See 1 Yong Feng See Prof.

Guthrie Ramsey MUSC 035 6 December 2013 Listening to the Blues in Art: Relationships Between Jazz Musicians and Artists in the Mid-20th Century The introduction of jazz in the 20th century coincided with a great shift in the visual arts. Beginning with Matisses brightly colored Fauvist paintings at the early 1900s, painters, sculptors and other artists did something revolutionary in the art world. They started to break away from the previous conventions of representational art and realism art that depicted some aspect of reality, whether a person, event, or landscape and moved toward the abstract, creating compositions of pure color and shape, for example in the lines and rectangles of Piet Mondrians art. Music, on the other hand, has always been abstract, as attested to by the artist Wassily Kandinsky, who titled his paintings compositions and improvisations to allude to his desire for pure abstraction in his art (Figure 1). Most music does not strive to imitate natural sounds that are found in the real world, and serious music is often purely instrumental even if it might evoke certain feelings and moods (Walton 351). As jazz became the major new music form of the modern era, many artists responded to the new ideas and perspectives it gave and subsequently expressed them in their own art. These include the use of syncopation and irregular rhythms, dissonant and complex harmonies, the reworking of popular tunes into completely different compositions, the emphasis on improvisation and responding to the music in real time, the image of the musician as an artistic genius, and a deep urge to

See 2 experiment and push the boundaries of convention. This paper will attempt to examine such relationships between jazz and abstract art in the United States, with a focus on the mid 20th century, when jazz started to become recognized as a serious art form and the New York School of artists were bringing their brand of abstract expressionism to the global art spotlight. Although many comparisons have been made between the work of specific artists and the music that inspired them, much more analysis can be done by considering the social and cultural contexts of both artist and musician in order to understand how each responded to the other. This paper will begin by looking at the common formal elements between jazz and art to set the tools for comparison. Next, a few different approaches of relating jazz and art are summarized and compared. Lastly, I will attempt to combine these differing approaches and discover the implications of considering jazz through its relationship with art.

BUILDING BLOCKS The first fundamental difference between a piece of music and a painting or sculpture is the dimension of time. Except perhaps for highly repetitive pieces, one can never grasp the entirety of a piece of music in a shorter amount of time than its full played length. In fact, the listener is not offered any choice on how they receive the music: there is a defined beginning, middle and end and you cannot listen to it in any other way. On the other hand, visual art hits the viewer instantly in a single glance, when the entire piece fits inside their angle of view. The viewer might spend a few minutes moving closer to inspect the details or walk around a three dimensional work to see how its appearance changes across different angles, but the piece remains static in time. In addition, viewers

See 3 can opt to follow a painting from left to right, top to bottom, close-up to its entirety, or any other route they may prefer. This presents a challenge for artists who try and depict time-based elements from music into their art. The elements of a piece of music also are rather different from that of art. While music is made up of melody, rhythm, harmony, timbre, form and texture, art is often described using line, shape, space, color, tone, and texture. Some of these can lend themselves more easily to equivalence; for example, timbres are often described as bright, dark, warm or harsh, and the same adjectives can be applied to light and dark tones in an artwork. Others might require some combination of multiple elements: the lines, colors, shapes and textures in Pablo Picassos The Three Musicians (Figure 2) that combine into a uniform whole could be an analog for the rich polyphonic texture in Jelly Roll Mortons music, in the sense that each picture element or melody line is distinct and unique, yet can also be perceived together. Other elements of music such as harmony and rhythm can loosely describe how the elements of art are arranged together in a piece of work, as seen in Mondrians Broadway Boogie Woogie (Figure 3). Here, the syncopated rhythm of the swing music that Mondrian adored is referenced in the multiple squares that align with each other in certain lines and are misaligned in others, making the painting slightly jittery and dynamic. The even distribution of large shapes with smaller ones, and the brighter blues and reds with the duller grey creates a balance that is approximate but not completely symmetrical, referencing how jazz musicians moved away from the standard stable chords of Western classical music to more dissonant tones. Mondrian was a keen observer of jazz in relation to his goal to create a pure plastic art that was completely non-representational, which he admired in jazz: Jazz, above all,

See 4 creates the bar's open rhythm. It annihilatesThis frees rhythm from form and from so much that is form without ever being recognized as such. (Mondrian, 221). Of course, to link every single element in a piece of music to an element in jazz and see them as equivalents would be a huge oversimplification. Comparing these elements can help draw approximate relations and allow us to categorize art and music into various styles and then compare the ideas, theories and concepts that they embody, but an objective one-to-one relation is not possible, and would be highly inconsistent due to a lack of clear ways to measure things like the sense of space in a piece of music, or the melody that a sculpture invokes.

