Shields 1

Elizabeth Shields

Rosenberg

ENGL 137 RCL Section 11

November 3, 2017

New Music, New World

Nobody says quintessential American composer like Aaron Copland. Born and raised in

the U.S., Copland told the American Dream through musical pictures and writing tonal tales of

the Wild West, the Appalachian Mountains, and American folklore. However, while Copland

may be the composer who chronicled America’s legacy, his legacy cannot be found among the

composers who shaped the political and social climate outside of the realm of music. Copland

may have been a household name, but the driving forces in music in the early and mid twentieth

century failed to write for the same traditional symphonic orchestra Copland envisioned for his

pieces. These crafters of notes revamped the music industry by replacing symphonies, upper

class concerts, and parlor music with dance and improvisatory tunes unlike anything audible to

that point. Duke Ellington, Jelly Roll Morton, Miles Davis, Louis Armstrong, Ella Fitzgerald,

Count Basie, and countless other musical legends were filling not only concert halls, but

backstreet dives. They frequented these shady establishments not because their art was inferior,

but often because the color of their skin limited where they could perform (Messenger). Many

jazz musicians, as African Americans, were never deterred by their rejection, but instead

continued to build their legacy by using their art to help America transition to greater acceptance

of African music, culture, heritage and art.

Jazz, while considered to be a genuinely American art form, arose from the music of

Africa. Courtesy of the Trans-Atlantic Slave Trade, hundreds of thousands of African Americans
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resided in the United States, many in the south. Despite their integral part in American culture,

they did not leave all of their own culture behind them. Jazz is famous for its syncopated rhythms

and offbeats. While you may not hear these rhythms in European classical, one would be hard

pressed to find a spiritual or African drumbeat in which they are lacking. The rhythms of jazz, as

well as several of the genre’s early instruments (such as the banjo) are of African descent. Jazz

grew from a form of music only used by African Americans to express themselves and their

heritage in New Orleans in the original Dixieland jazz into the rage of New York City swing

jazz. It prompted the era of bebop and defined the dance, style, and party scene of the first half of

the twentieth century (Messenger).

When jazz started emerging as a popular music in America, most of the musicians were

black. Despite their popularity, they were still treated with disdain and as second-class citizens.

Billie Holliday was told to enter through a separate door than the Artie Shaw Orchestra (a

primarily white band with which she sang) (NPR). When Duke Ellington’s band first started to

play, the band manager constructed a recreation of a Southern plantation inside a club (called the

Cotton Club) and had them play for an only white audience, where Ellington had to petition to

have his African-American friends be able to come to their concerts. This environment was

recreating the cultural appropriation occurring during minstrel shows of a century before, which

were designed to entertain white people by mocking the race and culture of slaves and African

Americans. This same band manager, as well as countless others, were known to financially

exploit band leaders like Ellington, knowing they could make a profit as the black band leaders

were often unable to book their own shows because of their race (Pierpont). To top it all off, the

first recording of this art (recorded 1917) based entirely in African tradition was made by “The

Original Dixieland Jazz Band.” It’s rather hard for this band, who claim credit for
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commercializing jazz, to actually be the original Dixieland band because they were noticeably

white and Dixieland wasn’t started by white people (some go as far as to say the band “contained

a certain amount of hokum”) (Youngren). So how did an art form so fundamentally African

smash America’s culture scene, considering the heavy racism? While jazz did not eliminate the

issue of racism, it encouraged collaboration among musicians of different races, helped usher in

the Civil Rights movement, and brought together black and white people alike in the pursuit of

enjoying the art, culminating in a reduction of the racial tensions.

It isn’t possible to determine a time when integration began in the world of jazz music.

While early jazz was indeed nurtured and developed by African Americans, author Richard M.

Sudhalter argues jazz’s history is, in fact, a "picaresque tale of cooperation, mutual admiration,

cross-fertilization; comings-together and driftings-apart -- all despite, rather than because of, the

segregation of the larger society" (qtd. Youngren). Sudhalter believes, despite the common idea

that jazz is for black people or white people were copycats exploiting African American

Musicians (Phillips), white contemporaries such as Jack Teagarden had massive creativity to

offer the field, ultimately enhancing jazz rather than copying or stealing from it. While many

whites did use African American musicians for financial gain, many others were joining the field

of jazz for the pursuit of the music. Six years after the 1917 release of the Original Dixieland

Jazz Band’s first recording came the release of the first mixed race recording, with the white

band the Rhythm Kings featuring African American pianist Jelly Roll Morton. The 1930s

brought the first interracial jazz group, the Benny Goodman Trio, featuring Goodman, Teddy

Wilson, and Gene Krupa (Youngren). Collaboration between the two races grew and grew. Zola

