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Daddy Lessons: 10 R&B Songs About Pops for Father's Day

Daddy Lessons: 10 R&B Songs About Pops for Father's Day

Father's Day doesn't always come with the same bells and whistles as Mother's Day, but it should.
Our dads, grandfathers, uncles, father-figures, and Black men raising families deserve their flowers too. Whether he taught you how to ride a bike, how to stand ten toes in the face of struggle, or just how to be real, there's always a song out there that captures that kind of love.
RELATED: Gone Too Soon: 16 R&B Stars Who Died Under 35
This playlist is a mix of gratitude, memories, and lessons passed down. Some tracks celebrate fatherhood's strength, others sit in the complexities of it.
Check out these 10 R&B songs about the special old man in your life!
Daddy Lessons: 10 R&B Songs About Pops for Father's Day was originally published on mycolumbusmagic.com
1. Gerald LeVert & Eddie LeVert – Wind Beneath My Wings
The Leverts put their own soulful spin on this classic, making it a heartfelt father-son tribute.
2. Beyoncé – Daddy
One of Bey's most personal tracks, this song is a soft tribute to her father and manager (at the time), Mathew Knowles.
3. Luther Vandross – Dance With My Father
A gut-punch every time. Luther reflects on childhood memories and the painful longing after his father's passing.
4. Sade – Babyfather
With her signature smooth style, Sade celebrates a father who's loving, present, and proud.
5. Chrisette Michele – Your Joy
This jazzy ballad is about the love between a father and daughter.
6. James Brown – Papa Don't Take No Mess
James wasn't just the Godfather of Soul, he was the voice of Black fatherhood for a generation. This track is a no-nonsense ode to tough love and real-life parenting.
7. Beyoncé – Daddy Lessons
Another Bey track, she switches gears here. Blending country, jazz, and storytelling. This one's about strength, legacy, and the lessons she got from a daddy who prepared her for the real world. 8. Isn't She Lovely – Stevie Wonder
This anthem was written for Stevie's daughter, and it's one of the most iconic celebrations of fatherhood ever recorded.
9. Bryan Andrew Wilson – Still, My Father
This raw gospel-rooted song speaks to complicated relationships with dads who may not have always been there, but are still part of the story. 10. Horace Silver – Song for My Father
A timeless jazz instrumental that's been sampled, studied, and celebrated across generations. Horace Silver composed this as a tribute to his Cape Verdean father.
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L.A. jazz legend Bobby Bradford lost his Altadena home to wildfire. At 91, music is ‘all I have left'
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Fifty years ago, L.A. free-jazz titan Bobby Bradford moved into a rambling, verdant house in Altadena. The cornet and trumpet virtuoso, who performed in Ornette Coleman's band and taught jazz history at Pomona College and Pasadena City College for decades, chose the neighborhood partly because it was bustling with artists. He finally had enough bedrooms for his young family to thrive in a bucolic corner of the city with deep Black roots. In January, Bradford's house burned down in the Eaton fire, alongside thousands of others in his cherished Altadena. At 91, he never imagined starting his life over again in tiny rented apartments, with decades of memories in cinders. Despite it all, he's still playing music. (He said that while he did not receive grants from major organizations such as MusiCares or Sweet Relief, a GoFundMe and others efforts by fellow musicians helped him replace his cherished horn.) At the Hammer Museum on Thursday, he'll revisit 'Stealin' Home,' a 2019 suite of original compositions inspired by his lifelong hero — the baseball legend and Dodgers' color-line-breaker Jackie Robinson, a man who knew about persevering through sudden, unrelenting adversity. 'That's all I have left,' Bradford said, pulling his horn out of its case to practice for the afternoon. 'I'm [91] years old. I don't have years to wait around to rebuild.' For now, Bradford lives a small back house on a quiet Pasadena residential street. It's his and his wife's fifth temporary residence since the Eaton fire, and they've done their best to make it a home. Bradford hung up vintage posters from old European jazz festivals and corralled enough equipment together to peaceably write music in the garage. 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But he draws resilience from his recent music, which evokes the gigantic accomplishments and withering abuse Robinson faced as the first Black player in Major League Baseball. As a child in 1947, Bradford remembers listening to the moment Robinson took the field, and while he has always admired the feat, his understanding of Robinson has evolved with age. 'It was such a revelation to me as a kid, but later I was more interested in who the person was that would agree to be the sacrificial lamb,' Bradford said. 'How do you turn that into flesh-and-blood music? I began to think about him being called up, with a kind of call-and-response in the music.' The challenge Bradford gave himself — evoking Robinson's grace on the field and fears off it — caps a long career of adapting his art form to reflect and challenge the culture around him. 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At both Pomona College and Pasadena City College (where Robinson attended and honed his athletic prowess), Bradford helped his students inhabit the double consciousness required of Black artists to survive, invent and advance their art forms in America — from slavery's field songs to Southern sacred music, to Louis Armstrong, Charlie Parker, Sarah Vaughan and into the wilds of modernity. 'You always had that one kid who thinks he knows more about this than I do,' he said with a laugh. 'But then you make him understand that to get to this new Black identity, you have to understand what Louis Armstrong had to overcome, how he had to perform in certain ways in front of white people, so he could create this music.' He's been rehearsing with a mix of older and younger local musicians at Healing Force of the Universe, a beloved Pasadena record store and venue that reminds him of the makeshift jazz club he owned near Pasadena's Ice House in the '70s. Places like that are on edge in L.A. these days. Local clubs such as ETA and the Blue Whale (where Bradford recorded a live album in 2018) have closed or faced hard times postpandemic. Others, like the new Blue Note in Hollywood, have big aspirations. He's hopeful L.A. jazz — ever an improvisational art form — will survive and thrive even after the loss of a neighborhood like Altadena displaced so many artists. 'I remember someone coming into our club in the '70s and saying he hated the music we were playing. I asked him what he didn't like about it, and he said, 'Well, everything.' I told him, 'Maybe this isn't the place for you then,'' Bradford laughed. 'You can't live in Los Angeles without that spirit. There are always going to be new places to play.' He's worried about the country, though, as many once-settled questions about who belongs in America are called into doubt under the current president. January's wildfires proved to him, very intimately, that the most fixed points in one's life and community are vulnerable. Even Jackie Robinson, whose feats seemed an indisputable point of pride for all Americans, had his military career temporarily scrubbed from government websites in a recent purge against allegedly 'woke' history. 'I thought we had rowed ourselves across the River Jordan,' Bradford said, shaking his head. 'But now we're back on the other side again. We thought we had arrived.' Who knows how many years of performing Bradford has left. But as the sound of his melancholy horn arced through a sweltering Pasadena afternoon, one couldn't help but be grateful to still have him here playing, even after losing everything. 'You know, in his first game, in three times at bat, Jackie Robinson didn't get a hit,' he said. 'Folks said, 'Oh, it's so sad. We told you he couldn't play on a professional level.' 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