SEEING JAZZ: MULTIPLE PERSPECTIVES In order to form a complete picture of these artist-musician relationships, it is useful to conduct a review of existing approaches to the topic. The first part of this section focuses on modernism and abstract expressionism as indicative of a new art that represented the spirit of America and of jazz, while the second turns to issues of race and culture, in terms of how various artists chose to represent them, as well as how they affected power structures within the art and music worlds. This distinction does not mean to classify each artists work as distinctly black or not; rather, the artists were chosen to suggest different answers to the two major questions of my thesis: How does abstraction in art mirror the aesthetic qualities of jazz and what does it signify? How does art inspired by jazz address issues of race and history, and how do they affect it in turn?

An Abstract Art. Alfred Appel Jr., an English scholar whose book Jazz Modernism won the 2003 American Society of Composers, Authors and Publishers (ASCAP) Deems

See 5 Taylor Award for outstanding coverage of music, is perhaps a good indication of the perspective of the current music profession. He uses the term jazz modernism to refer to musicians who have drawn inspiration from the vernacular and transformed it into something new, while still remaining accessible to the mainstream. Threading multiple stories and artworks, songs and photos, he aims to establish their place of these musicians within the canon of modernism in the arts (Appel 7-14). Appels selection of jazz musicians starts with Louis Armstrong and ends !"#$ Charlie Parker, whom he considers to be the end point of accessibility in jazz. His comparisons with other individuals in the modernist arts largely feature Pablo Picasso, Henri Matisse, Fernand Lger, Alexander Calder, Constantin Brancusi and James Joyce most of whom are European and none of which are African American. This is problematic especially in his treatment of race, where he argues that jazz should be thought of as multicultural instead of race-based, citing examples of how the cornetist Bix Beiderbecke was the first major white soloist to develop independent of black sources[and] influenced countless black musicians, especially the tenor saxophonist Lester Young and the subsequent cool school of jazz, black and white (48). Even if one were to ignore the contentious nature of this statement, Appels subsequent comparison of the sculptor Brancusis internalization of primitivism in his art with Charlie Parkers quotes of the New Orleans composition High Society in his Koko (1945) lacks consideration of how a white artist quoting from an African source is very much different from having a black musician quoting from earlier black music (49 - 52). The fact that no black artist is referenced in the context of this argument makes it hollow, and is a warning that any comparison solely

See 6 based on aesthetic theory and European aesthetic conventions will fail to give an accurate picture. Donna Cassidy, a professor of Art History at the University of Southern Maine, similarly examines the relationship between jazz and American modernist painters to distill their commonalities in defining an American art (Cassidy 4-5). She describes how jazz is associated with both the primitive as well as the new machine age, due to its revolt against convention and the destruction of World War I (76-77). While European artists flocked to America to depict the modern city, of which jazz was a symbol of, the intellectuals of the Harlem Renaissance were claiming it as one of the few truly American cultural products and the fertile ground from which a new American art would spring from. J.A. Rogers described in an article in the New Negro: jazz has absorbed the national spirit, that tremendous spirit of go, the nervousness, lack of conventionality and boisterous good-nature characteristic of the American, white or black (qtd. in Cassidy 80). Cassidy presents the paintings of the American artists Arthur Dove (1880-1956) and Stuart Davis (1892-1964) as examples of this new kind of art. Doves Improvision [sic] (Figure 4) echoes Kandinsky, but Dove explicitly refers to jazz through reducing movement to a line of one dimension, like a sound wave. Through this, Dove aimed to capture the spirit of America in his own words, inventiveness, restlessness, speed, change without making any symbolic references to its buildings or machines; that is, expressing through abstract means alone like the jazz musicians he admired (qtd. in Cassidy 90). On the other hand, Stuart Davis started his career with paintings of black musicians in the Realist tradition, but later on removed these references, depicting jazz in its sanitized and commodified form (104). This raises the question of whether