Phillips argues while discrimination existed, the jazz community of musicians considered

themselves equal, no matter their race (Phillips). Race didn’t matter when the end goal was
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creating music, not political statements (while this is achieved in some jazz). The artists worked

with each other in the pursuit of enjoyment, success, writing new charts, and finding new ways

to improvise. Some disagree with the concept of white and black people both playing jazz at an

equal level, whether separately or together. One musician calls out the recent movie La La Land,

saying it “uses jazz as a focal point, but it doesn't pay homage to Black culture or creators.” (Qtd.

in Farley). They say whenever white people try to play jazz, they mess it up or end up

“whitesplaining” the music. However, African American trumpeter Doc Cheatham claimed in an

interview with National Public Radio: “Race is race and it’s got nothing to do with jazz

anyhow.” He argues the often racial charge toward music is over the line in many cases (NPR).

Much jazz music was never about race, bigotry, or anything other than individual expression.

Many jazz artists would not have collaborated for the express purpose of making a statement.

Functionalism, a common theory in political science, suggests cooperation of countries in non-

political ways leads to cooperation on a political level (Mitrany). Similarly, the union of the two

groups in music helped many see racial barriers could be crossed to make something unique and

beautiful. Cooperation between the groups was evident in the wildly popular charts they created

together. Therefore, like Functionalism, the coming together of the artists paved the way for the

more political cooperation culminating in the Civil Rights Movement.

For years, jazz had been primarily seen as dance music. In an attempt to isolate the music

from dance, many musicians switched to bebop jazz, which is known for its hectic nature making

it impossible to dance to (Messenger). Once audiences were forced to sit and listen to the songs

themselves, they may have finally noticed the jazz music with lyrics occasionally alluded to

racial tensions. Popular vocalist Billie Holliday sang the song “Strange Fruit” in response to a
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horrific lynching in 1939 at an biracial nightclub in New York. The lyrics (borrowed from a

poem written by a Jewish American Abel Meeropol) include:

Southern trees bear strange fruit

Blood on the leaves and blood at the root

Black bodies swinging in the southern breeze

Strange fruit hanging from the poplar trees

This song was named one of Time’s songs of the century. It was on Holliday’s top selling record.

While the most famous song from Civil Rights may be “We Shall Overcome,” some say

Holliday’s words were what lit the ember. It is remembered as the first music to protest racial

inequality. “Strange Fruit” forced everyone who followed jazz to face the racism rippling

through the nation. The song also led other jazz musicians to follow suit and write music about

the issues they saw (Margolick, 3-12). Charles Mingus wrote his song “Fables of Faubus”

protesting the treatment of the Little Rock Nine. John Coltrane was a known supporter of

Malcolm X. Perhaps the most famous jazz musician, Louis Armstrong, wrote several songs

highlighting Civil Rights (Verity). In the current era, we see the average person hopping onto the

bandwagon of celebrities advocating causes. For example, Emma Watson’s support of the UN

Women’s “HeForShe” gender equality campaign has increased awareness and support for the

organization and its goals of women’s health, education, etc. (Watson). Just like Watson’s

current impact, the jazz celebrities of their time had a huge impact and say on the culture, even if

they weren’t of the dominant race. Their music was heard in towns, shops, living rooms, and

clubs all over the country. Blacks and whites alike were hearing these calls to action on the

racism the musicians and the demographic they belonged to were experiencing. The celebrities

were acting on their beliefs and experiences, which in turn inspired others to act for themselves.
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“We Shall Overcome” may have been the anthem of Civil Rights, but ultimately, jazz music was

the oil fueling it.

The jazz of the Civil Rights era was indeed controversial and racially charged, but a

majority of jazz wasn’t aimed to protest discrimination and simply created to express the soul,

just as classical music had. It was enjoyed and performed for audiences of both races,

encouraging an increased appreciation for African American culture and art. Jazz helped people

of all races through the Great Depression and World War II by providing the freeing outlet of

dance and swing music as relief in troubled times. In fact, jazz’s popularity was at its peak

during these two dark moments of history (Messenger). Like other art, jazz is a common

language between people groups. You do not need an interpreter to enjoy or take part in its

driving rhythms and catchy refrains, bringing together the white and black who loved jazz to

pursue their enjoyment together. White artist Benny Goodman pointedly added music by African

American composer Fletcher Henderson to the Goodman Orchestra’s repertoire, which greatly

increased exposure of jazz written by black people to Goodman’s primarily white audiences

