Developing an Understanding and Appreciation of Jazz

Miles Davis’s autobiography describes one man’s path toward artistic immortality as he becomes one of the best and most well known jazz musicians of all time. However, taking a look at the elements of Davis’s success reveals the persistence of African musical traditions within the genre, and their role in his success. Looking at the foundations of the genre, I now realize that I had a serious misunderstanding of jazz prior to taking this course. To me, jazz was was the background music for coffee shops, the filler in elevators, the soundtrack to a rainy day. My concept of the musical genre lacked all of the substance and foundation that this course has revealed, relying instead on a series of assumptions and vague ideas about its development. My biggest misconceptions were especially related to the historical origins of jazz, and to the spontaneity and improvisation of the genre as discussed in Miles Davis’s autobiography.

The only aspect of the development of jazz that I had any prior knowledge of was its roots in Harlem. The “Harlem Renaissance” is emphasized in high school course curriculum, and its often taught as the sole birthplace of the musical tradition. That assumption was immediately challenged in this course as we examined early jazz roots in African tradition, as well as its development in the United States beginning in New Orleans. It came as a surprise to me that cities like New Orleans and Chicago were so instrumental in the development of the genre when all I had been exposed to in the past was New York jazz, when in fact New York was just one of many steps in the formation of the musical style.

I also seriously underestimated the importance of improvisation in the jazz genre. To be honest, I gave little consideration to the form of the music I listened to, taking it at face value instead of recognizing the significance of the improvisational forms present. I’ve enjoyed the way this course has revealed the growth of improvisation within the jazz genre, beginning with the balance between discipline and improvisation present in African tradition and the Congo Square, all the way to Miles Davis’s band and the Kind of Blue album. Improvisation remained a persistent and essential element of modern jazz composition, with Davis going so far as to allow significant room for change and modification up until the moment of recording. He states, “I didn’t write out the music for Kind of Blue... I wanted a lot of spontaneity in the playing, just like I thought was in the interplay between those [African ballet] dancers and drummers” (Davis, The Autobiography, 234). Davis’s commitment to improvisation as an essential component of his music composition reflects a persistence of the African foundations of jazz over time.

Taking a course on the history of jazz has lent me an appreciation of the extensive traditions that brought about the genre, and of the cultural significance that the music has held over time. Jazz is no longer restricted to coffee shops and elevators in my mind, and as I write this last blog with Kind of Blue playing softly in the background I find myself grateful that I’ve been able to expand my music perspective and develop an appreciation for jazz.

Commented on Delia Gratta's blog.

Art & Community: San Juan Hill and Leimert Park

Before Thelonious Monk was known across the country as one of the greatest jazz musicians of all time, he was a young boy growing up in San Juan Hill. As his prestigious musical talent improved, Monk had to maneuver his way through serious racial violence and prejudice in his community to develop his rich musicality. His childhood surroundings influenced his professional career and musical style, as “the daily violence young people endured in San Juan Hill haunted Thelonious for many years to come” (Kelley, 18). As he got older, having seen and lived with the violent repercussions of racial tensions for years, this background lead him to develop a status as a “race rebel.” He was critical of the idea of black militancy, and refused to respond to racism with a more race conscious outlook. Instead, he worked toward the creation of a community that was brought together despite racial or class boundaries, sharing a common interest in music and art that facilitated the development of a more peaceful and bohemian community. By living a life of music and art, Monk introduced factors that transcended the black/white dichotomy that polarized and militarized members of the community, which allowed for a modern and tolerant oasis of musical culture.

The relationship between art and the communities of jazz musicians facilitates an intensely creative and warm social gathering. Much like Monk’s creation of an artistic community following an upbringing in San Juan Hill, the Leimert Park community also came together over creative expression and jazz in order to create a safer city. Just as the daily racial violence of San Juan Hill influenced Monk’s perspective, so too did the Leimert Park community following the Los Angeles riots and other civil rights era movements. Bound together by tragedy and a common interest in art, jazz facilitated a separate subculture for creative innovation, bringing together community members in an artistic social gathering that transformed the street scene. For example, in Leimert Park’s coffeehouse 5th Street Dick’s, people finally had a place to talk to each other and discuss the community, providing a form and place for people to get together and break down the barriers that would otherwise exist. Once a venue for conversation was created, people could discuss solutions to improve the liveability of the city, all while coming together over a celebration of artistic form.

Music and community build off of each other, each tied to the other in a dynamic and prolific relationship: as the community changes, so does the music, and as the music changes, the creative spaces where music is played influence the community. In his statement “Jazz is New York,” Monk describes the direct connection between musical form and the community of its origin. Just as Monk’s upbringing in San Juan Hill influenced his personal opinions and musical form, or as the community of Leimert Park could come together over jazz for discussion and catharsis, Jazz and New York could not be thought of as separate entities, but instead a mutually creative and productive combination of factors.

Commented on CJ Wilken’s blog.