See 7 abstraction in art prevents issues of race and culture from surfacing due to the lack of visual association. Although Davis Swing Landscape (Figure 5) successfully captures the pure driving forward momentum of swing and the freedom he thought it represented, it is an interpretation that might be more suited to the concert hall world of George Gershwin where he presented his reworked versions of jazz separate from their contexts, rather than the Harlem bars and clubs of jazzs origin. The New York School of the 1940s and 1950s took abstract art to yet another level, creating pieces that had no background or foreground and where paint was applied all over the canvas in a seemingly random manner, forgoing any attempt to emphasize one part of the painting over another, or to create a sense of three-dimensionality. The artists of the New York School turned to both Native Americans and Africans for inspiration, and Jackson Pollock (1912-1956) was influenced by both the Hopi and Navajo Native American tribes in his drip paintings (Rampley 85-86). From them he formed a commitment to improvisation and spontaneity that is best exemplified in his action paintings, created by dripping paint in sweeping motions onto a canvas placed on the ground (Figure 6). He described his working process as a semi-automatic state of mind where the subconscious took over: When I am in my painting, I am not aware of what Im doingI have no fears about making changes, destroying the image, etc., because the painting has a life of its own (qtd. in Frank 68). Here the artist becomes performer, and the process of creating the artwork itself is more important than the painting that becomes a mere record of the deep interaction between artist and the subconscious inspiration he harnesses. Ornette Coleman, one of the originators of free jazz, identified his push to release jazz of all musical conventions with this statement, and

See 8 used Pollocks painting The White Light on his album Free Jazz, while also adapting the abstract style in one of his own paintings for another album (Figure 7). At the same time, not all abstract expressionists completely embraced this letting go of control. Jazz and art historian Mona Hadler writes in her paper Jazz and the New York School that jazz straddled the extremes of primitivism in its connection to the subliminal and ancestral, and its association with the city and modernity as Stuart Davis represented. She brings in Jimmy Ernst (1920-1984), son of the surrealist Max Ernst, into the discussion by describing how his concept of jazz as architecture refuted the primitivist myth and acknowledged the careful arrangement that supported the improvised solos of jazz artists (Hadler 254-255). Ernsts painting White Space (Figure 8) is an example of this, where the lines are organized into two large blocks and one central shape, yet overlapping lines permeate each of these spaces as well as the background. Miles Davis describes this mixture of structure and improvisation in his autobiography when talking about how he arranged his music: Thats why I didnt write it all out, not because I didnt know what I wanted; I knew that what I wanted would come out of a process and not some prearranged shit. This session was about improvisation, and thats what makes jazz so fabulous (Davis 300). As the first major art movement to originate outside of Europe, abstract expressionism was promoted as the new American art form. Simultaneously, the rise of bebop and its pioneers intense and serious approach to their performances began to make music critics take notice of jazz and treat it as an art form in its own right. This took on a more sinister tone during the Cold War, where both jazz and art were wielded as cultural tools to promote the American brand of democracy. The Museum of Modern Arts

See 9 international program, started in the 1940s and funded by the Central Intelligence Agency, had an overtly political program that brought exhibitions of contemporary abstract expressionist art to international audiences (Cockcroft 126-7). These efforts aimed to to demonstrate Americas superiority and culture of free speech and expression over the close-minded and outdated socialist realism of the Communist bloc (129). Jazzs potential to also serve as a tool of propaganda was not overlooked. To show that the United States was a land of equality and to silence attacks of racial segregation, jazz artists like Dizzy Gillespie and Louis Armstrong were brought aboard by the State Department to play to international audiences (Peretti 114). This recognition of jazz and abstract expressionism solidified their statuses as the symbols of a new free and modern America. From the abstract symbolism of Arthur Dove and Stuart Davis to Jackson Pollock and Jimmy Ernsts abstract expressionism, jazz served a major role in inspiring and advancing their work as well as helping to describe a new American spirit defined by movement, modernity and freedom. However, as a music with roots in the history of slavery and the African origins of black Americans, another important aspect of jazz was its relationship with race, something that many other artists attempted to incorporate in their art.

