers Lenny White and John H. Brinck Jr., and percussionist Victor Pantoja, Willie Bobo, and Sheila E., Pete Escovedo’s daughter, played with the band as a teenager, and also at the (September 15, 2007) reunion, recorded in Hollywood, California.

Having just left Carlos Santana, after recording Abraxas., Thomas “Coke” Escovedo and his brother  Pete Escovedo, put their own band together. Azteca quickly became a part of San Francisco’s Chicano scene, and were soon approached by Columbia Records. 

Columbia Records, signed the Escovido Brothers, hoping they’d be the label’s next Santana.

Return To Forever
Leaving Azteca after only two years and two albums, Lenny had come to another life-changing crossroad. Azteca, although not living up to CBS Records’ high expectations, was one of the world’s best bands, and its members all had promising prospects after. For Lenny, Azteca guitarist Neal Schon and he had developed such a musical understanding that Neal asked Lenny to join him in a new band he was putting together, called Journey. At the time, Return To Forever drummer Steve Gadd was wanting to do more studio work, and no longer want to tour, which left Chick with a need for a drummer. First call was to his Bitches Brew mate, Lenny, who took the Return To Forever, rather than the Journey, fork in the road.

“Hymn Of The Seventh Galaxy” 

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xyz

Lenny reunites with his Miles Davis (Bitches Brew) bandmate, Chick Corea, choosing to join Chick’s band Return To Forever, with Stanley Clarke and Bill Connors, over Journey with his Azteca mate, guitarist Neal Schon.

Three Miles Davis disciples (John McLaughlin, Joe Zawinul, and Chick Corea), energized by their Bitches Brew experience, were aggressive in their pulling jazz further down the course Miles Davis had set. The Mahavishnu Orchestra, Weather Report, and Return To Forever were the Holy Trinity of  Jazz. Three electrifying bands, making hot what Miles had made cool.

1973 — Return to Forever Hymn of the Seventh Galaxy (Polydor)

w/ Chick Corea, Bill Connors, Stanley Clarke
1974 — Return to Forever Where Have I Known You Before  (Polydor)

Artistic Contribution
Since Miles preached it when recording Bitches Brew, Lenny always appreciated the need to understand the past in order to write future. A philosophy Chick Corea, another Bitches Brew disciple, lived by completely. He always allowed room in Return To Forever, for everyone to contribute to the evolution of the band.

 

“Sofistifunk” b/ Lenny White

(((PLAY)))

1975 —
Stadium Jazz?

1976 — Return to Forever  Romantic Warrior (Columbia)

Return To Forever’s Romantic Warrior was one of the biggest-selling jazz records of all time, and in its support, the band was playing sold-out stadium shows. Such popularity was rarely seen by a jazz (rock) band. Romantic Warrior sold 500,000 copies, and Chick had reaped his biggest reward to date. 

Despite the critical acclaim and financial success, Chick was looking for change. He was restless, and wanted to change his musical direction. So Chick decided to disband Return To Forever, leaving Lenny, Stanley, and Al without a band, and with their own careers to contemplate, and personal decisions to make.

— .!

“The Shadow of Lo” (The Song)
Actually “The Shadow of Io” as Lenny (the song’s author) wrote it, not “The Shadow of Lo,” as it was printed in the Where Have I Known You Before credits/liner notes.
The printer/typesetter was in error when they (understandably) misread a sans serif “I” as an “L.” An honest mistake in the title “The Shadow of Lo,” as Lenny’s first Return To Forever composition has come to be known.

The version on Lenny’s Present Tense album (1995) features Lenny w/ Dean Brown (guitar), Danny Walsh (alto saxophone), James Genus (bass), Adam Holtzman (synthesizer)

s is for solar system

“Io” (not “Lo”) is the most volcanic body in the solar system, and the innermost, and largest, of the four Galilean (Jupiter) moons.

