Impact of Racial Relations in America on the Development of Jazz - Coursework Example

of the of the Concerned 22 May Impact of Racial Relations in America on the Development of Jazz Introduction Jazz in itself is a special kind of music characterized by much improvisation, multiple rhythms, and blue notes and swung accompanied by vocals affiliated to call and response tradition. No doubt, Jazz was originally meant to be dance music. However, courtesy its appeal and tastefulness, it soon gradated to be a part of the contemporary popular music. Today, it would not be wrong to say that Jazz does has an important place in the modern Western classical music. Jazz, though quintessentially an American music form has its roots in the West African musical art forms and expressions (Gioia 1998). It also needs to be mentioned that Jazz borrowed a lot from the European band music (Gioia 1998). Jazz as an American musical art form originated from the city of New Orleans (Gioia 1998). It was the large Creole and Cajun population that inhabited this American city, which blended the elements of French-Canadian culture with their own native notes and rhythms to give way to a special kind of music called Jazz (Gioia 1998). Gradually Jazz expanded its scope to include within its ambit, varied other American urban centres, before it eventually migrated to Europe and other parts of the world. In the 20th century Jazz gave way to many subgenres like bebop, hard bop and free jazz. Race and racial relations did play an important role in the formulation of Jazz music. Music and Race Relations in America Much before the origins of the United States of American the race relations in America had been marked by varied levels of domination of the white race over the blacks. As far as the white Americans were concerned, they were mostly free to choose between different modes of expression available and accessible to them. However, the things were not that simple and easy for the blacks. As is common with any suppressed race or culture, the blacks resorted to modes of expression that were different and in tandem with their essentially African background (Werner 1999, p. 57). The oppression impacted varied facets of the social and personal life of the black Americans. The predominant white opinion was that the blacks were inferior to them and they could only become cultured and civilized by adopting the art forms and modes of expression that had their origins in the Western civilization (Werner 1999, p. 36). However, it was easier said than done. In any age and time, it was impossible for a black individual to become white. So, the other possible way out for the blacks was to imitate the white art forms and to harmonize their modes of expression by blending them with the white art forms (Werner 1999, p. 37). In that context, music was particularly an art form which allowed the blacks to register their protest and to give vent to their emotions and feelings in a way that they liked and that was their own. It is evident from the historical facts that each phase of black existence in America had its own distinct musical genre (Werner 1999). Once the slavery was abolished in America, it created a dire need for new musical solution for the urge to build and bolster a distinct black identity and culture (Peretti 1994, p. 17). In the meantime, New Orleans, which was earlier under the French rule, had a thriving population of Creoles. A significant number of these Creoles were not only proficient in European instruments and European music, but also were conversant with the African drum rhythms and had already given way to a musical form that was later known as Jazz (Peretti 1994). The free blacks readily adopted Jazz to give vent to their essential isolation and pain. Till the late 40s, Jazz saw the emergence of varied black masters like Louis Armstrong and Thomas Dorsey (Peretti 1994). Yet, the most important fact was that the American media was mainly dominated by whites (Peretti 1994, p. 41). So the expected result was that Jazz though being primarily Afro-American music, it was the white musicians that harvested much of the public attention and focus. Paul Whiteman gained popularity in the 20s and it was Benny Goodman who was America’s official king of Jazz in the 30s (Peretti 1994). Jazz in the 30s and 40s Jazz was not only a novel musical form that built around itself dedicated communities, but it was actually the first patch in the American society that allowed for the mixing of talent, irrespective of race and colour (Porter 2002). It was at some time in the early 30s that the Jazz communities opted for an attitude that was somewhat neutral towards race and differentiated between musicians only on the basis of their talent and ability (Porter 2002, p. 6). Surprisingly, it was only in this musical genre that African American musicians managed to accrue the praise and aplomb from the white audience. In fact many Jazz musicians ended up becoming so popular that they managed to get well compensated for their talent. People discernibly credited the black Jazz musicians for coming out with a hotter form of music. On the other side, the white musicians who earlier only accepted renowned and established white musicians as their models, soon started imitating the form and style of many famous black musicians (Porter 2002, p. 15). Lester Young is a name that certainly needs to be mentioned in that context. Plausibly speaking, perhaps some of the black Jazz musicians may have felt threatened and annoyed by the influx of white musicians into an essentially Afro-American cultural domain. However, times were certainly not ripe for them to register a visible protest. So, the black Jazz community instead responded with an attitude of tolerance and patience. However, in the 40s, after the end of the II World War, the reality of Jazz in America began to face the emerging challenge of fast altering race relations and racial dynamics (Gerard 1998). The Afro-American Jazz musicians started to become more open with the need to extend due recognition to their musical expertise, creativity and ingenuity (Gerard 1998). The good thing was that a great chunk of the American society acknowledged the pivotal role played by the black Jazz musicians for the introduction of a more contemporary style of Jazz called bebop (Gerard 1998, p. 85). The augmenting respect for and the pride of black Jazz musicians did much to influence the social conventions rampant in the environment and ambience in which they practised and performed (Gerard 1998, p. 83). Realizing the talent of the black Jazz musicians, the audience slowly started to feel the need for considering them to be serious professional artists deserving of the recognition and rewards that were