Islam's contribution to Jazz and Improvised Music

Pat Thomas

The 20th century is dominated by in myths Myth of Evolution,Psychoanalysis,and Feminism

etc.One of the great myths in maintained in music has been the “Jazz History”myth.The story
generally states that out of the marching bands mainly situated in New Orleans a music
developed called Jazz.Jazz was a new music which had roots rhythmically in Africa and roots
harmonically in Europe,and yet could not have developed anywhere but in the United States of
America.As with all myths there is an element of truth in them.However after a centurry of
research,i find it sad that majority of scholars working in this field generally accept this myth as
a fact.Let us look at the word Jazz.The original spelling is Jass.If anyone had bothered to
investigate the roots of the word they would have found it is Arabic in origin.All scholars agree
that the polyrythmic patterns associated with Jass can be traced to West Africa,but nearly all of
these scholars have ignored the fact that the dominant religion in West Africa is Islam.

Islam became established in West Africa in Takrur a state,”which flourished on the lower
Senegal river for a brief period from AD 1000.Attribution,nisba-that is,a name derived from a
tribe,a town,a sect etc-is well known in the Arab world;hence the word Takruri(plural Takarir)
was coined to refer to the people of this Kingdom.This form is still used by the Moors and Arabs
of theSenegal;the Wolof us “tocolor”from which the French “Toucouler”is derived.In the Middle
East,however al-Takrur ie ahl al-Takrur or the Takrir,came to have a generic sense inclusive of
all peoples of West African origin.”Al-Naqir p.365 journal of African History)As Islam spread
the African Muslimsadopted Arabic,since it is the language of the Quran.Therefore when slaves
were transported to the USA from West Africa among them were Muslims who were”highly
educated and literate in Arabic.These Afro-Muslim slaves were sunni(orthodox)and adhered to
Maliki(school of law)legal interpretation.Though they spoke diverse,mutually native
unintelligble languages,they could communicate with one another by reciting prayers and sayings
in Arabic..”(Bilge Encylopedia of Religion Islam in Americas.)With this background we can see
why certain words found in the Jazz vocabulary are Arabic.The Hans Wehr Dictionary of modern
written Arabic(p.125)has several meanings for the word “Jass”.they are to:to touch:feel:to
test:probe:sound to be a spy.Idries Shah in his book”The Sufis(p180)also mentions the
word,defining it as “to scrutinize(hidden things)...this is the root of the word for esponiage and
hence the Sufi is called the spy of the heart.To the Sufi the scrutinazation for the purpose of
ascertaining hidden things is an equivalent,poetically speaking,with the motive of concentrating
the mind.”Unfortunately so;called “Jazz experts have consistently regaded this word as
something of a mystery,and seeing it as a slang word for sex.When in fact it gives a very good
description of the music.Every Jazz fan knows that “feel”is central to the Jazz aesthetic for a
great performance,that exploring and creating new sound worlds,are crucial to every new phase
Jazz has passed through.Clearly the original meanings of this arabic word were distorted on
entering the english language.

Another key Jazz term is the Jam session.It has always been in Jam sessions that new ideas have
been tried out,for example it is inconceivable to imagine BEBOP happening without the
gatherings that took place at Mintons jam sessionsThe word Jam is Arabic among its meanings
are :gathering,collection,combination,relaxand union(Hans Wehr p.135).In fact,the English
language is saturated with Arabic words,for
example,lemon,coffee,lilac.jasmine,algebra,zero,alchol.Clearly it looks like as if Jazz has roots
in the Muslim culture of West Africa.Despite losing knowledge of their past ,some words ,like
Jass and Jam,have remained more or less intact.Another is the slang term Hey.This word has
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