1975 — Subway To Venus

“Out of all the Return To Forever solo albums, this one surprised me the most. Venusian Summer is a fantastic fusion of funk and prog, featuring a top-flight band of familiar faces (Doug Rauch, Doug Rodrigues, Larry Young, Larry Coryell, David Sancious, Ray Gomez, and Al Di Meola). Although I enjoyed Lenny’s compositional contributions to Return To Forever, especially “The Shadow of Lo” and “Sofistifunk,” they didn’t prepare me for the far-out and amazing journey  on which Venusian Summer took me.”

—  progrography.com

“And Away Go Troubles Down The Drain” 
(((PLAY)))

— .!

Leaving the Future Behind

1975 — Venusian Summer (Nemperor)
1975 — Stanley Clarke  Journey to Love (Polydor)
1976 — Al Di Meola Land of the Midnight Sun (Columbia)
1977 — Al Di Meola Elegant Gypsy (Columbia)

After Chick disbanded Return To Forever, Lenny, Stanley, and Al were on their own, and all contributed (played on) each other’s solo projects.

Lenny had made his first individual project, Venusian Summer while Return To Forever was between guitarists Bill Connors and Al Di Meola, but now, after Romantic Warrior, he was without a band.

As Miles did, Lenny always has an eye out for young talent, this was no more apparent, than after Chick disbanded Return to Forever, just after the artistic high of Romantic Warrior. Lenny had to turn his attention to forming and leading a band of his own.

Lenny recorded his first solo record, Venusian Summer in 1975, when Return To Forever was between guitarists, Bill Connors and Al Di Meola. While making Venusian Summer, Lenny knew that Chick was committed and excited about moving forward with their, new, young guitarist.

Now was different. Return To Forever was over, and Lenny was, after an extraordinary run, was, as he was in the beginning, on his own. …

Standing Alone

Lenny’s first, post-Return To Forever recording, left no doubt about his ability to be  the leader of the band.

“Big City” b/ Lenny White

(((PLAY)))

— .!

“And We Meet Again”

(((PLAY)))

What’s Old Is New Again

1977 — Big City (Nemperor)

Lenny’s first, post-Return To Forever recording well represented the next turn of jazz, as described in this review at the time.

— .!

“The Climax: Theme For Astral Pirates”

(((PLAY)))

Back To The Outer Limits

1978 — The Adventures of Astral Pirates (Elektra)

After Big City, and before meeting Marcus Miller, Lenny wrote, illustrated, and scored a sci-fi, world-against-world graphic novel. The band he assembled sounded something like Return To Forever, but with a much more hard rock, heavy funk edge.

One of Lenny White‘s finest, most essential albums, The Adventures of Astral Pirates is a jazz-rock masterpiece with a futuristic science-fiction theme. Star Wars was number one at the box office when, in 1977, White produced this disc with Al Kooper, and perhaps Elektra was hoping to cash in on the film’s popularity. Opening the record’s foldout cover, you see Lenny‘s graphic tale of a  sci-fi war that takes place in the fifth millennium A.D. But you don’t have to be a sci-fi fan to appreciate the mostly instrumental songs on this imaginative, risk-taking album, which finds Lenny blending a jazz/rock/funk foundation with diverse elements, including Middle Eastern and Asian sounds. Astral Pirates is hard to predict, and easily be described as “The Sound Of Surprise” (writer Whitney Balliett‘s term for jazz), but no will mistake it for straight-ahead or be-bop, it’s modern, electric, jazz-rock music, straight out of the ’70s.

— allmusic.com

— .!

Divine Inspiration

1963 — When Lenny hears Seven Steps To Heaven, Miles Davis‘ eighth record for CBS, he sees his future. When seeing the drummer is Tony Williams, 17, just three years older than he, it was then he believed anything was possible.

From that moment, Lenny dreamed of one day playing drums in Miles Davis’ band.

Five years later, Lenny’s dream would come true.

— .!

Finding Marcus
1978 — Streamline (Elektra)

Not unlike the way Jackie McLean had seen him 10 years before. Lenny asked Marcus to join his band and play bass guitar on his third solo record, Streamline.

— .!

