Coming into this course, the extent of my jazz knowledge was mostly in the musicality of it (and even in that regard, I was ignorant to much of the technical structure) as a result of playing trumpet in the high school jazz band. I knew that improvisation was the most important aspect of a performance, and that, far from playing random notes, talented improvisers are utilizing an extensive understanding of the chord changes and melodic ideas that lie beneath the surface of the written tune. I must admit I had not thought critically about the racial, cultural, and historic background of jazz. I was aware that many of the greatest jazz musicians were black, but for whatever reason assumed that black and white musicians were equally responsible for the evolution of jazz. In fact, I assumed that jazz was more closely connected to classical music than to ancient African musical traditions, and further assumed that white musicians were probably credited with creating jazz out of classical tunes.
These assumptions were basically all crushed by the information and insight gleaned from this course. I assumed that jazz was played primarily in formal venues, like classical music is, when the exact opposite is true. Nearly all jazz was performed in small nightclubs, and the audience was not made up of passive spectators. As Miles Davis points out in his autobiography, "That's why I loved playing up in Brooklyn. People were really into listening to what you were playing. If you weren't playing anything, the people in Brooklyn would let you know it quick. I've always liked honesty and can't stand people being any other way." (Davis, Ebook Page 38). Learning the truth about where jazz was played clears up a number of other misconceptions I held. The black musicians performing in tiny nightclubs full of black people were free to experiment with sound and try new techniques in a way that white musicians, who were chasing the lucrative recording contracts and mass appeal to white audiences, never were.
"Clyde didn't get the job, though. Eugene did, because he was better-looking and light-skinned, and a real good alto player. But he wasn't even close to Clyde Higgins. And he told everybody that Clyde should have gotten the job. But that's the way things were back then in those days." (Davis, Ebook Page 42.) This quote from the Miles Davis autobiography relates to my incorrect assumption that jazz was a meritocracy, where musicians were judged not by the color of their skin, but by the content of their performance. Racism still exists today, but it a very taboo phenomenon. People who harbor racist feelings feel a great pressure to hide those feelings, but when jazz was developing, race shaped every moment along the way. This course informed me of what a destructive force racism was during the jazz age. White musicians profited hugely off of the hard work and ingenuity of black musicians, while giving them little to no credit. The nationwide popularity of jazz is a testament to the determination and dedication to art, whether it is performed by black or white players.
Sunday, March 8, 2015
Wednesday, March 4, 2015
Blog #4: Jazz and Community
Thelonious Monk grew up in a predominantly African American neighborhood in Manhattan called San Juan Hill. Families crammed together inside tiny one bedroom apartments that were neglected and downright hazardous. A women's organization pressured the state of New York to put together a committee to inspect the San Juan Hill living conditions; the committee reported that, "in general they were old, dark, dirty, and not fit for human habitation." (Kelley, Ebook Page 16.) In spite of, or perhaps as a result of, the squalor and violent crime that plagued the area, a vibrant community of musicians and music enthusiasts blossomed in Monk's neighborhood. "As Thelonious's future sister-in-law, Geraldine Smith, remembers about the neighborhood, 'It was like a little village. Everybody knew everybody." (Kelley, Ebook Page 20.) Monk was exposed to music at a very young age, and his natural connection with the other members of his community put him into contact with extremely talented local musicians who were happy to impart their wisdom on the young prodigy.
The San Juan Hill community stoked the genius of Thelonious Monk in concrete and abstract ways. He established a strong foundation in musical literacy and classical pieces by composers like Chopin and Bach through his first piano teacher, Simon Wolf, who was known for teaching other neighborhood kids. Wolf's strength lay in classical music, though, and Monk's evolution as a jazz player might have been stunted were it not for the fact that his list of neighbors conveniently included "...pianist Freddy Johnson... reed player Russell Procope... and the phenomenal trumpet player "Bubbler" Miley, a key figure in Ellington's Cotton Club." (Kelley, Ebook Page 26-27.) He learned stride piano technique from a little-known woman named Alberta Simmons. The knowledge and skills he acquired from these local figures was indubitably crucial to Monk's technical ability, but it would be a mistake not to emphasize the more ambiguous, abstract ways that the spirit and atmosphere of San Juan Hill influenced the unique sound he managed to capture. Monk grew up in a frenetic melting pot of different cultures hailing from the world over, where the buzz of activity often seemed to be on the verge of descending into a riot. It is no coincidence that his music is characterized by dissonance and pushes the limit of what notes can belong where--the delicate balance between order and chaos.
