Lessons Learned

Honestly, I knew very little about the history of jazz before entering this class. I had heard of Louis Armstrong. I knew jazz had been an important part of American music history, and I believed it had played a role in influencing other forms of music like rock, hip-hop, and R&B. I also assumed jazz had predominately African-American origins. However, I was surprised that we could trace the evolution of jazz all the way back to Africa. It is amazing that we can see African principles like call-and-response, vital aliveness, and propulsive rhythm alive and vibrant in our music today (Thompson, 9-27). This class also showed me how prominent, long-lived, and influential jazz music has been. I had no idea that it had dominated American music for over half a century, nor that it had evolved so many times (Gioia, 200). It was also enlightening to see why and how these evolutions occurred looking through the lenses of history. Although it should not be surprising, I was impressed by how much culture and history influence music. Before this class I assumed that music influences culture much more than culture influences music; but, now I believe that culture influences music just as much, if not more, than music influences culture.

Before this class, I considered genius to be connected solely to the sciences. In my mind, genius produces increases in economic efficiency - most often through inventions and improvements in existing technology. I suppose that I believed in the existence of musical, literary, and artistic genius like Mozart, Shakespeare, and Michelangelo all demonstrated through their work; however, I never considered "feeling [to be] a form of knowledge. It's not just this mental trip." (lecture 1/24). That simple understanding was an epiphany, and it will probably be my biggest take-away from the course. It is so true. I also never stopped and considered genius to be dependent upon time and space. Samuel Johnson made the argument that genius "is only to be produced by a collision with a proper subject." Although I do not entirely agree with his argument, I do agree more with Professor Stewart's clarification that "genius emerges when it finds its proper context, its proper environment, its proper audience" (lecture 1/29). The setting must be just right in order for invention to occur and genius to manifest itself and be recognized. We have seen this theory demonstrated numerous times throughout the course. For example, in order for jazz to be born, it needed the syncretism and freedom of New Orleans (Gioia, 30-34). Likewise, Miles Davis genius, and Bebop music itself, benefited from a "collision" in New York of 52nd street, Greenwhich Village, Minton's, and Julliards (Lecture 2/21). However, sometimes genius can be manifested outside of its ideal environment; but in this case, it will often lack its proper recognition. Scott Joplin faced this issue when he composed ragtime ballet and opera. "His audience was ill prepared to understand the nature of such hybrid effects" of bringing African-American vernacular music in sync with mainstream traditions of Western composition (Gioia, 27). Despite this, his work was still incredible, and it laid the foundation for the work of many future jazz artists. Hence, genius can be produced at any point in time and space; but, it benefits, and is recognized most, in its ideal context.       

Blog 4: Thelonious Monk

          The community Thelonious Monk grew up in was extremely diverse. He spent his early childhood in a poor, racially conflicted area of New York called San Juan Hill. San Juan Hill was a landmark military victory for the United States in the Spanish-American War where several black Calvary had played a pivotal role in winning the battle. However, the name for the neighborhood was more representative of the common, violent race riots. As Monk alludes to in his quote on page 19, each neighborhood was composed primarily of one ethnic group who was often xenophobic, racist, and overprotective of their turf. Like most blacks in his community, as a child Monk was often forced into fights. Frequently, the police were against Monk's ethnic group and would favor the Irish and Italians in any kind of dispute (Kelley 16-20). These living conditions made Monk tough. He learned to never back down. As Rouse observed, "If [Monk] thinks he's right, he sticks by what he thinks." When he was arrested for no reason in Delaware in 1958, Monk fought back against multiple police officers - even while handcuffed (Kelley 254).

            Although Monk would never back down from a fight when he was in the right, he never went looking for one either, nor did he succumb to provocation. Mostly he would just let racial jests and hurtful comments go, and instead he would respond in a diffusing manner as we see him doing in the quote on page 417. In fact, Thelonious Monk embraced diversity and welcomed people from all backgrounds. In the middle part of his life, one of his greatest friends and allies was Nica - a rich, white baroness. Around the age of 10, Monk moved to one of the Phipps Houses where he absorbed Caribbean music and culture. Furthermore, Monk's first piano teacher was an Austrian-born Jew who taught Monk classical music. The Columbus Hill Neighborhood Center, "a true center of social life for black youth in the neighborhood," and the church became Monk's second home and allowed him to learn and develop more than just his musical abilities with other African-American youths (Kelley 23-29).  These influences profoundly affected Monk's musical style. One can hear elements of each influence in Monk's music. These elements range from the African attacking style, to the Caribbean rhythms in compositions such as "Bye-ya" and "Bemsha Swing," to the discipline and skill derived from rigorous classical training, to the unique dissonance born out of Thelonious' struggle to deal with the unfair and racist world he found himself living in.