“To Be Young, Gifted, And Black”
b / Nina Simone 
(((PLAY)))

1969 — “To Be Young, Gifted and Black” is a song by Nina Simone with lyrics by Weldon Irvine. She introduced the song on August 17, 1969, to a crowd of 50,000 at the Harlem Cultural Festival, captured on video tape, and released in 2021 as the documentary film Summer of Soul.

WELSON IRVINE  — Poet, Playwright, Player, Mentor to all the young jazz musicians. Wrote “Young, Gifted, and Black” INCUBATOR: Bottom Line Owner, Competitions, Jam Sessions, Gun-Sliner reputations, Jazz Zeitgeist. (Alan Pepper, Bob Banker, William Bennett, Eddie Cook, Danny Nixon) Jazz Interactions vs. The Jazz Samaritans (Jim Pepper, Larry Coryell, Steve Grossman, George Cables, and Billy Cobham) Jazz Samaritans “win” The Prize, a gig at the Village Gate one of the Manhattan clubs all young musicians wanted to play. Horace Silver (replaces) Bill Cobham?
Looking For Attention  — Described as “gunslingers,” showing off, improvisational, competitive exchange, one trying to out play the other, to better impress anyone who might be looking, listening, hunting for talent. 
One night Jackie McLean was out …
Lenny play at (club) Aphrodisiac, and after, called to ask Lenny to sit in with his band. 
The show went well enough that McLean asked Lenny to join the band,  in which he was for the next two years … until he received Miles’ Bitches Brew invitation.
[MENTION OF VIETNAM, WOODSTOCK, JIMI HENDRIX, WHITEY ON THE MOON]
“It Was A Very Good Year” (Edge)
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— .!

Dreams Come True
1969 — Bitches Brew 
Lenny had been playing in Jackie McLean’s band for two years, since Jackie had seen him play at Aphrodisiac, and invited him to sit in with him at The Gold Lounge.
Now the recognition was coming from higher up, and as the world raged (Vietnam, Woodstock, Jimi Hendrix, and Neil Armstrong walking on the Moon), Lenny received the call of his life. 
He laughs when recalling how it was his mother who first answered the call, and being put off by the soft, raspy, unintelligible voice on the other end of the line, how she almost hung up on Miles Davis.
Responding to Lenny’s mother’s demand, Miles spoke up loud enough to understand that he was wanting to talk to Lenny.
Lenny took the phone and nervously said hello. Straight to the point, Miles asked Lenny if he could meet him in the city (that coming ?) for a record session? Lenny said “yes,” and Miles gave him the (77th Street/Now Miles Way) address, and told him to bring a snare drum and a cymbal.
The friend Lenny called for a ride might have been more excited than Lenny as they crossed the JFK? bridge into Manhattan. Pulling up to Miles’ brownstone (on 77th Street), Lenny’s friend wished him luck, as he gathered his instruments and walked up to the front door.
Lenny rang the bell. The door opened, and there he was … Miles, himself. Lenny was face-to-face with the Prophet of Jazz.
After the briefest hello, Miles led Lenny downstairs to his rehearsal space. There, in the room,  was Chick Corea, Wayne Shorter, Dave Holland, and Jack De Johnette.
Miles led the group through just the beginning (opening part) of (tune?)(how long?). After the session, Miles, pleased with how it had gone, asked everyone if they could be at the CBS Studios (address), 10 o’clock the next morning?
It was there and then that all thirteen members of Miles’ new (Rock N Roll) band were together to play/record the first session of what would become Bitches Brew.
Lenny was still a teenager, and suddenly, he was sitting on top of the world. Sitting at a drum kit, atop the world of Jazz … exactly where he wanted to be.
At the time, as always, Miles was known to be the most important, experimental, and forward-thinking musician alive. Dark, mysterious, and  universally respected for his artistic genius and his contributions to the culture of Jazz.
Every young musician wanted to work with (play with?) Miles. They wanted to be in his musical presence, and hope to learn from him, how to be musically free.
TwennyNine 
1979 — Let’s Groove Tonight
After the success of “Peanut Butter,” #3 on the R&B chart, Twenny Nine was asked to tour with Rick James and Prince.
“Peanut Butter” (Twennynine With Lenny White)
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— .!

