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WSWS : Correspondence

Two questions about jazz history

Posted 28 May 1998

To John Andrews:

I found your book review, "What bebop meant to jazz history" very interesting. I don't understand, however, how you have arrived at the conclusion that, "The development of bebop, in the aftermath of World War Two, signified a certain optimism and hope about the ability to break down racial barriers." How was this expressed? Do you have any evidence of this? I think that this is a somewhat mechanical observation.

Also, toward the end of your article you state the following: "Music is by its nature the most abstract of all art forms, yet its allure lies in its ability to concretize the most fundamental human emotions." But how does music concretize the most fundamental human emotions? I never thought of music in such a way.

Yours faithfully,

IR
22 May 1998

Dear IR:

Thank you for your complementary note on the review of "The Birth of Bebop." The questions you raise demonstrate that it is much easier for the reviewer sometimes to write a thought down than to justify or explain it. While the questions are valid, I think nevertheless that the review is correct on both the points you raise.

First, you wrote:

I don't understand, however, how you have arrived at the conclusion that, "The development of bebop, in the aftermath of World War Two, signified a certain optimism and hope about the ability to break down racial barriers." How was this expressed? Do you have any evidence of this? I think that this is a somewhat mechanical observation.

I'm not sure precisely what you mean by "mechanical." Do you mean that it is not necessarily legitimate to draw connections between the birth of bebop and changes in social attitudes toward racial issues that happened at the same time? This series of reviews is intended, in part, as a polemic against those who contend that jazz is essentially a "black" or "African-American" music form which, therefore, "belongs" to black people. This particular observation was directed against the point of view, most crudely expressed by LeRoy Jones (now known as Amiri Bakara) and the late Frank Kofsky, whose works are published by Pathfinder Press, that bebop was the black ghetto insider's expression of disgust and hatred against "Ofay" white America. Our position is that jazz music, as a profound high art form, expresses universal truths that far supercede the narrow ethnic and nationalist interests on which the nationalists base their arguments.

You ask about "evidence." The development of bebop did coincide with a rising social movement against racial discrimination and segregation which, although underway during the 1930's, was given a huge boost by World War II. The war was justified as a fight against Fascism, yet much of the United States still practiced a form of apartheid. Hundred of thousands of black people entered the military or migrated to industrialized urban centers to work jobs closed to them by discrimination and segregation just years before, all occurring against the backdrop of the formation of the CIO. The old order could not continue as before. The second half of the 1940's saw the integration of the US military and Major League Baseball, among other institutions.

Music is a great equalizer, and musicians--white as well as black--were in the forefront of those publicly rejecting the prevailing racial stereotypes. Bebop's leading figure, Charlie Parker, was widely noted for his color-blind approach to music and life. His bands were almost always integrated, which led to the amusing incident when, touring the Jim Crow South, Parker had his Jewish trumpet player, Red Rodney, masquerade as "Albino Red," singing the blues every night to prove his ethnicity. Parker was known for his ability to socialize among people of all races and nationalities, and two of his four wives were white. He was a great admirer of modern classical music, especially Bartok and Stravinsky.

At his first recording session as a leader during November 1945, Parker recorded a simple blues with an extraordinary improvised solo, and called it "Now's the Time." While I know of no instance where Parker himself explained what he meant by this title, it is usually construed as a declaration against racism.

You ask "How was this expressed?" What can I say, but in the music itself. When I listen to bop, I hear hope and confidence in the future, as well as the joy of living. That is why I like listening to it. What about you?

Second, you wrote:

Toward the end of your article you state the following: "Music is by its nature the most abstract of all art forms, yet its allure lies in its ability to concretize the most fundamental human emotions." But how does music concretize the most fundamental human emotions? I never thought of music in such a way.

Let me explain the first half of my statement before addressing your question about the second half. Music is abstract because, unlike visual arts and literature, it cannot, generally speaking, be representational. A painting of a young girl with a sad face may convey the emotion of sadness through a more or less concrete representation of a living phenomenon. On the other hand, we've all heard laments and slow blues which trigger this same sort of emotion, but with no obvious reference to any natural objects. The feelings are conveyed in a much more abstract form. Despite this abstract character, I think most people would agree that music is unparalleled in its ability to communicate feelings. Music has been used throughout the centuries precisely for its ability to concretize and convey different emotions--joy, love, bravery, melancholy. It has even proved useful in marching men to their death in battle. How does music do this? Your question is an excellent one, and I hope to work on it as this series develops.

With best regards,

John Andrews
22 May 1998

See Also:
What bebop meant to jazz history
[22 May 1998]