When people say that "jazz is New York", they are referring to the set of circumstances that propelled Thelonious Monk on his personal and musical journey. The area of San Juan Hill hosted a tightly interwoven black community that exhibited a ubiquitous enthusiasm for their own music. There was a powerful sense of ownership and solidarity that can be found in gatherings like rent parties, where music was not just a commodity but the glue that held people together in times of crisis. The relationship between Thelonious Monk and his community is similar to the one between jazz and the Leimert Park community. In both cases, music exists as a way to transcend the hardships of everyday existence and to feel like one is truly a part of something greater than himself. All artists are inspired by the conditions in which they were raised. Everybody musician, be it a jazz saxophonist or 90's hip hop artist, is using music as a medium for telling the story of life as they know it, and life as they know it is life in their community.
The San Juan Hill community stoked the genius of Thelonious Monk in concrete and abstract ways. He established a strong foundation in musical literacy and classical pieces by composers like Chopin and Bach through his first piano teacher, Simon Wolf, who was known for teaching other neighborhood kids. Wolf's strength lay in classical music, though, and Monk's evolution as a jazz player might have been stunted were it not for the fact that his list of neighbors conveniently included "...pianist Freddy Johnson... reed player Russell Procope... and the phenomenal trumpet player "Bubbler" Miley, a key figure in Ellington's Cotton Club." (Kelley, Ebook Page 26-27.) He learned stride piano technique from a little-known woman named Alberta Simmons. The knowledge and skills he acquired from these local figures was indubitably crucial to Monk's technical ability, but it would be a mistake not to emphasize the more ambiguous, abstract ways that the spirit and atmosphere of San Juan Hill influenced the unique sound he managed to capture. Monk grew up in a frenetic melting pot of different cultures hailing from the world over, where the buzz of activity often seemed to be on the verge of descending into a riot. It is no coincidence that his music is characterized by dissonance and pushes the limit of what notes can belong where--the delicate balance between order and chaos.
When people say that "jazz is New York", they are referring to the set of circumstances that propelled Thelonious Monk on his personal and musical journey. The area of San Juan Hill hosted a tightly interwoven black community that exhibited a ubiquitous enthusiasm for their own music. There was a powerful sense of ownership and solidarity that can be found in gatherings like rent parties, where music was not just a commodity but the glue that held people together in times of crisis. The relationship between Thelonious Monk and his community is similar to the one between jazz and the Leimert Park community. In both cases, music exists as a way to transcend the hardships of everyday existence and to feel like one is truly a part of something greater than himself. All artists are inspired by the conditions in which they were raised. Everybody musician, be it a jazz saxophonist or 90's hip hop artist, is using music as a medium for telling the story of life as they know it, and life as they know it is life in their community.
Tuesday, February 10, 2015
BLOG #3: The Swing Era
Up until the 1930's, the dissemination of jazz had been constrained to a select number of large, lucky cities. The reason for this is straightforward: in order for jazz to happen, somebody has to be right there playing it and, much of the time, somebody has to be paying for it. While there were plenty of musicians to go around, they were all attracted to the uninhibited, unselfconscious city districts where the carefree, rebellious atmosphere welcomed jazz performances. There were not a whole lot of gig opportunities being offered in isolated, backwater villages. Jazz was still experiencing its adolescence in the shadows of counter culture, and whites were appropriately intrigued by the new style of music, but ultimately considered it black music for black people. Race was not a particularly contentious issue in this facet of American life, but this would change drastically with the arrival of the 30's.