been used to great effect by the Godfather of Soul James Brown,and has been part of the Jazz
vocubulary since at leat the 30`s.There is no doubt that this comes from the Arabic word
Hayy.among its meanings are :living :lusty:energitic and tribe.These few examples show that
they cannot be dismissed as mere coincidences.Obviously some key Jazz terms are Arabic.This
“secret language”is the basis of so-called Black Talk.
In so-called “Gospel music”there is an underlying islamic influence.A lot has been written about
the function of the church in Afro-American communities,but nobody seems to have recognized
that,the style used by the preacher is similar in style to that of the Imam(the one who leads the
prayer)in Islam.The Imam gives a Khutbah(sermon)on topics of relevance to his community,this
would include commenting on the need for more funds to keep the Masjid(Mosque-place of
worship)going,or about social and political problems affecting the community,as well as
fulfilling their spirual needs.This is a spontaneous talk,and an Imam will sometimes use animated
and emotional language to emphasize particular points.This occurs on a Friday and is known as
the Jummah (congregation)prayer,the congregation are likely to nod their head or voice their
approval or dissaproval of what the Imam is saying with expletives such as “Alhamdillah(praise
be to God)Allhahu-Akbar(God is Great)subahan-Allah(glory be to God).This behaviour is
consistent with th e black churches of America today.”,,the are where Muslim Imams like
African Tom and Bilali lived..indicate that while this early Muslim community existed(ignored
by most Americanscholars of the period as well as by most American historians),it counted for
approximately 20-50% of the African-American population.Given the fact also that the
population of the states of South Carolina and Georgiaat this time was approximately 80%
African-American,and that 90%of all African-Americans can trace their heritage to this
region,the loss of this first Muslim community was no doubt a serious blow to the true potential
of all African-Americans..This earliest Muslim community in the US should be remembered for
its strong devotion to Islam under conditions of almost certain death for so doing..Due to the
hostility of the Afro-Christianized church as well as the Anglo=American community to the use
of African and particurlarly Muslim names,the African and Muslim names became nicknames by
which the individual was called by his family or known only in his community,and thus were
gradually discontinued”(Y.N.Kly Journal of Muslim Minority affairs vol 10 jan 89)

This meant that the only”religious”outlet available for the slaves of African descent was
Christianity.The sunday service became a special occasion for them.

The legacy of great vocalists such as Mahalia Jackson,Dinah Washington,Billie Holliday,Aretha

Franklin,Luther Van Dross,Nat "King"Cole,George Benson etc,is traced to the schooling they
recieved in Gospel Choirs.This can be traced to the tradition of the Muezzin.(the one who leads
the Adhan-the call to prayer).Throughout the Muslim world Africa is renowned for its
Muezzins.The first Muezzin in Islam was the African,Bilal,who was a close companion of the
Prophet Muhammad(peace be upon him),HE WAS ALSO THE FIRST AFRICAN TO
EMBRACE ISLAM(609/610 AD)The Adhan has developed into a vocal style that includes
extending particular letters and words,this is best described as a melliflous wail and the effect can
be ravishing.It is this technique whis is to be found in the extempore"wailing"of Gospel Music.

This is based on"Ilm al Tajwid"(science of reciting Qur`an).The Qari is the master reciter of
Qur`an,the Quran can be recited in seven different ways,the Qari would be aware of all the
different styles of recital,and aware of all the rules/This is a highly developed science needless to
say which requires a article by itself ,fom an expert in this field.However the dominant style of
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

recital especially in West Africa,can be traced to Nafi bin Abdal-Rahman bin Nu`aym al-Madani
(d;785)of Isfahan."Nafi provided leadership in qira`ah for seventy years and promoted faithfully
the Qir`ah of Madina"(I.Surty The science of reciting the Qur`anp.22)This means we need to
look at the history "Black Music"as one way of retaining links with their West African heritage.

