Tag Archives: Louis Armstrong

The Ethical Question of being a ‘Jazz Ambassador’

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Jazz came out of enslaved Africans brought to America against their will, where a combination of many factors led to the creation of a particular music. African music became a single identity, since many were stripped of their previous and distinct African cultures.1 Jazz in Europe, then, could be thought of as a music out of its homeland.

After WWII, however, jazz flourished throughout Europe especially after many toured as ‘Jazz Ambassadors.’2 Louis Armstrong himself (shown the newspaper article below) faced a dilemma in the midst of the Cold War: Should he work for the US in making allies with the Soviet Union? Should he be proud of the US, a country which did unbelievable harm to his people? Armstrong struggled with this publicly and likely because of it, never went to tour Europe under the US State Department.3 However, others like him did.4 

Duke Ellington was one of those who did go to Europe in 1963 under the State Department. The attached recording5
shows Alice Babs, a Swedish singer, soloing during one of  Ellington’s shows. Shows like this were what the US wanted other countries to see: Equality and desegregation, especially when many different types of segregation were in play in areas like East Germany at the time. Even in an era of segregation, the US wanted to show (perhaps falsely) that they were more or less an ideal society compared to Russia and other Eastern European countries. Because of this show and many more like this, Europe got a biased view of racial identity and music in the US, and it is possibly a reason that jazz flourished in Europe after World War II.6

It’s particularly interesting that jazz was formed through a certain set of very sad and unique circumstances, yet, it was never broadcasted in that way. When brought over to a land where there still are acts of racist inequalities, although perhaps less talked about, an interesting case is set up to analyze the music’s development. The spread of jazz under US government support is another question for thought in a world of complexities.

1. Jones, Leroy. “Blues People.” William Morrow and Company, New York. 1963

2. Beliar, Felix. “United States has a Secret Weapon–Jazz”. The New York Times https://timesmachine.nytimes.com/timesmachine/1955/11/06/93808557.pdf?pdf_redirect=true&ip=0

3. “Sathmo Tells us off Ike, US! Armstrong Blasts Bias in America”. Pittsburgh Courier, 28 September, 1957

4.  Jenks, J.P. Jazz dIplomacy: Then and Now. US Department of State. 30 April 2021 https://www.state.gov/dipnote-u-s-department-of-state-official-blog/jazz-diplomacy-then-and-now#:~:text=Jazz%20Ambassador%20heroes%20included%20Quincy,just%20to%20name%20a%20few.

5 PJJ. “Take it Easy – ALice Babs – Duke Ellington – 1963”, Youtube, 2:45 https://www.youtube.com/watch?v=mXm1SawjacI

6.  Liebman, David. “Europe and its Role in Jazz” https://davidliebman.com/home/ed_articles/europe-and-its-role-in-jazz/

William Grant Still for a White Audience

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On July 23, 1936, William Grant Still made his debut in Los Angeles conducting at the Hollywood Bowl. The article I found on this, written by Lawrence LaMar, describes how “an outstanding history making triumph as been achieved.” This performance was only a couple of years after Still won the Guggenheim Fellowship award for “Land of Romance” and “Afro-Symphony Orchestra.” Our class has been looking at the impacts of black nationalism within “American” music and how it has shaped today’s music. This discussion couldn’t be held without William Grant Still and his “Afro-American Symphony.” Even during the 1930’s, the public knew of its impact and what was taking shape, and how it could change history in music. Out of the 20,000 seats at the Hollywood Bowl, 12,000 of them were filled. This sounded like an average amount of attenders based off how the author was describing it. However,

“about 250 of the 12,000 people assembled in the Hollywood Bowl that seats 20,000 were of the Race. This number, although small in comparison to the whole, represents an increase over past regular season bowl attendance of Negroes.”

 

It is interesting to read how 250 might not have been a large number of people “in comparison to the whole” but that it shows that persons of color are increasing in numbers for attending the bowl.
This article views William Grant Still and thus his pieces as valuably important for American and American music. The writer states, “Each of the gripping symphonies that conveyed the feeling of the Race American toward the land of his folklore was marvelously rendered by the great orchestra that responded readily under the left guidance of its first Race conductor.” I found that this article showed some of the feelings that the BIPOC community was feeling towards Still and his compositions. The article can be used to shed light on this aspect as well as the ideas of how that ties into the impact on American music.
Another interesting aspect of this article is the literal, physical context around it. Surrounding this column in the Chicago Defender are many more negative articles about “members of race.” Titles such as “State Picnic To Be Feature Of Kentucky Hanging” stand out instantly to the viewer upon opening this paper. The article on Still is captivatingly uplifting and hopeful right next to the article that paints such a horrific image for the BIPOC community.
Another aspect of the context around the article on Still is the emphasis on music that this community holds. Simply turning the page of this newspaper brings you to BOLD headlines you can view in the following photos.
Citations:
LaMAR, LAWRENCE F. “WM. GRANT STILL CONDUCTS SYMPHONY AT LOS ANGELES: 20,000 HEAR WORLD-FAMED COMPOSER IN DEBUT AT HOLLYWOOD BOWL; APPLAUSE DEAFENING.” The Chicago Defender (National Edition) (1921-1967), Aug 01, 1936. https://www.proquest.com/historical-newspapers/wm-grant-still-conducts-symphony-at-los-angeles/docview/492575722/se-2?accountid=351.