The new decade brought with it the near ubiquitous presence of radio in American life. This small, unassuming consumer good succeeded in creating a national identity and culture the likes of which had never before been wrought. People from Los Angeles to New York and anybody in between could listen to the same baseball game, State of the Union address, or, if they were so inclined, a swing record. Now even those most far removed from the hotbeds of jazz innovation like New Orleans and New York could soak up the boldest, most energetic sounds of the day. And they did listen. Jazz can be compared to rock and roll in the way that it originated as a rebellion against the trending musical styles and was relished by a small minority, and later gained exposure and broke out as a mainstream sensation. The market for swing music was massive. Benny Goodman, considered the father of the swing genre, "set the blueprint for stardom, with its celebration of an almost religious fervor in fans" (Gioia, p. 412 ebook). One might assume that this skyrocketing demand for jazz would induce a skyrocketing number of opportunities for jazz musicians. Wrong. Before, a jazz ensemble could entertain a cabaret, or even a theater full of people. Now, one group was capable of reaching the ears of thousands of listeners simultaneously.
The other phenomenon that accompanied the beginning of the 1930's was the Great Depression. The stock market is in shambles. The fields are dust. The pantry is empty. The unemployment rate is 33% (probably an underestimate). Working men who were once in a position to support the arts are no longer in a position to do so. The walls are closing in on all sides for jazz musicians. Gigs were already becoming more and more scarce ever since the radio consolidated fame to such a large degree, and now they are becoming more scarce because people are too poor to listen.
This fight for gigs coincides with the popularity of swing with white audiences. White musicians now had a greater interest in beating their black counterparts for playing opportunities, to maintain the "honor" of the white race. It was not a level playing field: "That swing's massive popularity worked to the detriment of black bands by inspiring white imitations of the music that proved more acceptable to a mass audience has been well documented." (Swing Changes, p. 122).All of a sudden a very serious issue emerged in critical music publications. Who was better at this? Blacks or whites? The bragging rights associated with dominating the most popular genre of the era were at stake.
The new decade brought with it the near ubiquitous presence of radio in American life. This small, unassuming consumer good succeeded in creating a national identity and culture the likes of which had never before been wrought. People from Los Angeles to New York and anybody in between could listen to the same baseball game, State of the Union address, or, if they were so inclined, a swing record. Now even those most far removed from the hotbeds of jazz innovation like New Orleans and New York could soak up the boldest, most energetic sounds of the day. And they did listen. Jazz can be compared to rock and roll in the way that it originated as a rebellion against the trending musical styles and was relished by a small minority, and later gained exposure and broke out as a mainstream sensation. The market for swing music was massive. Benny Goodman, considered the father of the swing genre, "set the blueprint for stardom, with its celebration of an almost religious fervor in fans" (Gioia, p. 412 ebook). One might assume that this skyrocketing demand for jazz would induce a skyrocketing number of opportunities for jazz musicians. Wrong. Before, a jazz ensemble could entertain a cabaret, or even a theater full of people. Now, one group was capable of reaching the ears of thousands of listeners simultaneously.
The other phenomenon that accompanied the beginning of the 1930's was the Great Depression. The stock market is in shambles. The fields are dust. The pantry is empty. The unemployment rate is 33% (probably an underestimate). Working men who were once in a position to support the arts are no longer in a position to do so. The walls are closing in on all sides for jazz musicians. Gigs were already becoming more and more scarce ever since the radio consolidated fame to such a large degree, and now they are becoming more scarce because people are too poor to listen.
This fight for gigs coincides with the popularity of swing with white audiences. White musicians now had a greater interest in beating their black counterparts for playing opportunities, to maintain the "honor" of the white race. It was not a level playing field: "That swing's massive popularity worked to the detriment of black bands by inspiring white imitations of the music that proved more acceptable to a mass audience has been well documented." (Swing Changes, p. 122).All of a sudden a very serious issue emerged in critical music publications. Who was better at this? Blacks or whites? The bragging rights associated with dominating the most popular genre of the era were at stake.