Black Origins. A major figure in the Harlem Renaissance, Aaron Douglas (1898-1979) sought to create art that would truly represent black society, and drew from both American and African sources in addition to his own background, seeing the African

See 10 American identity as a mixture of both. In a letter to Langston Hughes, he described the urgent need to plungeinto the very depths of the soul of our people, and drag forth material crude, rough, neglected. Then lets sing it, dance it, write it, paint it. Lets do the impossible. Lets create something transcendentally material, mystically objective. Earthy. Spiritually earthy. Dynamic. (qtd. in Lock and Murray 5) There is a slight note of primitivism in this bold statement, but above all it shows a strong desire to create something universal that could be acknowledged as Art, but that also reached back to depict the experiences of the black people. This was a difficult goal to reach for painting as the former goal is related to the abstract while the latter to realism, but perhaps Douglas was reaching for the same sort of acclaim that black jazz soloists had gained. The music of the Dixieland bands and their future evolutions had universal appeal, yet also strongly quoted from black history, tracing back to the tropes of the ring shout (Floyd 50-52). Looking back to the history of African Americans, Douglas reconstructed the past in his art in order to develop a new identity for African Americans, as seen in Aspects of Negro Life: Song of the Towers (Figure 9). The painting is full of symbolism: while the left and right figures represent the setbacks and opportunities of black people respectively, the middle figure who stands proudly with a saxophone seems to usher in a new age through his startlingly new form of music. Unlike the European and white American artists mentioned previously, Douglas was deeply embedded into the African American music scene and saw black jazz soloists, who achieved much success through their music, as the forerunners for a new age of black Americans who could achieve the American Dream (Cassidy 134-143). Douglas art is similar to that of Davis

See 11 and Dove in that it calls for freedom; however, it explicitly calls for the freedom and empowerment of the African American people, making his statement a more powerful and political one. Moving forward in time, we arrive at the age of bebop and the abstract expressionist art of Norman Lewis (1909-1979). As mentioned earlier, this group of artists was highly influential in the American art canon, but along with the canon is a highly gendered and racialized mythology of white American masculinity (Wood 95). Despite being part of meetings, shows and exhibitions organized by Willem de Kooning, Franz Kline, Clifford Still, Mark Rothko and Jackson Pollock, as thus being highly involved in the genesis of the movement, Lewis has never received the same kind of recognition that these other artists did. A possible reason is that the highly physical process involved in abstract expressionism art and its initial incomprehensibility to the public made an artists success highly dependent on who he was, and thus Lewis was subjected to racial prejudices within the world of gallery owners and wealthy art buyers. Lewis had turned from social realism to abstraction in order to resist categorization as a solely African or Negro artist, and believed that his art should firstly be universal (Cassidy 154). Still his paintings carried hints of his earlier work. The vertical lines and black shapes in his painting Twilight Sounds (Figure 10) faintly bring to mind his other paintings that are variations of a theme of a standing group of black musicians. However, Lewis propensity to quote from other European artists as well as his frequently changing style also made him unpopular among critics, who looked for originality and a clear seperation from Europe in this new American art. The scholar Sara Wood argues that Lewis was in fact emulating the bebop artists, who while challenging the familiarity of

See 12 their audiences, also constantly manipulated and changed references from standard melodies, where each true jazz moment[is] a link in the chain of tradition (Ralph Ellison qtd. in Wood 114). Just as how bebop transcended race music and cast away the conventions of their black roots, he achieved the same for black or African art, disassociating it from a strict racial categorization (Ramsey 73). Despite his claims to remove politics from his work, Lewis paintings in face succeed on both accounts he created a unique form of abstract art that also referenced black history and culture. Romare Bearden (1911-1988), an artist whose collages are frequently compared to jazz and also wrote the jazz classic "Sea Breeze", drew his inspiration from life. Living next to the Apollo Theatre in the jazz center that was Harlem, he absorbed all the music of the blues into his life and his art. He was particularly interested in the music of Earl Hines, listening carefully to how Hines made the pauses between the notesas expressive as the sounds (qtd. in Harris-Kelley 251). Perhaps this influenced how Bearden played close attention to the positive and negative spaces in his work as he added layer after layer in an improvisational manner to form a complex piece where multiple colors and textures direct the eye all around the frame. In The Train (Figure 11), Beardens juxtaposition of newspaper photos, strips of printed textures of wood paneling and broad strokes of color creates a raw, unpolished look that echoes the way bebop musicians pushed the sound of their instruments to reach more contrasts in tone and timbre, while the uneven condition of the collage recalls how they created highly variable rhythms and intricate, dissonant harmonies. Unlike artists who moved toward the abstract, Bearden kept his art firmly tied to reality, saying that he wanted to establish a world through art in which the validity of my Negro experience could live and make its