The musical style known as Bebop was a major turning point in the development of Jazz.We can
say bebop emerged in 1944,and laid the foundations of modern Jazz.The leading lights were
undoubtedly Thelonius Monk,Dizzy Gillespie,Charlie Parker,Kenny Clarke and Bud Powell.The
Origin of the namelike the word Jazz I believe is to be found in the Arabic language,the name has
an alternative Rebop and it is this word which gives us a clue to its origins,Inthe Hans-Wehr
Dictionary of modern Arabic we find the wordRebab(p320)described as as a “stringed instrument
of the Arabs resembling the fiddle with one to three strings”Is it possible this is the original
word?The Rebab is still used widely throughout the Muslim world,and is used by West African
Muslims,as Wright writes in his article about music in Islam”The dominance of Islam in Western
Africa and its extensive spread down the east coast have resulted in the introduction of for
example,the ghaytor(alligator is derived from this word)shawm,the ghuga,a one string fiddle,and
certain types of drum.”(O.Wright Legacy of Islam p501)Malm also writes that in “Negro Africa
the musical changes caused by Moslem influence are rather specific and easy to identify.Negro
Muslim singers will ornament their lines with quick.microtonal shakes and mordents.They tend
to use a tense,nasal voice quality.When voices and instruments are combined,the accompaniment
is not the multiple drums or ostinatos on a melodic instrument as found in Central Africa,but
rather a single or double drum(often of a kettle,hourglass,or frame-drum type)or a bowed
stringed instrument(like the rebab)playing hetrophonically.”(Wlliam P.Malm music cultures of
the pacific,the near east,and asia p.37-58)The Wolof people of Senegal and Gambia where the
Griots-the class of professional musicians are found.use predominantly polyrhythms in their
music.There seems to be a parallel with Bebop in the mid forties,where polyrhythmic patterns
started to be emplyed by the drummer Kenny Clarke,who with Art Blakey and Sahib
Shihab,converted to Islam ,this was due to the growing intrest in Islam to occurred during the
1930`s,also to ther acvtiviies of the Nation of Islam among urban blacks in America.Kenny
Clarke helped to create the new rhytmic basis of Bebop,and also there was a more conscious
effort to emulate West African rhythms.

The composition “A Night in Tunisua@by Dizzy Gillespie even goes as far as using the Tunisian
mode ramal mai,combined with a strong West African rhythmic pattern.Graham Lock mentions
in his A-Z of Bebop article for the Wire comments that key Beboppers sparked berets and goatee
beards,he suggests in jest that this may be attributed to a veneration of everything french.In fact
wearing something on your head and sporting a beard are Sunnah(practic of the Prophet
Muhammad pbuh)and can be seen in any Muslim country,and especially in West Africa,the
goatee beard is very popular among the Griots.

The small Jazz club atmosphere is regarded as the ideal setting for listening to Jazz.”This music
is frequently heard in cafes.The listener may listen,sip or converse as he sees fit”That description
was not from a Jazz club but was used by Malm(p56)to describe the atmosphere for listening to
classicla improvised music in North Africa.

The New Orleans marching band which is generally felt to be the foundation of the Jazz
marching bands,is believed to be a legacy of the European millitary bands.In fact the marching
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

band is derived from the “famous Turkish Janissary military band,which consisted of nine
players each on bass drums(dawil)trombones(boru),cymbals,double kettle drums(nakare)oboes
(,zurna)and the clanging bell trees called in English Turkish crescents or Chinese
pavillions.Many of the eighteenth-century pieces”alla Turca@by composers such as Mozart and
Beethoven were imatitions of this ensemble.A modern variant can be found in some shriner
parades in the United States.”(MALM P56).Turkey via the Ottoman empire was the home of the
Khalifah(Head of the Muslim world.)Who could call onMuslims from all parts of the globe,to
make up its army,it is well known that Muslims from West Africa were members of the
Janissary.Therefore it is no suprose that on entering the USA that they made m,arching
bands.The difference being that on the western instruments such as the clarinet and trumpet,the
added the microtonal shakes and mordents from Islamic music.These elements
becoming the foundation for all Afro-American music,whether it is Gospel,Jazz,Blues or Hip
Hop.

The origins of Western Music are to be found in Moorish Spain.The muslims captured Spain in
711.With an army consisting of Syrians,Berbers and Sudanese Muslims.The Muslims ruled
Spain for over 700 years,Spain returning to catholic rule in 1492.Its fair to say that Islams
presence in Andulucia(the Muslims name for Spain),played a major part in the development
ofEuropean music.It was in Spain that many of the instruments associated with Western
music first appeared.They include the lute,guitar and the rebec(the first bowed instrument to
appear in Europe,and derived from the rebab the Arab viol)as well as the organ and the
tambourine.From Spain they enterd the rest of Europe,and travelled as far as England where the
canan(qunun),lute and rebec(apparently a favourite of Chaucer`s)were played.Measured music
was already in existence from 900 CE in parts of the Islamic world.This consisted of using
notation and giving notes fixed measures,a sketch that could be filled out by the musician with an
extemporay flourish.The musician would use notation as a reminder of a melody.in the Islamic
world this was seen as a novelty,as memoriziation of compositions was the normmbut for
Europe,notation has become athe means of authenticating a particular composer.Notation enterd
the european world via Spain.Abu`l Hasan Ali ibn Nafi whose nickname was Ziryab because of
his dark complexion,added a fith string to the lute.Regarded as one of the finest m,usicians of all
time,he is credited with introducing new modes and forms originating in Persia(Iran)which were
to have a profound effect on the music of Spain.I think its fair to say no Ziryab,no Flamenco.The
fifth string added was considered to represent the Soul.A parallel with Jazz and oth Black Musics
is the importance of playing with feeling or soul.Needless to say,iti si not so far fetched to regard
the roots of Black Soul music as having originated in Europe after all..

