Reflecting on BLST14

          Prior to enrolling in this course, my jazz knowledge was extremely limited. I knew a few basic facts about the genre, but the historical background of it was something I largely had no idea about. For example, I had some idea that jazz rose to fame from New Orleans and then spread out from there, but I did not realize how large a role race played in the genre's formation from its beginnings at Storyville to its later developments in Chicago and New York. Although I learned many things, to me, the most surprising aspect of the course was the extent to which the innovation of black musicians was marginalized as white musicians and more generally, white society appropriated an inherently black art form.

          In reality, white appropriation of black innovation has been widespread and unrelenting throughout jazz's history. Perhaps better than anyone else, prominent black jazz figures like Louis Armstrong and Miles Davis truly understand the pervasive nature of this pattern. In his autobiography, Davis expresses his frustration when he says, “I hate how white people always try to take credit for something after they discover it—like it wasn't happening before they found out about it” (Miles 44). Speaking in relation to New York's largely segregated nightclubs and music venues, he goes on to say, “the musicians and the people who really loved and respected bebop and the truth know that the real thing happened up in Harlem, at Minton's” (Miles 45). Undoubtedly, these words make clear the gaping disparity between a black art form and white representations of that art form.

          Although Davis's words are effective in shedding light on the frustration experienced by black musicians, the extent of appropriation can be traced back much further to the genre's beginnings in New Orleans. Take for instance, the Original Dixieland Jazz band; although made up solely of white musicians, this group “was the first to make commercial recordings” of jazz music, a genre that even at this early stage, was “distinctly African American” (Gioia 37). Similarly, black jazz innovation in Chicago was exploited in a rather explicit sense via the Plantation System in place at many of the city's nightclubs (Travis). In later years, as it was forced to adapt to the preferences of white audiences, jazz music was, in a sense watered-down with the development of the “deeply populist” sub-genre known as swing (Gioia 133). Although these are only a few of many examples, addressing them side by side leads one to understand that appropriation has existed throughout time and across geographical boundaries.

          At any rate, I have learned much more about jazz over the last few months than I ever thought I would know. I believe I have gained a strong understanding of jazz's musical and historical developments throughout the twentieth century, one that has fostered within me a growing appreciation for the genre and more generally, for artistic contributions made by African Americans. In my opinion, this has been the most crucial aspect of the class. Moving forward, I plan to continue researching the contributions to mainstream society made by black cultural innovators, a field that I believe mainstream society often glazes over. 

Community and Art at San Juan Hill and Leimert Park

          For musicians of any genre, most would agree that environment shapes production. The physical and social factors surrounding daily life are undoubtedly the principle forces that shape cultural expression. The same can be said in regards to San Juan Hill and its lasting impression on the musical innovation of Thelonious Monk, one of jazz's most prominent names in the modern age. Despite racial tension fueled by high levels of diversity, blacks at San Juan Hill were able to come together through music. Thanks in large part to its religious prevalence and the economic opportunities it presented, music facilitated unity. The blending of cultural traditions made possible by this unity in turn, exerted their own influence on the artistic expression of musicians like Monk. In this environment, the relationship between art and community becomes clear: artistic expression is empowered by a sense of community, and conversely, community is strengthened by artistic expression.

          Initially, San Juan Hill embodied the racial tension prevalent in the United States during the period. Economic division between races was clear, living conditions for blacks were predominately poor, and race-fueled violence was intense and ongoing (Kelley 16-17). Racism however, extended beyond interactions between white and black to encompass relationships among blacks from different backgrounds. Specifically, a significant portion of the black population, “about twenty percent” hailed from the British West Indies (Kelley 18). This form of racial tension sheds light on the potentially negative effects that diversity can have on the well-being of a community.

          Despite racial tensions, the black community found common strength in music and religion, two forces that facilitated increasing solidarity. Boasting the largest number of black musicians in New York, jazz music flourished in San Juan Hill. Largely a result of the economic opportunities it presented, one resident of the Phipps tenements recalled “hearing music constantly in the hallways and in the streets” (Kelley 19). In this sense, common artistic expression contributed to solidarity. Similarly, many members of the black community found that Christianity and gospel music helped foster solidarity, ultimately contributing to a “strong sense of community” (Kelley 20). For Thelonious, this idea rings true when, in his twenties, he “became stooped in the sacred music of the black Baptist tradition” (Kelley 27). In this sense, music and religion inspired artistic innovation while bringing the community together at the same time. At any rate, these two examples prove that art and community can be mutually facilitating.

          As time went on, cultural blending of West Indians and Southerners became the norm. In this environment, “virtually every kid became a kind of cultural hybrid” (Kelley 23). Thelonious was no exception; in this more communal setting, he “absorbed Caribbean music” (Kelley 23). As the positive aspects of diversity became clear, block parties offered another means of cultural exchange, one that Monk became very familiar with (Kelley). After some exposure, Thelonious came to the realization that jazz music was the genre for him. Anything he could not pick up by way of formal lessons, he learned from the jazz musicians in his neighborhood (Kelley 26). The urban environment of San Juan Hill ultimately lent his music the quality of “a pure Negro sound” (Kelley 232). In this sense, Monk's work drew significant influence from the environment of San Juan Hill and the musicians present there. As a representation of the blending of different cultural traditions and preferences, the relationship between Monk and his environment exemplifies the idea that “Jazz is New York.”

          Ultimately, the relationship between jazz and San Juan Hill is analogous to the relationship between jazz and Leimert Park. In the same way that music brought people together in San Juan Hill, it brought them together in Leimert Park. Similarly, in the same way that community fostered artistic expression in Leimert Park, it helped foster it at San Juan Hill. In other words, artistic expression in each case, is strengthened by a sense of community, and in turn, the community is strengthened by artistic expression. Finally, I believe the mutually facilitating nature of this relationship can be extended to describe the one between individual musicians and their environments as their music influences and is influenced by their respective environments.

commented on: Katherine Whitlock