1979 — Twennynine Best of Friends (Elektra)
1980 — Twennynine with Lenny White (Elektra)
1981 —  Twennynine  Just Like Dreamin’ (Elektra)

Echoes Of An Era
1982 — Back To Harlem, Where The Night Was Jazz
Lenny assembled an all-star band of his oldest bandmates (Freddie Hubbard, Joe Henderson, Stanley Clarke, and Chick Corea), and wrote a straight-ahead show that would feature Chaka Khan, a cousin of one of Lenny’s friend (?) and still fronting her popular R&B band, Rufus.
“Take the ‘A’ Train” w/ Chaka Khan
 (((PLAY)))

— .!

Back To Where We Started
1982 — Echoes of an Era (Elektra)
Chaka Khan, Freddie Hubbard, Joe Henderson, Chick Corea,  Stanley Clarke
1982 — Echoes of an Era 2 – The Concert (Elektra) w/ Nancy Wilson
Boys In The Hood
1987 — Always Home In Jamaica Queens
Lenny assembled an all-star band of his oldest bandmates (Freddie Hubbard, Joe Henderson, Stanley Clarke, and Chick Corea), and wrote a straight-ahead show that would feature Chaka Khan, a cousin of one of Lenny’s friend (?) and still fronting her popular R&B band, Rufus.
“Move It!” b/ Jamaica Boys
 (((PLAY)))

— .!

Lenny w/ Marcus Miller, Bernard Wright
Jamaica Boys
1987 — Jamaica Boys Jamaica Boys (Warner Bros.)
1989 — Jamaica Boys J-Boys (Warner Bros.)
1990 — Jamaica Boys Shake It Up (Warner Bros.)

Back To School
1988 — Lenny and Marcus Go To Hollywood
Like Woody Allen’s taste in traditional (Radio Days) jazz, director Spike Lee takes great care, and pays much attention to the music he includes in his movies. Having been one who appreciated the Jamaica Boys, he called Lenny and Marcus, asking to compose tunes for his newest movie, School Daze.  

“Perfect Match” (School Daze)
 (((PLAY)))

— .!

Movin’ On Up
1990 — Never Venturing Too Far From Home

Another live show, produced by Lenny, meaning he chose the songs, and assembled the band to play them. 

“Summertime“
The Manhattan Project
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— .!

1990 — The Manhattan Project (Blue Note)

Michel Petrucciani, Wayne Shorter, Stanley Clarke, Gil Goldstein, Pete Levin

1990 — Michel Petrucciani Music (Blue Note)
Jazz Of Another Color
1990 — Music Is The Soundtrack Of Life
The Jamaica Boys records were so popular, especially in New York City dance clubs, they got the attention of Los Angeles film producers, looking for a sophisticated soundtrack to satisfy their young, hip-hop, African American target audience.
“Why You Get Funky On Me?” (House Party)
 (((PLAY)))

— .!

1990 — House Party (Soundtrack)
w/ Marcus Miller
1990 — House Party (Soundtrack)
1991 — Nicki Richards Naked To the World (Elektra)
1993 — Bobby Hutcherson Acoustic Masters II (Atlantic)
1995 — Urbanator: Urbanator (Hip Bop)

— .!

1995 — Present Tense (Hip Bop)
• Io, the innermost and largest of the four Galilean (Jupiter) Moons.
1996 — Renderers of Spirit (Hip Bop)
1997 — The Geri Allen Trio & The Jazzpar Nonet
Some Aspects of Water (Storyville)
1997 — Wallace Roney Village (Warner Bros)
1998 — Geri Allen The Gathering (Verve)
1999 — Edge (Hip Bop)

— .!

Vertú
1999 — Jazz for the Next Millennium
Lenny and longtime Return To Forever friend, Stanley Clarke went on a hunt for new blood, a young band suited to record their latest project, their last of the Millennium.
“V-Wave”  
 (((PLAY)))

— .!