See 13 own logic (qtd. in Cassidy 155). Beardens efforts have left a lasting impact, especially in his support of the Civil Rights Movement and in the vein of other social activist musicians like Charles Mingus and Max Roach. According to Lee Stephens Glazer, he alluded to art-historical images in his collages of black life, thereby defining the history of art as a visual system that could accommodate and affirm African American identity (155). One final topic to examine within the issue of race in art and jazz is the design of the covers that adorn every jazz record sold. Being the images that listeners most closely identified with their respective records, they play a big role in defining the perception of jazz, especially since most jazz music lacks lyrics. Most record cover designers were white, an exception being Jacob Lawrence who designed King Olivers Back O Town album (Figure 12). The fact shows the immense barriers that black artists faced in receiving design work, given the very close similarities they share with their musician counterparts, as discussed earlier in this paper. Jon Panish suggests that this incongruity is due to the mostly white music executives pushing their view of the jazz musician as individual innovator in order to sell albums, as opposed to blacks, who look at contexts of community and society (qtd. in Dougherty 51). In addition, most black artists wanted to use their art to depict problems of race and ethnicity, and thus were termed outsider art and excluded from the commercial arena of the record album. One of the more prominent black graphic designers was Richard Jennings (Figure 13), whose Dali-influenced surrealism allowed him to express some of the discontent and alienation that blacks felt but not in a form that was too explicit for industry executives. Later in the 60s and 70s, album covers would include more African motifs to reference the Civil Rights and Black

See 14 Power movement, such as Miles Davis Live/Evil cover (Figure 14). The change in cover designs over the decades reflect the initial restrictions that black artists faced in their artistic expression, which were eventually lowered as black musicians gained higher status and the Civil Rights movement overturned existing race relations.

Conclusion: A Panoramic View Our analysis thus far has traced the dense multitude of connections between jazz musicians and artists in the mid 20th century, as they developed and influenced each other stylistically, but also in their ambitions and goals to tackle the challenge of representing the African American experience in a way that was not overtly African but also not completely abstract and devoid of context. These connections are formed not only from physical interactions, but also through the mediums of art and music, where ideas that cannot be fully expressed in words can propagate. The diagram that is attached at the back of this paper and includes the figures referenced in my writing hopes to make these connections more clear through the lines and placement of artworks in proximity to the names of musicians and jazz styles, but of course fails to give a complete picture drawing all the connections within the musicians and artists would have made the lines grow into an incomprehensible web. Ultimately, though, music and art are still different mediums with different uses and purposes. In the discussion of race we saw how the more abstract qualities of music, as well as its role as entertainment and provider of enjoyment allowed it to gain immense popularity among whites and blacks. On the other hand, the desire of black artists to represent their social conditions and histories, even in the abstract art of Norman Lewis,

See 15 diminished their success due to its easy categorization as race or African art. We must also consider that the art and music worlds cater to vastly different groups of people: the music of Charlie Parker was accessible to anyone who entered a bar in Harlem or 52nd Street, while the art of Norman Lewis was viewed in galleries by a predominantly white and upper class clientele looking to purchase pieces of high culture. In addition, while the success of a musician is determined by his or her ability to sell concerts and albums, the success of an artist largely depends on the highly subjective judgments and prejudices of a select group of art critics, preventing art that shares the same attributes as jazz to receive even a small fraction of its popularity. The same mass entertainment value of music can be a handicap though: since music is inherently abstract, as we established earlier, it can easily be relocated to suit different contexts independent of the original artists visions. For example, the widespread use of jazz, in all kinds of commercial places like restaurants and shops has transformed it into a commodity and a marker of high culture, while erasing what Mezz Mezzrow called the agony of the split, hacked-up personality, and the challenges that pioneering musicians such as Louis Armstrong and Miles Davis faced when creating their music (qtd. in Peretti 112). Perhaps, this is where the value of these artworks rooted in jazz and the blues lie: to remind listeners of the connections between the beauty of the music and the earthy soil of raw emotions, feelings, conflicts, histories and biographies that they grew from.