Ziryab`s influence was not restricted to music he is credited with creating new styles of dress,for
the different seasons of the year,introducing toothpaste,and creating a new hair style,which
consisted of having the hair cut short,leaving free the eyebrows,ears and neck.He also made
popular the idea of separate courses for food ,starting with a soup,then main meal and finishing
with a desert”made from nuts,honey and compote of fruits,reminiscent of the turron and
membrilio popular in Spain today”(J.Read The Moors in Spain p.65)Other Spanish innovators
include Al-Hakim who made an extra perforation at the bottom of the reed blown horn known as
the buq,the prototype for the western trumpet.Al-Zurnam designed the the woodwind instrument
known as as the Nay Zurmani,in the 9th century.The oldest music faculty of any Western
Unversity is to be found in Spain,at Salamaca(thirteenth century).(pelican history of music
ancient forms to polyphony p.130)
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

The other main influence of Muslim Spain was on the troubadours.The word troubadour is
derived from the arabic word Tarab,among its meanings are joy,pleasure,entertainment with
music;a musical instrument9the rebab)Hans Wehr,p555)The Troubadours are said to have been
“part of a cultuire which valued improvised/music events and oral traditions”(Jim Denley
Improvisation:The Entanglement of Awareness and Physically.Resonance volume1 number
1,october 1992)”The troubadours of France came in touch with easternoriental music during the
crusades and with the civilasation of Muslim Spain,and it would have been suprising had they
remained closed to all influences.At the same time the oriental minstrel wandered all over
Europe and must have brought their Arab plays their.”(pelican History of musicp.131)

Syncopated rhythms are at the hear of Jazz.In Spain and other parts of the Islamic world the use
of cross-rhytms became prominent during the 9th century.This is due entirely to the influence of
the Sufis.The Sufis have erroneously been considered by some oreintalists to beyond the pale of
Islam,and having little regard for the Shariah.But in fact the greatest defenders of the Shariah
have been Sufis,as the model for the Perfect man is the Prophet Muhammad(pbuh)thefore
following his sunnah(practices)leads to Tariqah(the Sufi way),and to be on a way, one needs a
road which is the Shariah,which will lead to Haqiqah(true reality).The Chisti Tariqah founded by
Khwaja Abu Ishaq Chisti(d.966)is well known for its use of music in its spiritual practices.”The
wandering dervishes of the order were known aas chist.They would enter a town and play a
rousing air with flute and drum to gather people round them...Traces of this figure occur even in
Europe,where the sSpanish chistu is found with similar garb and instruments-a sort of itenerant
jester.”(The way of the Sufip,127)It was through Spain that minstrel music enterd
Europe,spreading as far as England with morris dancing.”The Spanish word mascara,like the
English masker(play actor).was derived from the Arabic maskhara(buffoon).The hobby-horse
and grelots were part of the impedimenta of the morris dancers,alias “Moorish dancers”.who
were still painting their faces like the Moors in the time of Thoinot Arbeau(1589).The hobby-
horse(kurraj)and its bells(jaljil)are mentioned by Jarir(d.c.728)and is described among the Moors
of North Africa by Ibn Khaldun(d.1406),and its Basque descendant,the Zamalzain is simply the
Arabic Zamil al-Zain(gala limping horse)(New Oxford History of Music,Ancient and Oriental
Music,The music of Islam Henry George Farmer p.467)
The influence of the Mevlevi Tariqah popularly known as the “whirling dervishes”om European
music is also quite significant.Founded at Konia by Jalaluddin Rum(d.12730It is through the
music of this order that the Waltz was introduced into Europe.Some of the movements and
rhythms employed by this tariqah were adopted by Western composers,like the Srauss
family,Mozart,Beethoven,and Chopin.These examples show the influence of Islamic music on
Western classical music.