            Monk's music fostered an amazing, diverse, Bohemian community - especially in light of the severe racial tensions present in New York at the time. The Five Spot became an important home to Monk. Before he started playing there, the patronage was mostly white males. However, Monk's listeners came from all races, ages, and social statuses. He managed to "turn the Five Spot into the hippest monastery in the Western world" (Kelley 239). Monk's music was the epitome of modernity, and it "embodied the beauty of dissonance" (Lecture 2/28). Famous modern writers and artists like Jack Kerouac, Allen Ginsberg, Willem de Kooning, and Joan Mitchell were often in attendance - sharing their ideas and gaining inspiration from each other and Monk's music (Kelley 227). Although he had some set-backs over the course of his live, overall, Monk did an excellent job coping with extreme prejudice, standing his ground, and producing an art form that brought people together instead of tearing them apart.   

Swing

During the "Swing Era", an accumulation of factors brought race to the forefront of the jazz discourse. Some of these key factors were the following: the widespread popularity of jazz; politics; an emerging, independent black culture; and the disparity between performers and critics.   

Indeed, during the "Jazz Age" of the 1920's, jazz had become mainstream music. However, the "Swing Era" of the 1930's was a "golden age" that saw jazz reach even deeper into every crevice of American society (Gioia 145). More and more white Americans began listening to this predominantly black form of music. As a result, black jazz legends such as Louis Armstrong, Chick Webb, Duke Ellington, and Count Basie became household names. Furthermore, white and black musicians started performing together more often - even in white clubs and concert halls. As a white man, Benny Goodman enjoyed certain social advantages that allowed him to bring Swing more popularity. Although his jazz bands were not the first racially integrated bands, they were by far the most well-known and prominent (Gioia 143).  Goodman's performance at Carnegie Hall and later his face-off with Chick Webb at The Savory marked a turning point in American racial views. Of course as the syncretism of black and white musicians and jazz fans became more apparent, the issue of interracial fraternization became more of a social concern. In particular, there was widespread fear among many Americans of miscegenation (Lecture 2/14).

During the "Swing Era," there was a unique relationship between musical stars, producers, and critics. What people of all races wanted to hear was mostly played by black men; but, those who produced, distributed, and criticized this product were mostly white men. This "small coterie of young white men, typically from privileged social backgrounds, exercised enormous influence in shaping American's understanding of the swing phenomenon" (Swing Changes 52). Of course such a relationship served to further intensify the conversation of race in relation to jazz.

Politics also played an important role in making race more explicit in the 1930's. In the US, the Great Depression was raging and capitalism was being tested. Political radicals like Hammond started targeting the African-American population - in particular jazz musicians (Lecture 2/14). Meanwhile, jazz was also doing well internationally - especially in Europe. However, with Nazism taking over, many black artists such as Coleman Hawkins were forced to leave the continent (Gioia 173). With this intense political environment, jazz music itself also started taking on "a more explicit set of ideological meanings" (Swing Changes 53). Jazz became linked with leftist ideas and a desire for change. Part of these ideas involved more freedom for African-Americans.

The 1930's saw the rise of a stronger, more independent African-American culture. The popularity of jazz gave African-Americans more power. They were producing a product that had a large demand and a huge market. The earning potential of great jazz artists was like nothing most African-Americans had ever seen before. Scholars like Langston Hughes used the momentum of jazz to propel their artistic works forward while at the same time their works provided more fuel for this stronger, more independent black culture. It was beginning to become more apparent that black men could compete with white men.

Due to political intensity, the popularity of jazz, a more independent African-American culture, and the racial discrepancy between performers, producers, and critics of jazz, the discourse on race in jazz became more explicit in the 1930's.

 

 

Chicago-Style Jazz

Jazz is more than an art form. It is a reflection of culture and an insight into history. As such, there are different dialects in this language of jazz. The Chicago dialect was the most important dialect of jazz in the 1920s because it was "the quintessential sound of jazz," and it was in this city that the jazz age really took flight (Gioia 74).

            In order to understand the dialect of jazz Chicago produced, we must understand the economic conditions and the racial communities in Chicago. First of all, Chicago was a major industrial and trade city. In 1893, the city hosted the World Fair. This event attracted many musicians from all over the country who decided to live in Chicago even after the Fair ended. During the great migration, the population of African-Americans in Chicago increased ten-fold to over half a million. These immigrants brought with them their own cultures and musical traditions, but they were also willing to adapt and assimilate with others of their race. The South-Side became home to this new African-American community and the birthplace of Chicago jazz (Lecture 1/29). These jazz clubs were often controlled by white gangsters such as Al Kapone who protected the music because they needed it to attract people to their clubs. Although the status of black musicians may have improved some, African-Americans in Chicago in the 1920's still found themselves oppressed and controlled by whites (Slave Masters). However, the Race Riot of 1919 saw blacks fight back at an intensity not seen before. Out of this race riot was born a desire for economic independence. This "black economy" strengthened the African-American community (Cohen). Instead of assimilating into middle-class, white culture, African-Americans were able to create a culture that was "modern, urban, new, and hip" (Lecture 1/29).

