Prior to our conversation, Professor Tookes and I held a brief discourse on the Grammy Awards. Simply being considered for a Grammy is an incredible achievement– after all, it is a songwriter’s award. However, Tookes notes that many artists don’t get the recognition that they deserve.
Take Chick Corea for example– an American jazz pianist who won 27 Grammy awards. Despite his great success, he isn’t a household name due to the genre he worked in and the Grammys’ primary motive: increasing viewership. “If we could have interesting pairings of people to show up on T.V. for 25 seconds, we show them that they would get an uptick in sales,” Tookes said, describing the process to bridge the gap between the award show and the academy.
The awards that we are shown on television are only a glimpse of the total amount given in one night. Tookes points out that two award shows are going on at the same time, one ceremony being in the Staples Center and a theatre right next to it.
Black American superstars in music are essential. “Country music, blues, jazz, it all has its roots in African Americans…We don’t have to prove anything to anybody,” Tookes said, responding to the controversy surrounding Beyonce’s country album award. The historical contributions of Black musicians should never be overlooked. Though discussions on race and music can be tricky, Tookes is well aware of the struggles of racism, sexism, misogyny and homophobia in the industry–he has lived through them and continues to thrive.
Born in the Bronx, New York, Tookes is the youngest of two siblings, with his older brother Hansel Tookes. Tookes’ mother’s side of the family had a very strong influence on his artistry. His grandmother, Benveneta Washington, was a Broadway star and singer signed with Jack Warner for film in the 1920s and 1930s. His mother was also a singer and piano player, though she chose not to pursue show business after witnessing her mother’s struggles in the industry. As a result, music has always been present in Tookes’ life.
Tookes was taught music theory at eight years old by a woman named Johnnie Lee, who was the wife of a Florida A&M Vice President. Beyond his immediate family, his musical influences consisted of Erroll Garner, one of the earliest black figures Tookes saw on television, and Tallahassee’s own Adderley Brothers, who were close with the Tookes family, admiring their message and delivery.
Tookes was also greatly influenced by James Brown’s uplifting lyricism. The soulful sounds from The Miracles, The Temptations, The Spinners and the elegance of Nancy Wilson all left a lasting impression on him. Maurice White, the founder of Earth, Wind & Fire, influenced him the most spiritually.
While excelling academically, Tookes played in gigs around Tallahassee during his high school days and was a high-flyer on the basketball team. After graduation, he found himself at a crossroads– he received a draft card for the Vietnam War, but that same summer, Richard Nixon abolished the draft. Tookes was given a scholarship to study at Florida A&M’s physics program, and he loved it. Tookes graduated from Florida A&M in 1977 with magna cum laude honors.
He would then return to New York with his brother and partner, and within weeks, his undeniable talent was recognized. Amidst the highs of his career, he faced the unexpected loss of his mother, which shaped his journey as a musician. Playing in bars, schools and nursing homes, he often received personal applause for his musical prowess. But for him, there was never a single defining moment in choosing music– “Music chose me,” he said.
Finding a balance between technicality and expression is key, and Tookes credits his friend and R&B legend Luther Vandross for this lesson. “You have to be technically flawless, but technique without expression is irrelevant,” Tookes said. “Mastery comes from daily practice but must be paired with intention and authenticity.”
Having worked with the most iconic voices in music, Tookes values originality when searching for new artists or collaborators looking for a new artist. He points out that many artists today sound alike– not because they lack talent, but because they mimic existing trends rather than developing their own voice.
He’s very open to hearing new talent that sounds original to him. Even his eldest daughter, Ryann, pointed this out, saying Tookes’ biggest problem is working with people who aren’t creative because they only want something familiar rather than fresh. “To be very absurd, you have to be very smart,” Tookes adds, emphasizing the power of pushing artistic boundaries.
For him, the most memorable part of performances is when artists find themselves completely in the zone. He demonstrated Michael Jordan’s iconic shrug from the NBA Finals. “It’s an out-of-body experience when you’re not even aware of what your hands are doing,” he said.
Tookes introduced me to Jamal Joseph, a former member of the Black Panther Party and author of “Panther Baby,” who was falsely accused in the infamous Panther 21 trial. While the media and government painted the Black Panthers as violent extremists, in reality, they were deeply involved in supporting impoverished communities through food programs and self-defense
training against police brutality. Having grown up near the Black Panther chapter in New York, Tookes remains good friends with Joseph. He stresses the importance of Black History Month, as much of this history is misrepresented or entirely removed from textbooks.
When discussing the future of music, Tookes underscores the importance of originality. Using legends like Stevie Wonder, Michael Jackson and Elton John as examples, he explains that their distinctiveness sets them apart. “They’re originals– there’s nothing repetitive or redundant about them,” he said.
The next generation of artists must find ways to stand out from their influences. Tookes references Luther Vandross’ admiration for Diana Ross to illustrate how influence can come from unexpected places. With sampling becoming more widespread, the direction of modern music is unpredictable. He points to Kendrick Lamar’s “To Pimp a Butterfly,” which is heavily sample-based, making it difficult to predict Lamar’s next musical move.
Tookes also highlights how label changes impact an artist’s sound– The Jackson 5’s soulful Motown era differs greatly from Michael Jackson’s high-energy pop sound. Similarly, Prince’s music transformed when he changed his name to a symbol while the Warner Brothers still owned his previous catalog.
The music process is all about patience. Tookes makes it a point that new artists take their time with their craft. “Teamwork, collaboration, integrity– doing anything with intention” is his advice to artists striving for growth. Being open to others would lead to the next generation reclaiming the original meaning of the word “genius,” which historically referred to collective creativity rather than individual brilliance.
Today, Professor Tookes is a dedicated educator at Florida A&M University, where he directs the Institute for Music Research and Music Industry Studies. He has also taught at New York University, the State University of New York at Purchase College and Fairfield University. Through his teachings, Tookes continues to inspire and shape the next generation of musicians, ensuring that authenticity and artistry remain the heart of their work.