See 16 Works Cited Appel, Alfred. Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce. New York: Alfred A. Knopf, 2002. Print. Cassidy, Donna. Painting the Musical City: Jazz and Cultural Identity in American Art, 1910-1940. Washington, DC: Smithsonian Institution, 1997. Print. Cockcroft, Eva. Abstract Expressionism, Weapon of the Cold War. Pollock and After: The Critical Debate. Franscina, Francis, Ed. Harper & Row (1985). Print. Davis, Miles, and Quincy Troupe. Miles, the Autobiography. New York: Simon and Schuster, 1989. Print. Dougherty, Carissa Kowalski. "The Coloring of Jazz: Race and Record Cover Design in American Jazz, 1950 to 1970." Design Issues 23.1 (2007): 47-60. Print. Floyd, Samuel A., Jr. "Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry." Black Music Research Journal Supplement: Best of BMRJ 22 (2002): 49-70. Print. Frank, Elizabeth, and Jackson Pollock. Jackson Pollock. Mnchen: Bucher, 1984. Print. Folley-Cooper, Marquette, Deborah Macanic, Janice McNeil, and Elizabeth Goldson. Nicholson. Seeing Jazz: Artists and Writers on Jazz. San Francisco: Chronicle in Association with Smithsonian Institution Traveling Exhibition Service, 1997. Print. Gioia, Ted. The Imperfect Art: Reflections on Jazz and Modern Culture. New York: Oxford UP, 1988. Print. Hadler, Mona. "Jazz and the New York School." Representing Jazz. Durham: Duke UP, 1995. 247-59. Print.

See 17 Harris-Kelly, Diedra. Revisiting Romare Beardens Art of Improvisation. Uptown Conversations: The New Jazz Studies. Robert OMeally, Brent Hayes Edwards & Farah Jasmine Griffin, Ed. New York: Columbia University Press, 2004. Print. Kraut, Robert. "Why Does Jazz Matter to Aesthetic Theory?" Journal of Aesthetics and Art Criticism 63.1 (2005): 3-15. Print. Lock, Graham, and David Murray. "Introduction." The Hearing Eye: Jazz & Blues Influences in African American Visual Art. New York: Oxford UP, 2009. 1-48. Print. Mondrian, Piet. Jazz and the Neo-Plastic. In The New Art - The New Life: The Collected Writings of Piet Mondrian. London: Thames and Hudson, 1987. Print. Peretti, Burton W. Jazz in American Culture. Chicago, IL: Ivan R. Dee, 1997. Print. Ramsey, Guthrie P. The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop. Berkeley: University of California, 2013. Print. Rampley, M. "Identity and Difference: Jackson Pollock and the Ideology of the Drip." Oxford Art Journal 19.2 (1996): 83-94. Print. Walton, Kendall L. "What Is Abstract about the Art of Music?" The Journal of Aesthetics and Art Criticism 46.3 (1988): 351-64. Print. Wood, Sara. "Pure Eye Music: Norman Lewis, Abstract Expressionism, and Bebop." The Hearing Eye: Jazz & Blues Influences in African American Visual Art. Ed. Graham Lock and David Murray. New York: Oxford UP, 2009. 95-119. Print.

Free Jazz (1961)

Ornette Coleman

White Space (1951)

Number 1 (1949) Time in Outer Space (1962)

FREE JAZZ
Jimmy Ernst (8)
Three Musicians (1921)

Ornette Coleman (7) The Empty Foxhole (1967)

Eric Dolphy

Listening to the Blues in Art

Title unknown

Out There (1960)

John Coltrane Franz Kline Jackson Pollock (6)

ABSTRACT EXPRESSIONISM
Twilight Sounds (1947)

Charlie Parker

BEBOP SURREALISM
Richard Jennings (13) Thelononius Monk Dizzy Gillespie
The Great Masturbator (1929)

listened to

Dave Brubeck Miles Davis

COOL JAZZ

Pablo Picasso (2)

Jazz Musicians (1948) Swing Landscape (1938)

Salvador Dali

Norman Lewis (10) Glenn Miller Duke Ellington Benny Goodman Stuart Davis (5) Louis Armstrong
Back O Town (1928)

SWING
danced to
Improvision (1927)

Piet Mondrian (3)

listened to

Broadway Boogie-Woogie (1943)

NEO-PLASTICISM EXPRESSIONISM

Aspects of Negro Life: Song of the Towers (1934)

HARLEM RENAISSANCE
The Train (1974)

Life-Evil (1971)

Abdul Mati Klarwein (14)

HARD BOP

Max Roach Charles Mingus

DIXIELAND Jelly Roll Morton

Composition VII (1913)

King Oliver

STYLE (JAZZ)
Title (Year) Musician

LEGEND
STYLE (ART)
Artist (Figure #)

Jacob Lawrence (12)

Arthur Dove (9)

Wassily Kandinsky (1)

Aaron Douglas (6)

Romare Bearden (11)