Lenny and Stanley found what they were looking for in Richie Kotzen (guitar), Rachel Z (keyboards), and Karen Briggs (electric violin). They called the band Vertú, and its sound recalled that of early Mahavishnu Orchestra and Dixies Dregs, and as always with Lenny and Stanley, they wound up with a recording that reverently respected the past, but reach another higher level of electric jazz.
Vertú
1999 — Vertú (Sony)
Lenny w/
Stanley Clarke
Karen Briggs, 
Rachel Z and 
Richie Kotzen

— youtube

When Worlds Collide
1971 — Lenny’s career had taken off like a musical shot, but where he had no idea of where it would lead him. At the moment, he was still comfortable in Jamaica Queens, the only home he had known. Taking advantage of his new, well deserved, Bitches Brew recognition, Lenny spent much of the next year in the studio, answering the increasing number of calls for his services, making records with  Woody Shaw,  Gato Barbieri,  Curtis Fuller … 
No matter spending so much more time in the studio, Lenny remained most passionate about playing live, happy in Jamaica Queens, at Aphrodisiac, Slugs, Club Ruby, and all the popular clubs and venues in the neighborhood.
Jamaica Queens, was where jazz was born, where it evolved, and where it always thrived.
Jamaica Queens was the culture into which Lenny White had been born, and where he would live forever. … (always live)

1949 — “Rock Around The Clock”
An Identified Russian Flying Object, Named Sputnik.
Lenny was born and grew up in Jamaica Queens, New York, at a time when rock n roll was colliding with jazz. A time when listening to the radio, he was listening to Chuck Berry, Buddy Holly, Elvis Presley, and Bill Haley & His Comets, on the same program with Frank Sinatra, Ella Fitzgerald, Patsy Cline, Howlin’ Wolf, Muddy Waters, Perry Como, Doris Day, Louis Armstrong, Herb Alpert, and The Jackie Gleason Orchestra.
Lenny listened to everything, and liked most of what he heard, especially the Broadway show tunes. Of course Lenny, like all of America, was  influenced by what he saw on television.
From The Beatles, The Rolling Stones, and Kukla, Fran, and Ollie on The Ed Sullivan Show, to the accordions and Polka dancers on Lawrence Welk, to Hee Haw‘s chicken-pickin’ guitar players, and down-on-their-luck country singers.
Of course, living in Jamaica Queens, Lenny couldn’t forget that (I Love) Lucy‘s husband, Desi (Arnaz), was the leader of a big Afro-Cuban band (orchestra) at the Copacabana, one of the most exotic night clubs in Manhattan, just across the East River, on East 60th Street.
Yes, Lenny heard it all, but it was straight-ahead, traditional jazz that always moved him most. Both his inspiration and dedication came from having lived in the White family home, since he was a baby, a home immersed in jazz.
When Lenny started speaking for himself, he spoke clearly, and directly when he was saying how much he wanted to play music. Jazz Music, the sound of life in Jamaica Queens, New York. Nothing else. (at the time)
Lenny’s parents best understood and appreciated their son’s passion for music. They had raised him in the jazz tradition, to respect the past, pay good attention to the now, and dream of playing in the future. They understood well Lenny wanting to be a musician, and were absolutely supportive in their son’s quest.
As positive-thinking as they were, though, not even Lenny’s parents would have expected the wealth (depth) of his natural ability.
Lenny’s parents were music lovers (lovers of jazz) long before he and his younger brother, _______ were born. They too had been raised in New York City, when jazz was king, and Duke Ellington, Louis Armstrong, Fats Waller, and Cab Calloway were in its royal family. 
Lenny’s grandfather was a friend of Count Basie, and Lenny’s father, an Army drill sergeant in WWII, befriended Basie saxophonist, Lester Young, when Young was assigned to his company.
Back in Jamaica Queens, the White house was always a center of neighborhood attention, and immersed in the jazz culture of the time and place. Jazz was at the heart of any White family function, or weekend gathering.
Lenny’s parents’ family and friends would socialize around a phonograph, listening to new “sides” (records) by Duke Ellington, Charlie Parker, John Coltrane, Sonny Stitt, and all those players who were making up jazz as they went along their improvisational way.
Over the years, _______ and _______ White had been a part the New York City (52nd Street)  jazz scene, frequenting clubs, listening to the music, and befriending the musicians whose records they listened to.
Many became members of the White family’s inner circle, especially those (and there were many) who lived in Jamaica Queens.
LIST OF CELEBRITY JAMAICA QUEENS RESIDENTS
No one, especially Lenny’s parents were surprised when their son’s interest in music grew, but not even they could have predicted the wealth of Lenny’s natural talent.
For as far back as he can remember, Lenny always wanted to be a musician. Specifically, a drummer. Not the kind that marched and wore fuzzy white hats, but the kind that played jazz, like Art Blakey, Elvin Jones, Gene Krupa, Buddy Rich, Louis Bellson …
— xyz
The story behind the album cover for “That You Not Dare To Forget” Order M.E.B. now: https://MilesDavis.lnk.to/MEB That You Not Dare To Forget from M.E.B. (a.k.a. Miles Electric Band) is an all-star ensemble of Miles Davis alumni and contemporary hip-hop/jazz disruptors. Produced by Lenny White and Vince Wilburn, Jr., the project mixes the spirit of neighborhood block parties with the mystical elixir fueling Bitches Brew to disrupt the worlds of hip-hop and jazz with a new full-on musical adventure starring a who’s who of legends including: Blu, Ron Carter, Stanley Clarke, Jon Dryden, Donald Harrison, Darryl Jones, Adrian Lamont, Pedrito Martinez, Marcus Miller, Emilio Modeste, Jeremy Pelt, Rashae Reeves, Vernon Reid, Antoine Roney, Wallace Roney, John Scofield, Bernard Wright, Quintin Zoto and dozens more!