(Youngren). The music of African Americans sounded over the relatively recent invention of the

radio. Ultimately, the popularity and uses of jazz during the wars lead to an increased

appreciation of African American culture among white Americans. Black people and white

people were dancing together and listening together, enjoying and experiencing the same musical

creation. Jon Panish argues that most criticism of jazz had nothing to do with racists who simply

hated the music because it was of African descent, but the critics were the same as those who had

attacked white jazz musicians for encouraging progressive concepts such as drugs, short skirts,

and sexual promiscuity (Panish 8). This furthers the belief that appreciation of jazz should not be

affected by skin color, but by genuine like or dislike of the music. While Panish disagrees with
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those who dislike jazz because they are cultural conservatives, he acknowledges they are at least

equally critical of white musicians as of black. In the hit television show Downton Abbey, one of

the many heiresses falls for a black jazz singer because of his beautiful voice. Rose, unlike her

unfortunately discriminatory family, demonstrates the new and modern ideology of not caring

about the singer’s race or social status, but genuinely appreciating his music without being

blinded by the color of his skin. While much of Rose’s family remains stuck in the old ideology,

she shows it is possible to overlook race and enjoy the art being made. Rose, Goodman, Panish,

and more agree that no matter what your race, jazz can be for you. Were you to take a glance at

the list of music groups coming to State College this year, you would see events such as the

Drummers of Japan and National Orchestra of Cuba. Jazz ushered in an appreciation of the

music of diverse cultures, which survives even now. Music of different ethnicities has become

far more common. Rap music has ushered in a second wave of “black people music” that white

people have come to think is trendy or fun to listen to. While it has not become the prominent

music of culture like jazz once did, it has kept the flow of letting musicians express their views

on race and society just like many jazz lyrics spoke on civil rights.

Unfortunately, racism is still prevalent in today’s world. Jazz did not fix racism; it was

around for years before Jim Crow laws were officially abolished, and racism was practiced

toward the musicians for years following (and still is). Many musicians never saw a world where

they were permitted to play from their heart at every concert hall. It did, however, positively

affect the change from segregation of integration through drawing musicians together, fuelling

the Civil Rights Movement, and encouraging mutual enjoyment of the art form.

In previous centuries, art was not for everyone. Composers such as Mozart were hired as

court musicians or as teachers of young accomplished ladies. Concerts, operas, and balls were
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for the wealthy alone. The music we remember from those centuries wasn’t music everyone was

fortunate enough to hear. Jazz, however, became America’s music for a majority of America’s

populace. Rich or poor, black or white, old or young, this unique and alluring music drew in the

hearts and souls of the people. Music is about expressing humanity, and jazz allowed for all of

humanity to be involved. From the corners of streets to clubs to Carnegie Hall, jazz encourages

everyone to take part and enjoy art, as art is meant to be. So next time your friend invites you to a

concert, take the time out of your busy schedule and go. Tap your foot and reflect on how, no

matter what your position is, music still speaks to you, the same way music spoke to Ellington

when he said “The scope of music is immense and infinite” (Pierpont). Its potential to change the

world has no boundaries, just as it liberated so many from their racist ideals when they found

music is indeed for everyone.

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Works Cited

Farley, R.A. “Does La La Land Whitesplain Jazz?” Refinery 29, 21 Dec, 2016,
http://www.refinery29.com/2016/12/133792/la-la-land-race-issues-twitter-critique.
Accessed 2 Nov 2017.

Margolick, David. Strange Fruit: The Biography of a Song. HarperCollins, 2001.

Messenger, Bill. Elements of Jazz: From Cakewalk to Fusion. Great Courses, 1995.

Mitrany, David. “A Functional Approach to World Organization.” International Affairs p 350-

63.
Jul 1948

NPR Podcast. “Racism in Jazz.” National Public Radio, 10 Jan 1996.

Panish, Jon Seebart. The Color of Jazz: Race and Representation in Postwar American Culture.
University Press of Mississippi, 1997.

Phillip, Zola. “The Social Effects of Jazz.” The York Review. N.d.
https://www.york.cuny.edu/academics/writing-program/the-york-scholar-1/volume-6.1-
fall-2009/the-social-effects-of-jazz. Accessed 30 Oct 2017

Pierpont, Claudia R. “Black, Brown, and Beige: Duke Ellington’s music and race in America.”
The New Yorker, 17 May 2010. https://www.newyorker.com/magazine/2010/05/17/black-
brown-and-beige. Accessed 2 Nov 2017

Verity, Michael. "Jazz and the Civil Rights Movement." ThoughtCo, Mar. 3, 2017,
thoughtco.com/jazz-and-the-civil-rights-movement-2039542. Accessed 1 Nov 2017

Watson, Emma. Speech at event for HeForShe campaign. United Nations Headquarters, New
York, NY. 20 Sept 2014. http://www.unwomen.org/en/news/stories/2014/9/emma-
watson-gender-equality-is-your-issue-too. Accessed 3 Nov 2017

Youngren, William H. “Black and White Intertwined.” The Atlantic Monthly, Feb 1999, pp.
86-89