Professional Documents
Culture Documents
: African
American Musicians as Artists, Critics, and Activists.
Berkeley: University of California Press, 2002. XXI,
404 pp.
Reviewed by Krin Gabbard
For too long, jazz writers, including the handful of academics who can
legitimately be called 'Jazz scholars," promoted myths of the music's au-
tonomy. According to this myth, the identity of the musicians, the venues
where they performed, and what they said off the bandstand were of little
or no importance. It was all about the music. This conviction led the es-
teemed jazz scholar Gunther Schuller to write a huge book on the Swing
Era that consists almost entirely of record reviews. Writing on Louis Arm-
strong in The Swing Era, Schuller goes out on a limb and says that "one
must eventually come to grips with the totality of his life and work. This
can only be done in a dispassionate way, which also takes into account
Louis's personality and temperament, and the social-economic conditions
within which he labored" (1989:160). This call, however, is in a footnote,
and there is virtually nothing in Schuller's book that follows through on
his own suggestions about how to understand Armstrong's life and work.
It is also significant that Schuller omits any reference to what Armstrong, a
highly prolific writer himself (see Armstrong 1999), may have had to say
about those "social-economic conditions."
Many of us in the jazz studies community are now likely to agree that
it's never just about the music. The music only means what it is allowed to
mean. For most of its one hundred year history, jazz has been colonized
by critics, most of them white, who have imposed their own meanings on
the music. And during much of this period, jazz artists, most of them
African American, have struggled to combine their words with their musi-
cal utterances in order to create their own meanings.
Especially since the 1960s, African Americanjazz artists have responded
to myths of autonomy and other received wisdom from jazz writers with a
powerful counterdiscourse. Eric Porter has taken this counterdiscourse ex-
tremely seriously and cast black jazz musicians as central figures in an in-
tellectual history of the music. As a book devoted to ideas in jazz history,
What Is This Thing Called Jazz? is a welcome intervention. It is all the more
Current Musicology, nos. 71-73 (Spring 2001-Spring 2002)
© 2002 by the Trustees of Columbia University in the City of New York
478 CURRENT MUSICOLOGY
Porter ends his first chapter in the 1930s, when critics began to become
major players in the discourses of jazz; for example, writers such as John
Hammond criticized Ellington for leaving behind the "purer" forms of
jazz for Western concert traditions. When Porter addresses bebop in the
next chapter, he enters into the thick of more recent debates about where
the avant-garde jazz of the 1940s came from and what it meant for Mrican
Americans. Appropriately, Porter accesses scholarship by Scott DeVeaux
(1997), David Stowe (1994), and Bernard Gendron (1995), who have
made us rethink many of the critical platitudes that once surrounded the
music of Charlie Parker, Dizzy Gillespie, Thelonious Monk, and their
peers. Porter has also read deeply in the Music Dial, an extraordinary but
short-lived music magazine run by black writers. One of the journal's con-
tributors to whom Porter devotes special attention is Herbie Nichols, the
overlooked pianist who played in Dixieland bands in order to make a liv-
ing but whose own recordings show that he was the artistic equal of Monk
and Bud Powell. In 1944, Nichols was arguing for state sponsorship of jazz,
and he joined many black Americans in hoping for the "Double V": vic-
tory for democracy in Europe but also for Negro citizens in the United
States. In his less optimistic moments, Nichols summarized his up-close
and personal encounters with the business of jazz by writing, "The jazz life
is ninety percent sham and front" (65).
In his chapter on bebop, Porter is especially attentive to what he calls
the "critical ecumenism" of the musicians. He defines the term as "a collec-
tive, worldly, Mrican American intellectual orientation" (xx). This stance
allowed the boppers to see themselves as cosmopolitan and sophisticated,
the living refutation of primitivist notions of jazz. Critical ecumenism did
not, however, prevent many writers and record producers from bringing
the old images of black musicians in through the back door. Porter quotes
Robin D. G. Kelley's accounts of how "a primitive/intellectual homology"
was developed for Thelonious Monk, especially on album covers for his
records in the 1950s and 1960s (see Kelley 1999). While Monk was at first
portrayed as almost scholarly, the iconography of his image became
increasingly idiosyncratic, even presenting him as childlike.