Digital and CD editions of the M.E.B. album will be available Friday, April 21 while independent record stores will offer a hot pink vinyl pressing of the album as a Record Store Day exclusive Listen to Miles Davis: https://MilesDavis.lnk.to/listenYD Watch more Miles Davis videos: https://MilesDavis.lnk.to/listenYD/yo… Subscribe to the official Miles Davis YouTube channel: https://MilesDavis.lnk.to/subscribeYD Follow Miles Davis: Facebook: https://MilesDavis.lnk.to/followFI Instagram: https://MilesDavis.lnk.to/followII Twitter: https://MilesDavis.lnk.to/followTI Website: https://MilesDavis.lnk.to/followWI Spotify: https://MilesDavis.lnk.to/followSI

Jazz Life
“Revelation”
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Lenny had looked forward to making it to junior high school. The seventh grade was his first real opportunity to play in a band. 
On his first day, Lenny went straight to the music department, asking to play drums in the school’s concert band.
At first they said no, and suggested Lenny might like the tuba.
Lenny said no, and persisted in his wanting to play the drums.
When told that two years “educational” experience was necessary to play drums, Lenny said he did have the experience, and was given the drums.
The band’s second drummer, knowing Lenny had “lied” to get in, assured him that he could do it, and if he had got in any trouble, he’d be there to help him out.
Lenny appreciated the gesture, but of course knew he wouldn’t need any help, and it was hardly a lie to claim two years experience, considering his entire life had been filled with the culture of jazz.
(Timpani?)
Lenny’s parents bought him his junior high school supplies, his first set of drums (snare drum, bass drum, cymbal. So equipped, Lenny’s ability was immediately apparent. Jamaica Queens would notice.
2000 — Wallace Roney No Room for Argument (Stretch)
2001 — Ron Carter Stardust (Somethin’ Else)
2001 — Buster Williams  Houdini (Sirocco)
2002 — Collection (Hip Bop)
2003 — Dreyfus Night in Paris (Dreyfus Jazz) w/ Marcus Miller, Michel Petrucciani, Kenny Garrett, and Biréli Lagrène.
Earth Wind & Fire
2004 — The Love Has Never Gone: Tribute to Earth Wind & Fire (Trauma)
Lenny’s always been a fan of Earth Wind & Fire, even before they hit it so big in the late 1970s, when suburban discotheques and the Bee Gees ruled the night. Especially Saturday.
2004 — Buster Williams  Griot Libertè (HighNote)
2005 — Coryell, Bailey, and White Electric (Chesky)
2006 — Coryell, Bailey, and White Traffic (Chesky)
w/ Larry Coryell , Victor Bailey
2006 — Buster Williams    65 Roses (BluePort Jazz)
2008 — Azteca From The Ruins (Inakustic Gmbh)
2008 — Marica Hiraga [ja]: Batucada: Jazz’n Bossa (B.J.L.)
2008 — Hancock Island (Chesky)
2009 — The Stanley Clarke Trio Jazz in the Garden (Heads Up)
2009 — Corea, Clarke & White Forever (Concord)
2009 — Return to Forever Returns (Eagle)
Anomaly
As the second decade of the New Millennium began, it had been ten years since Lenny had made a record of his own, and then came Anomaly, on which Lenny does, what he always has … Looked to the past to find the future. Anomaly, Lenny dropped Anomaly like a message from the Voyager, still flying to see what it might find.
“Drum Boogie” b/ Lenny White
 (((PLAY)))