Do you know any black, contemporary folk artists?

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Contemporary folk is a broad genre, stretching out into indie folk, indie rock, americana, you name it. However, when I think of this genre and the especially famous artists that dominate it, I can’t think of any black artists or bands. There might be a couple Asian American artists, but the genre comes across as very white. Take the Avett Brothers, for instance: one member was born in South Korea, and the rest are white. And their audience is even whiter.

Described as a folk rock band, the Avett Brothers are seen here, playing guitars and singing in front of a picture of a tractor, which are common aspects of country music. Country and folk have similar sounds, so it would make sense for the folk of today to have adapted from the country of days gone by. If one listens to “Monterey” by the Milk Carton Kids, an indie folk duo, it’s possible to hear the calming guitar and harmony influences of songs like “Driftwood” by the talented Merle Haggard, who claims influence from the man deemed as the first famous singer in the genre, Jimmie Rodgers.1 People could assume folk and country are white today because it’s always been that way. However, that is not the truth.

Even Jimmie Rodgers mixed his voice and instrument with the beyond legendary Louis Armstrong and his wife Lil Hardin Armstrong, singing “Blue Yodel #9”, but it wasn’t as popular.2 When John and Ruby Lomax traveled around the South in 1939, they stopped in a jail and recorded Roger “Burn Down” Garnett singing “Eaton Clan”.3 He played guitar and sang, echoing previous country and folk artists, but he did not receive much recognition beyond the recordings conducted by the Lomaxes, as he was in prison. Yet, other folk artists, sometime between 1938 and 1950, were performing at the Mountain Music Festival, and they were white.

Five musicians and a singer performing at the Mountain Music Festival, Asheville, North Carolina. Between 1938 and 1950. Lomax Collection, Library of Congress, Washington, D.C.

So if country and folk artists have always been black and white, how come white artists are the ones to be recognized? Jeffrey T. Manuel explains the phenomenon as having been created by the music industry making a conscious effort to attribute the sound of folk and country to the social group of the white, Southern middle class. Rhiannon Giddens backs this up with the fact:

Occasionally black string bands were put on the Hillbilly label but with their name obscured, such as when Vocalion Records released a set of tunes under “The Tennessee Chocolate Drops” for their race records and the exact same set of tunes under “The Tennessee Trio” for the Hillbilly division. It rarely happened the other way around… (10)

The music industry made sure to keep race records separate. If music crossed color lines, segregation would be disregarded. Therefore, white artists rose to the top, and black artists faded into the background.

Although erasure of black artists has been a real issue for the longest time, music can’t help but be heard by anyone and everyone. The influences of country and folk music, black and white artists, continue to spread. Now, I can’t think of any famous, black, contemporary folk artists at the top of my head, but perhaps we should be able to think of some. Because black americana is real too.

1 Manuel, Jeffrey T. “The Sound of the Plain White Folk? Creating Country Music’s “Social Origins”.” In Popular Music and Society, 417-431. City: Taylor & Francis Group, 2008.

Cooking with Crosby

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Learned in the traditional Classical style, Will Marion Cook “brought the skills of a classically trained musician to an African-American musical theater” (Crawford, 534). Cook heavily inspired and popularized black theater productions, and made a name for himself by combining grand opera traditions with black folk culture.

Will Marion Cook, a heavy influencer in black theater

“I’m Coming Virginia” was written in 1926 by Donald Heywood with lyrics by Cook. The song has been adapted numerous times over the years and is now a staple in dixie-land repertoire. One recording of this song appears on an album by Bing Crosby and Louis Armstrong called “Havin Fun”. Recorded from 1949-1951, this two hour album features songs by Crosby and Armstrong recorded from Crosby’s radio program. What I find most intriguing is how the theatrical style of the album echoes that of Will Marion Cook’s original theatrical music and productions. 

Louis Armstrong and Bing Crosby, ca. 1950

The first track “Where the Blue of the Night” is all banter between the musicians as they settle in for the night. The first track helps to set the scene for what one can imagine was a program filled with laughter in and out of the music. I think it is a bit of stretch to say that Crosby and Armstrong were performing in this style as an homage to Cook, but I do think that Cook’s works heavily influenced the looser performance styles heard on this album. Crosby and Armstrong were close friends outside of the performance hall, and they both recognized the value created in sharing their friendship with others. Like Cook, Crosby and Armstrong did away with a traditional form of musical presentation. The constant banter mingled with the audience laughter adds a level of genuineness to the album, while the talent of singing and playing by Crosby and Armstrong respectively grounds the album in legitimacy.

