Alexander Brooks

3/28/22

English 11000-M

Professor Ian Murphy

Research Statement: How has Jazz since its controversial beginnings been able to overcome racism and have a strong influence upon American culture?

This paper will start by discussing the controversy surrounding the origins of Jazz music. It will explain how blacks basically created it and some whites attempted to steal it and discredit any black versions of it. In addition, it will explain how the massive appeal of Jazz allowed it to overcome racism and become an endeared form of music. Also, It will provide a definition for what Jazz music is. Included with this definition will be the different characteristics that make a musical piece Jazz. Finally it will discuss how Jazz, because of its prominence, resilience and emotional expression, was able to become part of white mainstream society. The paper will also discuss how it played a major role in both the Harlem Renaissance and the Civil Rights Movement. Discussed within this is how the Harlem Renaissance created a better quality of life for blacks that served as a standard for them. Ultimately, they would refuse to accept less of a standard.

According to the BBC Culture article “The Mysterious Origins of Jazz” by Christian Blauvelt, many people believe incorrectly that the first Jazz music came from a group of white musicians called the Original Dixieland Jass Band. Their first recording of the “Livery Stable Blues” on February 26th 1917 became a popular sensation and sold over 1 million copies. However, those who truly understand the history of Jazz and its origins recognize that it began during the time of slavery and that this group of white

musicians were simply poorly imitating the style of black musicians that had been established years earlier (Blauvelt 1).

From 1817-1843, slaves from Africa, the Carribean and the Southern United States joined with one another and blended their music and dance together. This was their way of preserving their traditions and identities (Blauvelt 1). On Sundays, a group of blacks would meet at New Orleans’ Congo Square to play music. These musical jam sessions gave the participants a chance to experiment with their music and create something new and exciting (Blauvelt 1).

 

In 1890, with the passage of Jim Crow Laws, Creoles from New Orleans were now considered black. This meant that due to these segregationist laws, the Creoles, despite being brought up with a traditional, classical music background, could no longer perform with white musicians (Blauvelt 1). This led to the Creoles joining the black musicians at Congo Square (Blauvelt 1). They provided a strong new influence which improved upon the existing style. Jazz was born and its appreciation by all was undeniable (Blauvelt 1).

Christian Blauvelt further explains how white musicians basically took credit for Jazz. The article goes on to state that not only did bands like the Dixieland Jass Band try to imitate black musicians and steal their music, but white minstrels like Al Jolson would dress in black face and present a comedic routine in which they made fun of black musicians. From 1840 to 1920, this minstrel singing became the most popular form of music in the United States. Unfortunately, while racism grew, real musical improvement could not come to the forefront and be truly recognized (Blauvelt 1).

Anne K. Minoff in her article “The Black Jazz Musician in American Magazines, 1930-1950,” confirms that there was strong racism towards black Jazz musicians up until the 1930s. From that point on, however, she states how the success of black Jazz musicians led to a “color blindness” among most whites (Minoff 1).

She goes on to say that this became especially true of young white men and women who were either destroyed or discontented by the mistakes made by their elders during World War I and the Great Depression (Minoff 1). They sought out a radical new form of music that allowed them to fully comprehend pain and suffering while simultaneously producing enjoyment (Minoff 1). Many older bigoted white writers were trying to discredit Jazz by pointing out that it was mainly played in brothels and speakeasies and was the music of lowlifes and prostitutes (Blauvelt 1). This went hand in hand with the racist discourse of the time that blacks were socially inferior to whites and that their music certainly was inferior as well. However this sentiment was not shared by all.

The negative portrayal of early black Jazz was exactly what made it intriguing to the rebellious white youths of the time (Minoff 1). It could be argued that this lost generation was working hard to regain an identity that was taken from them by the War and Depression. They found this new identity in the writings of Hemingway and Fitzgerald, the art of Salvador Dali and the music of famous Jazz greats like Duke Ellington and Louis Armstrong. It made no difference to these young whites that the musicians were black (Minoff 1,). In fact, it provided further proof that their racist parents were once again misguided and wrong.