            The Chicago style of jazz can be divided into two classes. The first class is the actual style produced in the South-Side jazz clubs, and the second class is the white imitation that became known world-wide as "Chicago Jazz." Compared to New Orleans and New York, Chicago jazz was more about the individual instead of the ensemble. It was also geared more towards the working class than the brothel-playing of New Orleans or the rent parties of NYC (Gioia). The sound was more "brash, sparkling, upbeat, and danceable" (Lecture 1/31). Emphasis was placed on the trumpet and a new, bluesy swinging rhythm. Although there were many great Chicago jazz artists such as Joe Oliver, Bix Beiderbecke, and Louis Armstrong, the Austin High School Gang best represents the culture and community of Chicago Jazz. This is an ironic opinion since the Austin High Gang did not even imitate the South-Side style incredibly well - never mind create it. In fact, their "style" may not even have been a style at all since it was such a mix of styles like Beiderbecke's and Oliver's (The Chicagoans 162). However, it was through their recordings that the "Chicago style", even if it was a second-class version, became known globally. The Austin High Gang is also a great representation of the culture and community of the time because they were a white group embracing a fundamentally black art form. As Louis Travis points out, what the Austin High Gang did by imitating Armstrong and Oliver was another act of white men taking advantage of black men. However, there is a more important concept revealed by this white jazz band. Despite segregation and racism, the Austin High Gang epitomizes the fact that no matter what society one is in, the culture and art of that society is affected by every element and every individual in it.

 

Blog Entry #1: New Orleans and the Birth of Jazz

            "Do you know what it means to miss New Orleans? When that's where you left your heart..." (Louis Armstrong). There were many factors that played a role in the creation of jazz in New Orleans. Syncretism of cultures and musical traditions, the city's love affair of music, and some amazing artists are three of the most important factors that led to the emergence of jazz.

            New Orleans was the birth place of jazz. This unique, American music genre evolved from a combination of blues and ragtime. Jazz was more than simply a musical evolution though. It was also a cultural evolution, and New Orleans was the perfect host city for this evolution to occur. An amazing amount of syncretism was happening in New Orleans at the turn of the twentieth century. It had a large French, Spanish, and Haitian influence. In particular, there was a large black Creole population who clung strongly to their European roots. They were well-trained, disciplined musicians. As they were forced to intermingle more and more with the larger African American population, their music began to adapt and mix with the less-disciplined, "vitally-alive" music of their distant brothers. Out of this melting pot came the first jazz music.

            It was often rumored that the first jazz music was played in Storyville - the red light district of New Orleans. However, little evidence can be found to support the theory that jazz was played in the brothels. Although we cannot say for certain where jazz music was first played in the city of New Orleans, we know that it was soon playing everywhere in the city. It was played in the parks, the churches, rent parties, assembly halls, and grand street celebrations like Mardi Gras. It was not even uncommon for music to be played at funerals. Music permeated every level of society in New Orleans. The city was in love with celebration and vital-aliveness.

            Ted Gioia calls Buddy Bolden "the elusive father of jazz." To our knowledge, there are no recordings of his music, and his career only lasted a few short years. Despite this, Bolden is a character of legend. It is clear that his music was, at the very least, a different form of ragtime. Perhaps it was even real jazz. He emphasized wind instruments at the expense of the strings, and he had notoriety for his group's "daring move into the syncopated and blues-infected sounds that would prefigure jazz" (Gioia 35). The first group to record real jazz music was actually a white band called the Original Dixieland Jazz Band. They were raised in New Orleans and probably learned their music in the city, but their professional performances were in Chicago and New York. Jelly Roll Morton was the first person to claim to have invented jazz music, but his assertion seems unlikely to be true. Nevertheless, Morton offered some amazing analysis of the jazz idiom. King Oliver and Louis Armstrong are the first jazz legends. Although they did not create jazz, they commercialized it and played a large role in its success and wide-spread popularity.

            Due to its love-affair with music, its cultural heritage, and a particular group of its residents, New Orleans was the birth city of jazz. Of these three factors, syncretism stands out to me as the most important factor in the creation of jazz. After all, jazz is an evolution of musical genres. Without the syncretism of French, Spanish, African, and American culture and music, the world may have never seen jazz.  

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This blog is for BLST 14.