Music and politics today
Below is a MRR and PLR article in category Arts Entertainment -> subcategory Music.
Music and Politics Today?!
Interview with Ethnomusicologist and Saxophonist Jérôme Camal
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Jérôme Camal, a native of France, is an assistant professor at Washington University in St. Louis, specializing in jazz studies, musicology, and ethnomusicology. He's also an accomplished saxophonist who thrives on live performances, jam sessions, and practical music teaching, over purely academic pursuits.
Jérôme hosts a captivating section on his homepage dedicated to analyzing the political jazz of the 1960s. His observations provide a fresh perspective by revisiting significant yet often overlooked figures like Frank Kofsky and Amiri Baraka, offering them rightful recognition in the jazz narrative.
Camal critiques and appreciates these figures, arguing that their powerful ideas about jazz still hold allure today. Serious, philologically informed studies on jazz are gaining unprecedented recognition, leading to new, innovative interpretations. For instance, Paul Gilroy’s work, "The Black Atlantic," offers a sweeping historical-political-geographical perspective on black studies.
This interview, conducted via email, delves into Camal’s unique insights on Coltrane and Sonny Rollins, concluding with a non-traditional list of politically charged jazz pieces.
Franco Bergoglio: In your writings about jazz and the civil rights movement, you often mention Frank Kofsky. After studying his work extensively, how do you view his approach? Did he inject too much ideology, or did he accurately depict the era he wrote about?
Jérôme Camal: Kofsky is a fascinating figure. His writings are so steeped in ideology that they invite critical examination. Take, for example, his interview with Coltrane, where he attempts to align Coltrane with his political views but doesn't quite succeed (Read the interview in English: [link]). Despite this, Kofsky effectively highlights critical aspects, such as the economic challenges faced by black musicians. His book, "Black Nationalism in Music," is best used as a primary source reflecting the ideology of some avant-garde musicians.
FB: I see Amiri Baraka as more of a sociologist, while Kofsky is a political researcher of jazz. Was Kofsky attempting to apply Marxist analysis to his studies?
JC: Absolutely, but both were driven by strong political motivations. Baraka, in "Blues People," examines African-American culture as both a product of and a reaction to slavery, linking it to Africa. His focus seems influenced by Marxism and existentialism. He criticizes commercially successful jazz and blues for being corrupted by white mainstream culture, suggesting bebop reaffirms black roots against white dominance. Ralph Ellison, in contrast, viewed the blues as a celebration of African-American art achievements, emphasizing representation and community.
FB: How do you interpret John Coltrane’s musical journey? His interviews, like the one you mentioned, show his reserved nature, offering humble yet ambiguous insights into his legacy.
JC: Analyzing Coltrane’s work requires viewing his music from two angles: the political message he intended and how others have politically interpreted it. Coltrane seemed to communicate a universal message of integration through his music, drawing parallels with MLK’s admiration for Gandhi’s non-violence philosophy. While the civil rights movement’s radical branches embraced Coltrane as a musical spokesperson, he himself expressed a broader humanistic perspective. As Craig Werner notes, both Coltrane and Malcolm X’s messages were appropriated by radicals for their own agendas, regardless of their intentions.
FB: Do you see a connection between the New Left and jazz? If so, what is it?
JC: That’s a vast question, possibly deserving more in-depth exploration. I haven’t extensively examined the New Left’s link to jazz, but it’s an intriguing subject.
FB: Can you list some political jazz pieces that you consider essential, with brief comments on each?
JC: My first choice is perhaps obvious: "We Insist! Freedom Now Suite" (Candid 1961). This recording is a prime example of music wielding political power. It highlights artists of color reclaiming their narrative, spanning from slavery to the fight for civil rights both in America and Africa. As Scott Saul and Ingrid Monson observe, the suite’s structuring reflects its historical roots in slavery. Musically, it embraces "Black Atlantic," blending American jazz with Cuban music and African percussion, showcasing cultural exchange. It’s also a masterful musical achievement with advanced composition techniques.
A lesser-known example is Sonny Rollins’ 1956 recording, "The House I Live In" for Prestige. This conventional bop piece ends with "Lift Every Voice and Sing," a spiritual considered an unofficial African-American anthem. This inclusion arose from Rollins’ appreciation for the song’s social message, offering a counterpoint to Frank Sinatra’s version. It’s striking that this piece wasn’t immediately released, underscoring its often-ignored significance.
For a comprehensive list, we’d include Mingus’ "Haitian Fight Song" and "Fables of Faubus," Art Blakey’s "Freedom Rider," Coltrane’s "Alabama," Archie Shepp’s Newport Festival performance, and Jackie McLean’s "Appointment in Ghana." Billie Holiday’s "Strange Fruit" is another vital piece, though the list could go on indefinitely.
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