No matter how hard the old white racists tried to destroy and discredit Jazz, they were ultimately fighting a losing battle (Minoff 1). “By the 1930s, Jazz’s transgressive

appeal had been mitigated by Swing music’s admittance into the white mainstream. Band leaders such as Duke Ellington and Fletcher Henderson popularized Swing in performances of urban nightclubs and large dance halls which, in the South at least, were segregated. The musicians themselves, however, were both white and black with black band leaders such as Ellington and Count Basie enjoying at least as much success as white band leaders like Benny Goodman. Indeed, Louis Armstrong, the most celebrated and recognized Swing musician of that era, was black” (Minoff 1). Jazz was resilient because of its universal appeal among people of all races and ethnicities.

Although racism did persist in newspapers and magazine articles, when it came to criticizing Jazz, it needed to be toned down and far more subtle (Minoff 1). As time went on, and the popularity of Jazz became even more pronounced, racists found it harder and harder to attempt to discredit this amazing musical genre. Their battle was truly lost (Minoff 1).

So one might ask: what is Jazz music? According to “What is Jazz Music?,” an article put out by the Smithsonian National Museum of American History, Jazz is a kind of music in which improvisation is typically an important part (Behring Center 1). “In most Jazz performances, players play solos which they make up on the spot, which requires considerable skill. There is tremendous variety in Jazz, but most Jazz is very rhythmic, has a forward momentum called ‘swing,’ and uses ‘bent’ or ‘blue’ notes. You can hear ‘call and response’ patterns in Jazz. In which one instrument, voice, or part of the band answers another. Jazz can express many different emotions, from pain to sheer joy, in Jazz you may hear the sounds of freedom – for the music has been a

powerful voice for people suffering unfair treatment because of the color of their skin, or because they lived in a country run by a cruel dictator” (Behring Center 1).

The article further states that Jazz musicians strive to create their own sound and style. For example, two great trumpeters Louis Armstrong and Miles Davis both have achieved fame for their undeniable skills; however, their sounds are different and uniquely their own. In Jazz, there can be many renditions of the same song. “The musicians’ playing styles make each version different, and so do the improvised solos. Jazz is about making something familiar- a familiar song- into something fresh. And about making something shared- a tune that everyone knows -into something personal. Those are just some of the reasons that Jazz is a great art form, and why some people consider it ‘America’s classical music” (Behring Center 1).

As I explained in my introduction, the purpose of this paper was to discuss the controversial origins of Jazz. However, despite some whites trying to hijack it, the true origins of Jazz began during the time of slavery and became better as new groups of black musicians contibuted to it (Blauvelt 1,). I think that it is important to point out that there were legitimate and famous white Jazz musicians. Many of them collaborated with black Jazz legends: Count Basie and Benny Goodman, Eddie Lang and Lonnie Johnson, Charlie Parker and Chet Baker, Miles Davis, and Bill Evans. They worked together and created some amazing collaborations.(Behring Center 1,) If only the rest of society at the time could have been as tolerant of each other and as enlightened. What this proves is that true greatness cannot be destroyed by petty racism and genius has no prejudice. Jazz is there so that the listener can feel the emotions that the music is

expressing. It gives people a chance to experience a gamut of emotions. Jazz makes us feel alive (Behring Center 1)!

According to the article, “The Harlem Renaissance: The Movement That Changed Jazz” by Joseph Dugan, Jazz had this magical appeal that took hold in America. Not only did it gain a strong start and fan base in New Orleans, but by the 1930’s it was the most popular music in the country (Dugan 1). It was only natural that Jazz would become an integral part of the Harlem Renaissance Movement. The movement gained strength from 1910 through the 1930’s. It evolved in many different genres (Dugan 1). Literature, dance, painting and of course music all became important ways for blacks to express themselves and become reborn with a new identity (Dugan 1). Jazz music became a great means for such new expression. It also served as a means for black culture to enter white mainstream culture (Dugan 1).