Although it paved the way for the black nationalism of subsequent
decades, the critical ecumenism of the boppers welcomed musicians from
other cultures, especially from Latin America. It was, of course, Dizzy
Gillespie who sat next to the Cuban trumpeter Mario Bauza in Cab
Calloway's band and who later helped to transform American popular mu-
sic by fusing Cuban and other Latino musics with jazz. Mrican American
bop musicians were also interested in exploring their Mrican roots.
Boppers such as Art Blakey were among the first to embrace Islam, search-
ing for a new form of spirituality as well as for "a weapon in the struggle
480 CURRENT MUSICOLOGY
Sue Graham Mingus, who has recruited the best jazz musicians in New
York for repertory bands that play nothing but Mingus's music. The
Mingus Big Band-kept alive by Sue Mingus's indefatigable efforts-
has been performing on a weekly basis in a New York club for over ten
years now.
The chapter on Abbey Lincoln is among the most original in the book.
Lincoln's career has been justly celebrated in recent months, most appro-
priately with a day-long conference at Columbia University in December,
2001, and with three days of diva treatment at Jazz at Lincoln Center in
March, 2002. But before Porter, few critics and scholars devoted much
energy to putting together the large collection of material with which
Lincoln established herself as a speaker for civil rights and feminism. In
addition to a substantial body of songs, some of which are fully developed
pieces of poetic writing, Lincoln published the essay "Who Will Revere the
Black Woman?" in Negro Digest (1966), and was a forceful voice in a sym-
posium on black women in literature held at the New School for Social
Research in 1965. To his credit, Porter reads all of this material alongside
Lincoln's more notorious replies to critics such as Ira Gitler, who criti-
cized her willingness to bring racial politics into jazz with her album
Straight Ahead (1961) as well as in the records she made with then husband
Max Roach. Intriguingly, it is in the chapter on Lincoln that Porter intro-
duces the often heated disputes about political activism amongjazz artists.
By asserting herself as a woman as well as a black artist, Lincoln was as rad-
ical as anyone makingjazz in the 1960s.
Porter's analyses tend to be somewhat diffuse in the two chapters on
avant-garde musicians. By the late 1960s, the more experimental forms of
jazz had ceased to have much appeal for large audiences, and however
much we may admire the musicians who were most adventuresome during
this time, they often marginalized themselves. Porter succeeds in pulling
many of their discursive practices together, but the chapter on the Black
Arts movement of the 1970s and the subsequent chapter on theorists of
improvisation, such as Marion Brown, Wadada Leo Smith, and Anthony
Braxton, are somewhat less satisfYing than other portions of the book.
Because the projects and obsessions of these musicians tend to range
widely, Porter ends up stringing together quotations and summaries of
what musicians have said rather than developing a compelling thesis. But
here, as in so much of the book, Porter has done a substantial amount
of work as an archivist and as an interviewer, and he tells us much that we
ought to know about musicians who have suffered more obscurity than
they deserve.
The final chapter, devoted to Wynton Marsalis and Jazz at Lincoln
Center, is one of the more balanced among the numerous accounts of
this controversial figure. An unusual achievement of this trumpeter I
482 CURRENT MUSICOLOGY
References
Armstrong, Louis. 1999. Louis Armstrong, In His Own Words: Selected Writings. Edited
by Thomas Brothers. New York: Oxford University Press.
DeVeaux, Scott. 1997. The Birth of Bebop: A Social and Musical History. Berkeley: U ni-
versity of California Press.
Gendron, Bernard. 1995. "Moldy Figs" and Modernists: Jazz At War (1942-1946).
In Jazz Among the Discourses, edited by Krin Gabbard, 31-56. Durham, N.C.:
Duke University Press.
Kelley, Robin D. G. 1999. New Monastery: Monk and the Jazz Avant-Garde. Black
Music ResearchJoumal19: 135-68.
Lincoln, Abbey. 1966. Who Will Revere the Black Woman? Negro Digest (Septem-
ber): n.p. Reprinted in The Black Woman: An Anthology, ed. Toni Cade
Bambara (New York: New American Library, 1970), 80-84.
Mingus, Charles. 1971. Beneath the Underdog: His World as Composed by Mingus. New
York: Knopf.
Schuller, Gunther. 1989. The Swing Era: The Development ofJazz, 1930-1945. New
York: Oxford.
Stowe, David W. 1994. Swing Changes: Big-Band Jazz in New Deal America. Cambridge,
Mass.: Harvard University Press.
Tucker, Sherrie. 2000. Swing Shift: ''All-Girl'' Bands of the 1940s. Durham, N.C.:
Duke University Press.