artoberVA Spotlight: Weldon Hill on Freedom of Expression

Meet our first artoberVA 2023 Spotlight, Weldon Hill. Weldon is a Richmond, VA native, CultureWorks Board Chair, and masterful jazz pianist with a rich background in the arts and an exciting opportunity for our community to see him live in action for our first ever artoberVA Spotlight Event at The Valentine!

Read ahead for Weldon’s words:

CultureWorks: Who are you and what’s your story?

Weldon Hill: I am Weldon Hill, a native Richmonder; I grew up in Church Hill, and my father eventually moved our family to Henrico County. I attended public schools (elementary and secondary) in Richmond and Henrico, ultimately graduating from Highland Springs High School. At age seven, my friend and fellow student at Fairmount Elementary School started weekly piano lessons at Corley’s Music on East Grace Street in downtown Richmond. That Christmas, my Mother gave me a Magnus Chord Organ (basically an electric whistle with organ keys and buttons to play accompanying chords). I fell in love with the little instrument. My Mother saw that I very much liked music. She was a member of Columbia Record Club, so there were many record albums in our home. I listened to Nancy Wilson, Count Basie, Sam Cook, Dakota Staton, and others virtually every day; I sat directly behind the organist at our church every Sunday. I watched talk shows (e.g., Carol Burnett, Merv Griffin, Dick Cavett, and so forth) just for the bands. I loved the sound of jazz and sacred music.

At age 12, I began taking piano and music theory lessons from our church organist and choirmaster, Mrs. Brenda Nichols. I credit her with my formal preparation for college. I was exceptionally prepared for college music courses. Under her tutelage, I played hymns for Sunday School and, later, for another local church and my own church. Since they were paying jobs, I was allowed to quit my job at Hardee’s!

I received a full scholarship offer from Virginia Union University and encountered some of the very best musicians I had ever met. My major professors (Odell Hobbs, Jeanie Little, Virginia Carson, Karen Savage, and Russell Wilson) were instrumental in my development. Russell Wilson, my piano professor was, and is, a world-class classical and jazz pianist, having been featured with major artists, symphony orchestras, and other ensembles such as the Smithsonian Jazz Orchestra. He taught me the elements of jazz piano, and my entire world changed for good. It was his guidance that really launched my career in music.

CW: Tell me a bit about your relationship to your creative work! What styles or genres do you enjoy working with? Are there certain themes you are drawn to when making/playing music?

WH: I sort of backed into higher education administration which has the potential to destroy creative brain cells! It was EXTREMELY difficult to perform while serving in executive roles at universities.

My relationship to music is at once existential and rudimentary. That is to say, it moves me emotionally—the entire gamut of feelings—whether from a melody/harmonic progression or the lack thereof, or the theoretical underpinnings. I am interested in all musical styles, although I enjoy classical and jazz the most. I grew up with R&B and gospel also. I have played classical music as a soloist, with opera singers, orchestras, and instrumentalists. I have also played and recorded with reggae, R&B, country, rock, and gospel ensembles.

If I had to choose a preferred theme, I would say it is the idea of freedom—liberation; that is, the freedom that we all have as performers. In fact, my first album was called “Free Expression”.

CW: Similarly, do you have a personal process for getting into the mindset of?

WH: Yes. And it takes the entirety of my focus. The most important part of that is not allowing myself to worry about anything beyond the moment. Then, I’m motivated by the commission I have been given or other assignments. I wait for the inspiration which can come in many ways, but I have to quiet my mind.

CW: How have you felt your creative work as a musician connect to the community around you? Have you discovered anything new over the years, and/or do you have a special memory in your experience?

WH: Absolutely! I believe that it began when I was assigned the task of playing for the Sunday School at my church and, subsequently, at other church worship services. Those community connections are still a major part of my life in music and in general. A second major connection is through the education community which has afforded me a huge network of community groups (large and small) as well as influential persons/organizations. As a result, music has connected me to public and private entities locally.

What I have discovered over the years is that our communities seem to have reached a pivotal point in their evolution; those of us who share our art as community members have to understand that.

I have many special memories, but I suppose the most special is my own record-release concert was sold out for two shows! There were those in attendance whom I had never met, and persons I knew (some since childhood) whom I never thought were interested in my music. I was moved and shocked at once. I realized that my community connections were far more extensive than I imagined.

*Weldon playing piano at an artoberVA 2022 event with Better Housing Coalition.*

CW: Describe your upcoming artoberVA concert at The Valentine. What can attendees expect and what are you most looking forward to about this event?

WH: We will emphasize this idea of expressive freedom in the four new records: a Christmas compilation that features numerous Richmond musicians with me as first-time producer; James Gates’ new recording to be released early next spring; Desiree’s next recording; and Mike Hawkins new recording entitled, “On Bass”.

I hope that we are able to provide an evening of music that communicates and connects at many levels—emotionally, thoughtfully, and spiritually.

CW: What advice do you have for artists interested in exploring jazz music as a medium?

WH: First, listen with the purpose of forethought so that they understand the roots and influences of the music from the beginning. Secondly, each performer has to ultimately find their own unique voice; it is the essence of jazz (a term Duke Ellington rejected, by the way). Finally, perform for the love of the music.

CW: What has been inspiring you lately?

WH: Honestly, being retired has freed my creative mind and honed my focus. And that focus has inspired me to think about the next level in the development of my own ear. So, I listened for that next big sound.

CW: What does artoberVA mean to you? Why do arts & culture matter?

WH: In many ways, artoberVA is a throwback to, and organic evolution of, 30 years ago when Richmond was abuzz with an art-centric fervor. Now, artoberVA has, not only revived pervasive interest in the arts, but has also been highly effective at highlighting the economic and intrinsic value of the arts in general—as well as their value to every facet of life, whether directly or indirectly.

This is why arts and culture matter. Culture will develop almost organically—positively or negatively. But when culture evolves and is expressed in true freedom and integrity, the arts are inextricably bound to it, attracting all who are in search of a way of life that brings them joy. And there is no culture that is not characterized by artistic expression.