— .!
By the time Lenny White was 25, he had established himself as one of the world’s best jazz-rock drummers. Having played on both Miles Davis’ Bitches Brew and Freddie Hubbard’s Red Clay when he was 19, and two years later, joined bassist Stanley Clarke, and formed the formidable rhythm section in Chick Corea’s band, Return To Forever. 

In the thirty years between Return To Forever’s break up, and its celebrated reunion in 2008, Lenny recorded with an impressive list of musicians, including: Miles Davis, Jackie McLean, Freddie Hubbard, Herbie Hancock, Joe Henderson, Ron Carter, Stan Getz, Woody Shaw, Gato Barbieri, Chris Fuller, The Escovido Brothers, Azteca, Neal Schon, Paul Jackson, Chick Corea, Stanley Clarke, Bill Connors, Al Di Meola, Jean-Luc Ponty, Jaco Pastorius, Wayne Shorter, Larry Coryell, Jan Hammer, Michael Brecker, Jerry Goodman, Verdine White, Ray Gomez, The Brian Auger Oblivion Express, Tower Of Power, Al Kooper, Larry Dunn, Earth Wind & Fire, Chaka Khan, Marcus Miller, Bernard Wright

TWENNYNINE (1979) — Eddie Martinez (guitar), Skip Anderson (keyboards), Barry Johnson (bass), Lynn Davis, Carla Vaughn, Joycelyn Smith, and Tonya Willoghby (vocals) [Rick James/Prince]

ECHOES OF AN ERA (1982) — Chaka Khan, Freddie Hubbard, Joe Henderson, Chick Corea, Stanley Clarke

THE MANHATTAN PROJECT (1990) — Michel Petrucciani, Wayne Shorter, Stanley Clarke, Gil Goldstein, Pete Levin

THE JAMAICA BOYS (1987) — Marcus Miller, Bernard Wright

LENNY AND MARCUS GO TO HOLLYWOOD
School Daze (1988)
House Party (1990)

HIP-BOP (1995) — Chaka Khan, Stanley Clarke, Chick Corea, Dean Brown, Michael Brecker, John Scofield, Kenny Garrett, Victor Bailey, Adam Holtzman, Jane Getter, Mulgrew Miller,  Anton Roney, Michael “Patches” Stewart, Danny Walsh, George Whitty, Mark Ledford, Nicki Richards, Tony Purrone, Rick Magitza, James Genus, Wallace Roney, Gerri Allen, Buster Williams …

VERTU (2000) — Stanley Clarke, Richie Kotzen, Karen Briggs, Rachel Z …

Bireli Lagrene, Vanessa Rubin, Patrice Rushen, Maria Hiraga, Jean-Luc Ponty, Frank Gambale, Jamey Haddad, Mark Sherman, Letizia Gambi, Cyrus Chestnut … 

CORYELL, BAILEY, WHITE —
Larry Coryell
Victor Bailey 

THE RETURN TO FOREVER RETURNS (2008)