relatively easily accessible to the white performers (Gerard 1998, p. 83). The earlier generation of black Jazz musicians were somewhat satisfied with the label of entertainer tagged to them. However, the Jazz musicians of the 40s were not willing to accept the identity of a common entertainer. Jazz in the Post 50s The post war boom that arrived in the late 40s and continued into the 60s saw the migration of many blacks to the North in search of a better life and social status (Panish 1997). The energetic young blacks were desperate to adopt some mode of expression to voice their unease with the still rampant racial oppression. It was at this time that Charlie Parker emerged on the Jazz scene in America (Panish 1997). To this day Charlie Parker is recognized as one of the most influential Jazz musicians. The story of Parker was marked by a strong connection between Jazz and heroin addiction. It was parker who ushered in the musical revolution called bebop, which was his characteristic way of revolting against racial oppression (Panish 1997, p. 14). However, by the coming of 60s, the whites in America had also found the essential energy and vibrancy of Jazz (Panish 1997, p. 24). The Jazz musicians of those days were surprised by a slowly but steadily declining black audience, amply compensated by the white young people with a distinct predilection for rebelliousness (Panish 1997, p. 31). It was really heartening and the Jazz musicians realized once and for all that now was the right time to give up the basic canons of the Western music, to opt in favour of change and originality. Hence, in the restlessness and radicalism of the 60s was born the Free Jazz. It led to the emergence of performers like Davis, Ornette Coleman and Coltrane who experimented with their work to push Jazz out of its highly structured format (Panish 1997). In the meantime the civil rights movement had already begun. On the one side was Martin Luther King who was in favour of racial integration. The other side was worthily represented by the Black Nationalist Malcolm X. As mentioned before, every stage of the black existence in the US had its very own distinct musical form. It was used to give expression to the community’s important concerns and problems. Hence, this era was not different from the past ones. The Jazz community also witnessed a division, with the artists choosing their own styles to validate the spirit of integration or dissension, whichever they preferred (Monson 2007, p. 17). The Soul music in the late 60s and early 70s was the constituency of harmony and integration. In contrast, the radicals were more on the side of Free Jazz that hopefully looked towards Africa for inspiration and ideas. However, the assassination of JFK and then of Martin Luther king were a great blow to the conciliatory trends in Jazz (Monson 2007, p. 56). It was just the right time for the emergence of James Brown who time and again reminded people that the African influences were still thriving and pulsating in the black music and were an integral part of the black identity (Monson 2007, p. 62). The influence and inspiration of James Brown could still be traced in the contemporary Jazz, soul and hip hop music (Monson 2007). Over the years, jazz music to a great extent been dedicated and committed to the needs, views and aspirations of the black people. In this endeavour it successfully managed to resist the onslaught of the market forces that believed in creating an artificial demand from outside to influences the choices and views of the audience. Yet, even Jazz could not resist for long the onslaught of corporate influences and ideas (Bennett 2009, p. 54). Hence, in 1981 trumpeter Miler Davis announced that Jazz was dead once and for all. However, things are not as dismal as foreseen by Miler. The essential power of Jazz had been its ability to adapt to changing circumstances, situations and ideas. The reality of race relations in the contemporary America is not as it was in the 50s or for that matter in the 60s. It would not be wrong to say that the American black community has definitely experienced a dilution of its commitment to and allegiance to Jazz (Bennett 2009, p. 56). However, it could be interpreted one other way also. Perhaps impressed by the power of a musical genre to voice the concerns of a race, Jazz has acquired a preference sans colour and race (Brown 2001, p. 39). From being the voice of black America, perhaps Jazz is evolving to represent the aspirations of the entire nation. Today more than half of the Jazz compositions that make it to the top charts are by the non-black composers and performers like Dave Koz, Harry Connick Jr, Michael Buble, Pat Metheny and Diana Krall (Holsey 2007: Online). The acceptance of Jazz as a music devoid of racial affiliations is perhaps to a great extent indicative of the dilution of the racial repression and an increasing affinity between the diverse races in the contemporary America. If at one time Jazz voiced the notes of dismay, today it is perhaps voicing the songs of reconciliation. Conclusion Today the black music is more than ever vulnerable to corporate trends and business requirements. Besides, Jazz has become ubiquitous in its appeal and following, spreading across cultures and races. Blacks being a minority community are still exposed to social, political and cultural changes. Hence, the requirement for a musical form to express these concerns is as valid today as it was in the 40s, 50s and 60s. However, it is difficult to guess as to what extent the Jazz music today represents the reality of race relations in America. It is something that will only become evident in retrospect. Reference List Bennett, Robert 2009, ‘Songs of Freedom: The Politics and Geopolitics of Modern Jazz’, Mosaic, Vol. 42, no. 1, pp. 51-59. Brown, Stone 2001, ‘All the Jazz’, The New Crisis, March/April, pp. 38-41. Gerard, Charley 1998, Jazz in Black and White: Race, Culture, and Identity in the Jazz Community, Praeger, Westport, CT. Gioia, Ted 1998, The History of Jazz, Oxford University Press, New York. Holsey, Steve 2007, All that Jazz, New Pittsburgh Courier, Echo Media, HighBeam Research, Viewed 24 May 2011, Monson, Ingrid 2007, Freedom Sounds: Civil Rights call out to Jazz and Africa, Oxford University Press, New York. Panish, Jon 1997, The Colour of Jazz: Race and Representation in Post War American Culture, University Press of Mississippi, Jackson, MS. Peretti, Burton W 1994, The Creation of Jazz: Music, Race and Culture in Urban America, University of Illinois Press, New York. Porter, Eric 2002, What is this thing called Jazz?, University of California Press, Berkley, CA. Werner, Craig 1999, A Change is gonna Come: Music, Race, and the Soul of America, Plume, New York. Read More