Classical Indian as it is known today,was created during the Muslim rule of India.Muslims have
been in India since 725 CE.The Muslims settled in the North of India and ruled the region from
the 10th-1700th centuryThe Cjisti Tauqah”made their most enduring impact upon India.For the
past nine hundred years their musicians have been esteemed throughout the subcontinent.”(Shah
p.127)Amir Khsrau(1253-1325)is considered to be the founder of Hinustani music.He invented
the Sitar and the Tabla,these are the two main instruments of Indian Improvised music.Also
under his influence,”Hindustani music developed the more intimate and subtle features of note
and melody,recieving and transforming many new Persian and Arabic tunes and ragas
(e.g.Huseni Kafi,Bahar).From Muslim influence date different names given to identical Ragas
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

and the longer and more flexible time-measures”{pelican history of music p,37)Khusrau was also
a great poet and his sufi Shaykh(teacher)was the great Chist Saint Nizamuddin Awliya.All the
main instruments of North Indian classical music are derived from Muslim instruments.The
Sarod,comes from the Sarud,the Tanbura and the Shainai derived from the Tabur and the Nay
Zurnami.Moreover the influence of Indian music on western improvisers such as
Coltrane,Dolphy,Derek Bailey,Tony Oxley,Matt Lewis etc,and on Western Composers like La
Monte Young,and Messian who derived a lot of his ideas for modes fromINdian musicmtaught
Stockhausen and Boulez two of the major composers of 20th century music.
CONCLUSION
It seems astonishing to me that materials so easily available,have not been utilised by Jazz
Historians before.Clearly a lot of inaccurate writing about Jazz,in particular could have been
avoided if the anti-Islam bias wasn`t so strong in America and Europe.This would explain why
the Muslim contribution to improvised musics,clearly of major importance has been overlooked.

Selected Bibliography
Moors in Spain and Portugal J.Read Faber 1974
Cambridge Encylclopedia of India C.U.P 1989
Middle East Bedside Book(ED)T.Shah Octagan 1990
Hans Wehr Arabic Dictionary(ed)J.M.Cowan 1976
The New Oxford History of Music volume1 O.U.P.1957
Evolution A Theory in Crisis M.Denton Burnett Books 1985
The Facts of Life R.Milton Fourth Estate 1992
Brain Sex A.Moir& D.Jessel Micheal Joseph 1989
Music Cultures of the pacific,the Near East,and Asia W.P.Malm Prentice Hall 1967
The Legacy of Islam J.Schatt & C.E.Bosworth(ED)O.U.P.1971
The Pelican History of Music volume 1 A Dennis&D.Stevens(Ed)
The Sufis I.Shah Annchor Books 1964
The W ay of The Sufi I.Shah 1968
Blood on the cross A.Thompson TA-ha Books 1989
The Failure of Feminism N.Davidson Prometheous Books 1985
The Freudian Fall acy-Freud and Cocaine E.M Thornton 1981

A LIST OF INFLUENTIAL MUSLIM JAZZ MUSICIANS

PIANO DRUMS
SADIK HAKIM ART BLAKEY(ABDULLAH IBN BUHANIA)
HASSAN IBN ALI KENNY CLARKE(LIQAT ALI SALAAM)
ABDULLAH IBRAHIM BILLY HIGGINS
McCoy TYNER OMAR HAKIM
AHMAD JAMAL IDRIS MUHAMMAD
RASHIED ALI
TRUMPET
TED CURSON
AHMED ABDULLAH
IDREES MUHAMMAD

REEDS
 Islam's contribution to Jazz and Improvised Music
Pat Thomas

MURSHID KARIM(EVERAD POWELL)

SAHIB SHIHAB
JACKIE McLEAN
YUSEF LATIF
SHAFI HADI
GUITAR
DAMU MUSTAFA ABDAL MUSSAWWIR
(JAMES BLOOD ULMER)
DOUBLE BASS
AHMED ABDAL-MALIK
ELECTRIC BASS
jJAMAALADEEN TACUMA
AMIN ALI CELLO ABDUL WADUD
ORGAN KHALID YASIN(LARRY YOUNG) THERAMIN
YUSEF YANCEY