As mentioned earlier, Will Marion Cook had a huge influence on the Broadway performance styles of his time. Crosby and Armstrong experienced similar success and influence on their industries. While Cook did not directly influence the duo, parallels in the theatrical performance style are evident. One thing that they also have in common? They were havin’ fun.

Works Cited

Crawford, Richard. America’s Musical Life: A History. New York: W.W. Norton & Company, Inc., 2001.

Dryden, Ken. “Havin’ Fun” AllMusic, accessed October 9, 2017.https://www.allmusic.com/album/havin-fun-2-cd-mw0000584963

Havin’ Fun. Recorded June 20, 2007. Storyville, 2007, Streaming Audio. Accessed October 9, 2017. http://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C1023638.

Armstrong’s LR9

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Us Americans love our musical stars. In fact, many people idolize them so much so that what they say and do can have a significant impact. If Taylor Swift is seen wearing a certain dress one week, the next week it is sold out from every Forever 21 in the nation.  Likewise, if Adam Levine gets a new hairstyle, every other young adult male will be making an appointment to their local Great Clips to rock the new do. Okay, so maybe shifting one’s physical appearance isn’t what you would call significant, but what about political opinions? Many artists choose not to share their views in fear of influencing their fans, but that certainly doesn’t stop some musicians from offering up endorsements. In the most recent presidential elections, music stars such as Rodney Atkins and the Zac Brown Band sent their support to Republican candidate Mitt Romney in the form of new songs and live performances.1 Musical celebrities hold a fair amount of clout in society and, for some, are not afraid to use it.

Louis Armstrong is still a beloved American musical figure for his soulful trumpet playing and unique blues and jazz sound who was also lucky enough to bridge the color gap with his music.  Adored by both white and black audience members, Armstrong had it all as a performer of the era, and he was able to shake the world with his influence.

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Little Rock Nine – LIFE.com

After the Supreme Court’s ruling that segregated schools was unconstitutional in the 1954  court case Brown vs. Board of Education, nine african-american students (later dubbed “The Little Rock Nine”) were refused entry in to the previously white Central High School in Little Rock, AK by the governor at the time, Orville Faubus. It wasn’t until the involvement of President Eisenhower did the students finally overcome their first of many hurdles by physically entering the building.2  The events surrounding the Little Rock Nine sparked media attention across the nation, but it not only reached American citizens everywhere, but also a number of famous celebrities including Louis Armstrong.

Screen Shot 2015-04-06 at 3.49.42 PMArmstrong was furious at the discrimination faced by the Little Rock Nine and did not hold back.  In what was described as having the “explosive effect of an H-bomb”3, called out both Governor Faubus and President Eisenhower for their poor leadership. Armstrong was also quick to call off his government-sponsored tour to Russia, stating that these instances have adverse affects on U.S. relations with other countries and that when he was asked “What is wrong with you country”, he wouldn’t know what to say.4  Louis Armstrong stood by his beliefs and with his national image, was able to cause a noticeable impact. Some believe that it was Armstrong’s “verbal explosives” that expedited the whole process.5  Even if this is not the case, however, he did spark a bit of a push back among his peers. An article published in the Chicago Defender, a black newspaper, displayed that many many other african-american celebrities agreed with Armstrong’s thoughts. Singer Lena Horne and baseball legend Jackie Robinson are just two of the multiple black stars that took a stand with Louis Armstrong to show the power of what a little clout can do.6

References:

1 Lee, Kristen. “Country Music’s Biggest Stars Singing Mitt Praises  .” NY Daily News. August 27, 2012. Accessed April 6, 2015.

2 Wallace, Vaughn. “Little Rock Nine: Photos of a Civil Rights Triumph in Arkansas, 1957 | LIFE | TIME.com.” LIFE. 2014. Accessed April 6, 2015.

3 “Ole ‘Satchmo’ Shook the World.” The Chicago Defender (National Edition) (1921-1967), Oct 05, 1957. http://search.proquest.com/docview/492966958?accountid=351.

4 “Satch Blows Up Over Ark. Crisis.” Daily Defender (Daily Edition) (1956-1960), Sep 19, 1957. http://search.proquest.com/docview/493670599?accountid=351.

5 “Ole ‘Satchmo’ Shook the World.” The Chicago Defender (National Edition) (1921-1967), Oct 05, 1957. http://search.proquest.com/docview/492966958?accountid=351.

6 “Back Satchmo’s Blasts at Ike, Gov. Faubus.” Daily Defender (Daily Edition) (1956-1960), Sep 24, 1957. http://search.proquest.com/docview/493577546?accountid=351.