Haitian Painting

Haitian Painting

How to mix music and politics

Stimulating character that entertains your home page a section devoted entirely analysis Policy jazz of the sixties.

Camal comments are encouraging, ideologically not direct, is also taken at the same time to recover key figures of the season, giving the correct position (it's worth all the examples of Frank Kofsky and Amiri Baraka, now considered a bit, in kind, the first).

Camal the appointment, they are criticized. I mark their ideas "strong" in jazz which has retained its charm, its distance years.

studies Jazz, more and more serious philological and correct, you get more space. No thesis authors to bring innovative and different from the readings usual, for example, the sage of the Black Atlantic Paul Gilroy, Black studies professor at Yale University, which offers a reading that has Winds of historical geography and political news.

Correspondence by e-mail this interview was born, in addition to not favorable opinions Coltrane and Sonny Rollins which provides a list at the end - as anything else, but banal -. "Policy" of jazz music

Frank Bergoglio: In its pages in the jazz movement civil rights, or when we speak of jazz known as "black nationalism" is often found the name and work of Frank Kofsky. What is your opinion his work matures after studying the fund? Do you think that ideology is also presented in relation to issues examined, or, conversely, the period of the two is well described in the writings of Amiri Baraka and Kofsky? Jerome Camal: Kofsky is an interesting character. In fact, his writings involves ideology strong enough to make their reasoning of objections. An example of this attitude is Coltrane interview in which the test without Coltrane do for their political views.

However, some points of his speech in an interesting face and collecting material respects, the example The most effective is the description of economic conditions that have to work the black musicians. His book Black Nationalism in music is probably the greatest benefit more if it reads as a primary source, that the ideology that informs some of the avant-garde musicians into account.

FB: Amiri Baraka is a sociologist analysis, a researcher Kofsky more "political" jazz ... I think his intention was studying the method of Marxist analysis in practice is not it? JC: Hold me, but I think we think more than two researchers spent by strong politically motivated. And "beyond a nice time po 'my reading of "Blues People", but, like memory, I think Baraka insisted on African American culture as the product and the reaction to slavery and at the same time that the connection to Africa. Baraka The questions are based on a vision of "class", probably influenced by Marxism and the boundary lines of existentialism. For him, the forms of jazz and blues that had more commercial success that they were corrupt large white. Reading makes him think the idea that assimilation is a form of corruption, which is a reaffirmation of the bebop legacy of black roots music and a distancing of white hegemony was consolidated during the swing era. Many bands and artists coagulated movement around her African-American arts, reasoning that resonated Baraka. Another color songwriter Ralph Ellison disagreed with the thesis Baraka and looked like a sad way to celebrate the achievements of Afro-American art. In events like the blues, where Baraka is a tendency to see blacks as victims, Ellison emphasizes the strong sense of representation and affiliation in its place.

FB: What your view is formed during the task of Coltrane? Before you interview a famous quote from him, and, as in others, shyness emerging saxophonist, provided a few words, which led to responses restricted, humble and ambiguous ending, compared with During the inheritance coltraniano.

JC: I think if the Coltrane we should consider treating their music from two distinct angles. First: what kind of political message (if one of them), providing for Coltrane's music? For one it means that the policy has been linked their music on their backs, the most diverse audience? In other words, I think there is a difference between how Coltrane was designed and his music and how she recepita and interpreted. This premise, I see a Coltrane who "uses" his music to convey a message of integration and universality. I like to show a parallel between his interest in music and modal especially India and the attention of Martin Luther King fliosofia non-violence promoted by Gandhi. In the early days of the struggle for civil rights for blacks ML King often drew a parallel between the fight for freedom in the United States and the independence movement in Africa. It seems to me to say that both men saw their work in universal terms. No. But I do not think the music of John Coltrane was well received in this manner and some of the most radical in the civil rights movement were quick to call the saxophonist spokesman music. Coltrane in the same idea to not to appear enthusiastic, as shown clearly enough interview Kofsky, which is preferred to deepen their musical explanations with a more general sense about the human condition. As noted by Craig Werner Coltrane and Malcolm X were both processed and used his message to justify the pursuit of objectives within the radical movement, regardless of they wanted to be used and interpreted his work so or not.

FB: Do you think there is a link between the damage that New America and jazz? And what kind?

JC: Y 'question too large for a quick response. I've never been motivated by the link between the New Left and music, although it seems an interesting question to be developed.

FB: You want to make a short list of policy measures in history jazz that we regard as fundamental and give each of us a little comment?

JC: This is my first choice is fairly obvious: We insist! Freedom Now Suite (Candid, 1961). This recording is an example to many different aspects such as music that can be used politically. All First, is an example of black artists who use their art to regain power and control of their own history and its narration storiografica. Following Roach continues the story the black population of African descent in the United States than in Africa, based on the experience of slavery, the statement continues emancipation, ending the fight for the right of his colleagues in America and Africa. Addressing this point of view, it is encouraging to note, because it makes Saul Scott and Ingrid Monson, the order of sections of the suite, separated from each other, which has changed from initial ideas Roach and Oscar Brown Jr. initially planned after the African section before moving to the experience of slavery and emancipation password. Put slavery at the beginning is firmly rooted in the African-American history to the experience of slavery. To go to Africa emphasized the African heritage of African American culture in place. Second Suite beaten and freedom is exactly what Gilroy is defined as "The black Atlantic." All Africa merges with the jazz and African percussive Cuban, is an excellent example of the continuing cultural exchange between people of African descent, people of the Caribbean, all in Europe and, of course, the United States. Since we must remember that the result is after all a great moment of music, in which they can use techniques advanced compositing. Max Roach uses a 4.5, perhaps a response to the success of Take Five but the will and courage to Brubeck. The tone of breaths, perfection in the "fourth estate" in men is interesting Driva anticipates time. The photo cover shows some students during a sit-in counter of a cafeteria that is provocative and notes Nat Hentoff coverage are as frank and fresh the actual reading. The second example is much less known. In fact, if it was written after the release of Sonny Rollins, who would aim to a record deal in 1956, the House of the living, the Prestige. It is a classic bop fare hard enough, but it is an excellent example means beautiful music. At the end of the section insert Rollins tailgate every voice and sing. This spirit has since become a sort of unofficial anthem of the colored population. In the notes to cover the playground cd-Prestige whole container, the number of subscribers, "said the saxophonist appreciate the social significance of texts written by Robinson and wishes to strengthen its words ending with the song Lift Every Voice and sing. It may also choose to respond to the recent recording of this song by Frank Sinatra. In all cases, it is interesting to note that this is the only song from this session, which was not immediately made by the Prestige, immediately after registration. I have not done much research on the disc, but I think once too often neglected today. If you then want A complete list of passages should include at least the fight song Haiti and the Fable of Faubus Mingus and Art Blakey's Freedom Rider, John Coltrane, Alabama, Archie Shepp joint appearance for the Newport Jazz Festival and the appointment of Jackie McLean in Ghana. It is, therefore, Strange Fruit by Billie Holiday, but the list is very long ...

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