Blog 5

Before enrolling in this course, in my uninformed opinion, jazz was simply a music form created from brass instruments. If I thought of jazz I would imagine one of two things. I may imagine a sullen scene from a movie involving seduction or defeat; or I could depict an ensemble of instruments decorating my middle school cafeteria. To my surprise, jazz has proven to be a relentlessly diverse and modern music. From its African roots and perpetual migrations to its prominence amongst American pop culture, jazz has survived as a continually improvising art form. However, it’s curious as to how an African derived art form became a pop culture phenomenon in the mid 1900’s in a country that maintained segregation until 1964. It can be argued that white appropriation of black talent led jazz to flourish as an American music.

            My assumption that jazz corresponds to seduction was partially correct. From its blues infused roots in New Orleans to its hot natured tempos in Chicago, jazz has evolved to emote a feeling within the listener.  Fletcher Henderson agrees that jazz, but more specifically Swing creates a Dionysian dialogue, “Someone once described swing as the quality which not only makes people want to dance but would also cause them to fall over in a heap if the music stopped unexpectedly.” (Henderson 112). Oppositely, Billie Holidays’ song, “Strange Fruit” forlornly protests lynching. Also, Robert Johnson unashamedly utilized his musical talent for seduction (Gioia 15). White appropriation of jazz, which was predominated by black music at the time, evoked hate in Miles Davis’s heart. (Davis 44) Thus, my assumption of a sensual nature of jazz was correct in that jazz can emote sensuality.  Through this course however I’ve learned jazz can convey a multitude of emotions.

            My alternative assumption that jazz corresponds to an assortment of instruments in my middle school cafeteria was also partially correct. Jazz has evolved to be a dialectical art form between the musicians, the audiences, and the conductors. Bebop is dependent upon a musicians’ individual perspective and interactions with other musicians’ perspectives through musical embrace (Stewart 2.17.15). Contrastingly, the hot nature of Chicago jazz evolved as a parallel to racial tensions between subjected black musicians and their predominately white audiences. (Chicagoans 157) With the development of “cool jazz”, where Davis embodied a new “cool” hipness following the swing era, Davis’ genius and perspective as a conductor was made evident to his audiences. Miles Davis’ genius exemplified the conductor-ensemble harmony in which he gave musicians minimal instruction to let them create music from one another. Davis explains how he only subtly conducts an ensemble until “the music is talking to them [the audience] when everything's right.” (Davis 356) Thus, my assumption of a middle school jazz ensemble was correct in that jazz directly corresponds to a culmination of sounds harmoniously interweaving amidst slight conduction. Through this course however, I’ve learned that jazz is comprised of much more than a conductor-musician dynamic, but an improvisational all-encompassing dynamic between seemingly anyone with ears. 

            From the implemented “plantation system” in Chicago to the appropriation of Duke Ellington’s talent by Irving Mills’ co-ownership, white appropriation of black talent for economic benefit has remained a clear theme throughout the history of jazz. (Travis 43, Stewart 2.3.15) Davis refers to the white aesthetic dilution of jazz, as heard in swing, as, “half-assed hipness” (272) and goes on to proclaim that record companies would keep “black stars on the music plantation so that their white stars could just rip us off.” (334) This course has taught me that jazz has been plagued by circumstantial, both social and economic, hegemonic appropriation throughout its history. More importantly though I’ve learned that jazz has survived and thrived as a culturally mottled, and therefore universally familiar, dynamic music.

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Blog 4

     In the early 20^th century Thelonious Monks’ family migrated from the North Carolina to San Juan Hill, New York. The vastly diverse community of San Juan Hill maintained a violent reputation, plagued by hegemony-induced race riots and federal drug raids. (Kelley 19,31) Cultural partitioning within the severely condensed housing districts stimulated hostility amongst its diverse, well-defined subpopulations, and inevitably caused Monk to develop a pugilist demeanor amongst his peers. (Kelley 17, 33)  However, through vigilante enforcement of intolerant rules of conduct, the Columbus Hill Community Center served as an epicenter of social life and community service for all youth in San Juan Hill. (Kelley 28) The center was where Monk formed his first band with Charles Stewart, a fellow black, and Morris Simpson, a West Indian, and was home to the Friday night dances that the trio performed. (Kelley 35) Maintained through an adored all black staff, the community center served as a second home where Monk could experience freedom from the anxieties of San Juan Hill adversity.  

            The community center was similar to the Monk household in that it promoted strong morals. Thelonious’s propensity to deviate from the ill-mannered social norms of San Juan Hill was attributed to virtues engrained in Monk and his siblings by their mother Barbara. Through a “quiet, dignified strength” Barbara inspired her children to live a free-spirited, vocal, and opinionated life, all the while remaining respectful. She also encouraged her children to embrace the rich cultural life of the city by taking them to Central Park in the summer to hear Edwin Goldman’s orchestra perform classic European and American compositions. (Kelley 22) Furthermore, Barbara helped foster a whole-hearted community within the Monk apartment, through music, by always welcoming her children’s friends into her home. Marion, Thelonious’s sister, fondly remembers dancing in their front room with her friends at impromptu jam sessions between Thelonious and his friends. (Kelley 22) This openness allowed Thelonious to flourish and express individuality amongst diversity. The qualities bestowed on Thelonious by his mother influenced his development as a musician and a man, but the community outside of his home also contributed to his genius.

            Kelley remarks, “The neighborhood was full of jazz sounds.” (27) Monks’ first piano teacher, Simon Wolf, was an Austrian-born Jew and a well-trained classical pianist and violinist. (Kelley 26) After his skill excelled past Wolf’s ability Monk further developed his talent through observing and absorbing different forms of music played by the jazz community of San Juan Hill. This included, but was not limited to, Arabic, North African, calypso, salsa, and stride piano. (Kelley 23, 236) At the dinner table the Monk family quartet often sang sacred music of the black Baptist Church. Thelonious would also accompany Barbara, who emphasized regular church attendance and family rehearsals, during holiday performances at the church. (Kelley 27,32) The cultural diversity of San Juan Hill paralleled the motley aesthetics Monk exuded as his musical genius matured. This conglomeration of cultural influence is what some mean by “Jazz is New York, man?!”

            The San Juan Hill that the Monks experienced is analogous to the Leimert Park community. After race riots had disheveled the Leimert Park community cultural hubs like the Coffee House and World Stage emerged as public violence intolerant forums on which the community could express itself through dialogue and art. Similarly in San Juan Hill the Columbus Hill Community Center and the Monk apartment served as sanctuaries for the jazz community that surrounded Thelonious. In my opinion, artistic dialogues help create harmony within the communities in which jazz musicians grow up.

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