Thursday, February 5, 2015
Blog #2: Chicago vs. New York City
After its origin in New Orleans, jazz started to diffuse into other metropolitan hubs of the United States. The two most notable incubators for jazz music following New Orleans were Chicago and New York City. It is not difficult to argue the case for Chicago's tremendous influence in the growth of jazz. Some of the most notable musician's in history performed extensively in Chicago, among them Louis Armstrong, King Oliver, and Jimmy Noone. Chicago produced a unique style that one author characterized as "a freely-expressed, romantic, 'anything goes' approach which ignored the unwritten laws and precepts of New Orleans style." (Chicagoans, page 159).
Despite the evolution which transpired in Chicago, New York City was simply more important to jazz in the 1920's. All of the action was happening in Harlem. During this time period, the borough was a paradox. Harlem represented an unprecedented environment for black Americans. Instead of operating on the fringes of a hostile society, blacks were able to form a strong community where creativity could flourish and people could produce works of literature, poetry, and music without relying on validation from the overbearing white society. However, while the hallmarks of a rich culture were forming, the grim economic realities of the era were plaguing the common man. For some, the only buffer between oneself and homeless was a bed he rented during the hours he was not working. Rather than hinder, this poverty boosted the popularity of jazz in Harlem. People would throw "rent parties" where dozens of people would pay a few quarters to squeeze into an apartment to listen to some of the most innovative jazz musicians of the day. The problem of next month's rent payment and the thirst for community entertainment were satisfied in one blow. Gioia sums up the paradox more cogently than I could hope to. "True, the Harlem Renaissance created an ideology, a cultural context for jazz. But the Harlem of rent parties and underground economics created music." (Gioia, ebook page 286).
The New York style of jazz was delivered via piano--Harlem stride piano. This style of playing was similar to ragtime playing, and from a technical standpoint, extremely complex and challenging. The most influential stride piano players was James P. Johnson. He was very aware of his function as a pianist in relation to the dancers with which he was performing. The typical form of ragtime involved returning to previous themes, and Johnson moved past this in "Carolina Shout". He "feeds the dancers' feet with a fresh rhythmic idea" ("James P. Johnson", page 33) and implements the call and response pattern, which would later attain near ubiquity in jazz pieces. Stride piano is considered the gap between ragtime and later jazz.
Despite the evolution which transpired in Chicago, New York City was simply more important to jazz in the 1920's. All of the action was happening in Harlem. During this time period, the borough was a paradox. Harlem represented an unprecedented environment for black Americans. Instead of operating on the fringes of a hostile society, blacks were able to form a strong community where creativity could flourish and people could produce works of literature, poetry, and music without relying on validation from the overbearing white society. However, while the hallmarks of a rich culture were forming, the grim economic realities of the era were plaguing the common man. For some, the only buffer between oneself and homeless was a bed he rented during the hours he was not working. Rather than hinder, this poverty boosted the popularity of jazz in Harlem. People would throw "rent parties" where dozens of people would pay a few quarters to squeeze into an apartment to listen to some of the most innovative jazz musicians of the day. The problem of next month's rent payment and the thirst for community entertainment were satisfied in one blow. Gioia sums up the paradox more cogently than I could hope to. "True, the Harlem Renaissance created an ideology, a cultural context for jazz. But the Harlem of rent parties and underground economics created music." (Gioia, ebook page 286).
The New York style of jazz was delivered via piano--Harlem stride piano. This style of playing was similar to ragtime playing, and from a technical standpoint, extremely complex and challenging. The most influential stride piano players was James P. Johnson. He was very aware of his function as a pianist in relation to the dancers with which he was performing. The typical form of ragtime involved returning to previous themes, and Johnson moved past this in "Carolina Shout". He "feeds the dancers' feet with a fresh rhythmic idea" ("James P. Johnson", page 33) and implements the call and response pattern, which would later attain near ubiquity in jazz pieces. Stride piano is considered the gap between ragtime and later jazz.