During this time, Harlem on the Upper West Side of Manhattan became a home for exciting Jazz nightclubs like the Cotton Club, The Savoy Ballroom, The Radium Club, Club Hot-Cha (where “nothing happens before 2 a.m.), and exciting new music and entertainment venues like the Apollo and Alhambra Theaters. Whites and blacks met in Harlem to be part of this wonderful phenomenon. At the Cotton Club, people came to listen to great Jazz legends like Duke Ellington, Cab Calloway, Adelaide Hall, Ethel Waters, Lena Horne and Dorothy Dandridge. Although Prohibition was not lifted until December 5, 1933, many owners found ways around the restrictions. In that way, people could come to a club to socialize and dance as they drank and listened to the most amazing Jazz music (Dugan 1).

The experience led to ultimate enjoyment. However, for blacks it meant something even more special. They were finally being recognized for developing incredible forms of music and dance, and the prevailing racists that plagued the rest of society could do little or nothing to stop it! Unfortunately, the Depression ultimately spelled the end for the Harlem Renaissance. Black business owners who were benefactors could no longer lend their support due to economic hardships. However, Jazz with its popular, deep emotional appeal still continued to become a strong voice for the oppressed and downtrodden (Dugan 1). In many ways, it brought together whites who had lost so much during World War I and the Great Depression with blacks who had suffered inequality and continuous racism. The music provided both with a means of dealing with their sorrow and pain

It could be argued that this universal experience helped blacks envision a world without racism. For in the confines of these Harlem Renaissance clubs and venues, there was no reason for it to rear its ugly head. If anything, there was a sense of closeness and harmony among the people that frequented them. This was despite the fact that originally some bioted whites wanted for the clubs to have segregated showings. However, when this was never realized, they learned to accept the fact that both races were entitled to enjoy the fun together (Dugan1). This integration of the races was a wonderful shift toward a mindset of civil rights and racial justice.

It is important to point out that the Harlem Renaissance created for blacks a superior quality of life. They began to see themselves like other citizens who were capable of accomplishing amazing things through the arts. Later, decisions like Brown vs. The Topeka Board of Education (1954-1955) gave them hope that their children

would receive an education on par with that of whites (Verity 1,). As Eric Hoffer states in his excellent book, The True Believer, (1951) when he quotes the renowned historian de Tocqueville, people who have experienced “the dolce vita” or the good life, will do anything in their power to maintain it. They will even revolt against those who try to destroy what they have accomplished (Hoffer 26).

When on September 4, 1957, Governor Faubus of Arkansas ordered the National Guard to surround Central High School to keep out nine black students from entering the school, President Eisenhower ordered the 101st Airborne Division into Little Rock to insure the safety of the “Little Rock Nine” and that the Brown rulings of the Supreme Court were upheld. For blacks, the Brown decision and this event served as major catalysts for the civil rights movement. At first, they were furious over the governor’s decision to deprive nine black high school students of a quality education, but ultimately the President provided them with a sense of justice and validation. This key moment provided blacks an opportunity to feel that they were not just being ignored by white society. The chance for their children to receive an equal education to whites was paramount. In that way, all the great strides made during the Harlem Renaissance could continue (Verity 1).

As always, Jazz music helped people express the pain and suffering and ultimate enjoyment of this event. Many musicians wrote songs about it. These songs provided a means for blacks to experience the gamut of emotions that they were feeling (Verity 1).

As I just mentioned, in the mid 1950’s the Civil Rights Movement was born. Blacks began to see themselves as citizens that were protected by the 14th Amendment of the U.S. Constitution. Frederick Douglass, a former slave and famous

abolitionist who had fought so hard for African Americans to be recognized as citizens in the mid 1800s would have been proud to see President Eisenhower take these actions to protect the educations of black school children. However, despite this gain, there was still far more to accomplish. Racism, especially in the South, was certainly systemically prevalent within American society and wasn’t going away any time soon. However, the Civil Rights Movement led by leaders like Dr. Martin Luther King Junior, Thurgood Marshall and Malcolm X all began to expose racism for what it was (Amend Episode 1). The incredibly talented photographer, Gordon Parks, took candid pictures throughout our country exposing the effects of racism on the lives of blacks living in poverty and distress (Rice, 29:58). All this cumulative, hard work paid off when President Lyndon Baynes Johnson (formerly a Southern Senator from Texas) signed the 1964-1965 Civil Rights Acts.