Wednesday, January 21, 2015
BLOG #1: New Orleans, Birthplace of Jazz
The reason jazz happened to emerge in New Orleans rather than other American cities in the early part of the 20th century can be found in its ethnically diverse history. When the city was founded, it was under the control of the French empire, but from 1764-1800, New Orleans was Spanish territory. As a result of this change, the Latin-Catholic culture brought over by the Spaniards was able to take root and deeply influence the social attitudes toward a number of things, but most importantly African Americans. "Under Spanish law, slaves could be set free without permission, could own property, and had the right to coartacion, which allowed them to purchase their own freedom based on an adjudicated contract." (Gioia, 23 E-book). These relatively lax conditions were highly conducive to the practicing of the African music tradition; in places like Congo Square, slaves were free to dance and play music, elements of which would later be incorporated into jazz music.
Two other characteristics of New Orleans also set the city up to give birth to jazz. One of them was the population's avid enthusiasm for brass bands, which played for "almost every type of social event." (Gioia, 102 E-book). The presence of talented brass players made it easy to recruit players for small jazz ensembles. Another was the bustling "district". New Orleans' location on the Louisiana cost made it a prime center for trade in all sorts of goods. At the end of a long day's work, the thousands of dock workers, merchants, and all other types went into the district to succumb to their vices. While they waited for a favorite escort to become available, some form of entertainment was necessary, and so the earliest jazz innovators scored numerous gigs in the bawdy houses, where the nature of their music meshed ideally with the atmosphere of the place.
Not to be forgotten is the impact made by Mexican musicians, who traveled into New Orleans to perform their craft at events such as the World's Cotton Centennial Exposition. Jelly Roll Morton, one of the first jazz pioneers, said the distinct Latin feel of their music was like a spice, and must be present in any decent jazz rendition. The Mexican musicians had received formal training in classical music back in their home country, and would occasionally pass along their skills and knowledge to the black musicians of New Orleans. More importantly, they are credited with being the first to bring woodwind instruments onto the scene; the sound of a saxophone wailing out a solo is now seen as the epitome of jazz.
After considering the evidence, I believe the most important factor that explains why jazz emerged in New Orleans is the city's tolerance for the African musical tradition during the slavery era, having a profound appreciation for brass big bands and public musical displays in general, and being open to unorthodox and revolutionary music making methods. Being a large and diverse commercial center alone is not sufficient, otherwise New York City would have been the birthplace of jazz. The jazz created in New Orleans is so distinctive because of the numerous races and cultures which contributed. Spanish, Haitian, West African, French, Mexican, and many more nationalities played a part in sculpting the earliest forms of jazz music.
Two other characteristics of New Orleans also set the city up to give birth to jazz. One of them was the population's avid enthusiasm for brass bands, which played for "almost every type of social event." (Gioia, 102 E-book). The presence of talented brass players made it easy to recruit players for small jazz ensembles. Another was the bustling "district". New Orleans' location on the Louisiana cost made it a prime center for trade in all sorts of goods. At the end of a long day's work, the thousands of dock workers, merchants, and all other types went into the district to succumb to their vices. While they waited for a favorite escort to become available, some form of entertainment was necessary, and so the earliest jazz innovators scored numerous gigs in the bawdy houses, where the nature of their music meshed ideally with the atmosphere of the place.
Not to be forgotten is the impact made by Mexican musicians, who traveled into New Orleans to perform their craft at events such as the World's Cotton Centennial Exposition. Jelly Roll Morton, one of the first jazz pioneers, said the distinct Latin feel of their music was like a spice, and must be present in any decent jazz rendition. The Mexican musicians had received formal training in classical music back in their home country, and would occasionally pass along their skills and knowledge to the black musicians of New Orleans. More importantly, they are credited with being the first to bring woodwind instruments onto the scene; the sound of a saxophone wailing out a solo is now seen as the epitome of jazz.
After considering the evidence, I believe the most important factor that explains why jazz emerged in New Orleans is the city's tolerance for the African musical tradition during the slavery era, having a profound appreciation for brass big bands and public musical displays in general, and being open to unorthodox and revolutionary music making methods. Being a large and diverse commercial center alone is not sufficient, otherwise New York City would have been the birthplace of jazz. The jazz created in New Orleans is so distinctive because of the numerous races and cultures which contributed. Spanish, Haitian, West African, French, Mexican, and many more nationalities played a part in sculpting the earliest forms of jazz music.
Wednesday, January 7, 2015
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