Of course there was a backlash in the South where racism remained rampant. Injustice was constantly being revealed to the public through Gordon Parks’s powerful photographic images, the art of Jacob Lawrence and Augusta Savage, and the writings of Langston Hughes. People needed a way of dealing with racism and injustice and Jazz music with its emotional sensitivity provided a perfect vehicle for expressing the pain and suffering of those who were trapped in a hellish life (Verity 1).

While some Jazz musicians reacted strongly and overtly to acts of racism and horror (like the assassination of Dr. King and lynchings of innocent blacks by the KKK), others cautiously made their objections in a more subtle manner. No matter how they chose to do so, Jazz greats could make an impact, usually doing so in the best way that they could, by writing a song expressing their disgust.and anger. In this way, they

helped others cope with the horrors of being African American during a time of intense prejudice (Verity 1).

In conclusion, in this paper, I have discussed the controversial beginnings of Jazz. I have explained how some racist whites imitated it, discredited it and attempted to steal it from the black musicians who had invented it. I also discussed how despite this, black musicians continued to contribute to Jazz making it better and better. With its resiliency and emotional appeal, it became a favorite music of the oppressed and the downtrodden (Blauvelt 1). It also became a way in which black culture could be mainstreamed into white society. It gained popularity from 1910 to the 1930’s as part of the Harlem Renaissance Movement. It became prominent and strongly popular as both white and black musicians performed Jazz music at packed nightclubs and entertainment venues (Dugan 1). During the 1930’s through the 1950’s, despite rampant racism plaguing the country, Jazz helped blacks recognize that they could succeed in a white society. As Anne Minoff aptly put it, Jazz created a “color blindness” where people listening to it couldn’t care whether the musician playing it was either white or black (Minoff 1). The success of black artists, writers, and musicians helped them believe that there was hope in being able to obtain a better quality of life within America. They might finally be able to recognize the promises of full citizenship granted by the 14th Amendment that Frederick Douglass and others had fought so hard to achieve (Amend Episode 1). Blacks during the Harlem Renaissance had tasted the “dolce vita” and this would inspire them to protect their rights as part of the Civil Rights Movement (Hoffer 23). Jazz musicians and their music became an integral part of the movement by providing a voice of understanding during a time of sorrow, pain and turbulence.

However, in addition to providing this it also provided immense enjoyment (Verity 1). Today, Jazz music is still going strong and provides people with a doorway to the past, present and future. Much like our Constitution, it will continue to evolve to meet the needs of whoever comes next.

 

References

References

Blauvelt, Christian. “The Mysterious Origins of Jazz.” BBC Culture, 24 February 2017,https://www.bbc.com/culture/article/20170224-the-mysetrious-origins-of-jazz. Accessed 28 March 2022.

Behring Center. “What is Jazz?.” National Museum of American History, Smithsonian, n.d., https://americanhistory.si.edu/smithsonian-jazz/education/what-jazz. Accessed 28 March 2022.

Verity, Michael. “Jazz and the Civil Rights Movement: How Jazz Musicians Spoke Out for Racial Equality.” liveaboutdotcom, 15 July 2018, https://www.liveabout.com/jazz-and-the-civil-rights-movement-2039542. Accessed 28 March 2022.

Dugan, Joseph. “The Harlem Renaissance: The Movement That Changed Jazz.” NYS Music, 3 October 2020,https://nysmusic.com/2020/10/03/the-harlem-renaissance-the-movement-that-changed-j azz/. Accessed 28 March 2022.

Hoffer, Eric. The True Believer: Thoughts on the Nature of Mass Movements. E-book, Perennial Classics. 1951.
Minoff, Anne K. “The Black Jazz Musician in American Magazines, 1930-1950”. The Morningside Review, vol. 5, no.1, May 2009,

https://journals.library.columbia.edu/index.php/TMR/article/view/5521. Accessed 28 March 2022.

“Half Past Autumn.” Vimeo. Uploaded by Chester Higgins, 25 July 2012, https://vimeo.com/46395849.

“Citizen.” Amend: The Fight for America, Imbriano, Robe and Yellin, Tom, season 1, episode 1, Overbrook Entertainment, 2021. Netflix, netflix.com/search?q=amend&jbv=80219054.