The Freedom Riders and Freedom Music

In my previous post about Jane Jacobs, I discussed the broader and more complex vision of freedom that the Civil Rights Movement introduced to the Left. It was a vision that would influence not just community activists like Jacobs, but also the New Left and the Feminist and Gay Rights Movements later on in the Sixties and Seventies. It stressed community, spirituality, participation, and the transformation of the self. While the last post presented a rather abstract anatomy of this new definition of freedom, here I would like offer a concrete example the way it was forged within the Movement.

James Farmer

In the January 6 issue of the Nation, Robert Martinson, a student from UC Berkeley, presented his “Prison Notes of a Freedom Rider”. This handy web site informs me that Martinson was on the June 20th bus from New Orleans to Jackson, Mississippi. He and his fellow riders were arrested and sent to Parchman Farm, the notoriously horrendous Mississippi state prison, subject of David Oshinsky’s Worse Than Slavery and many blues songs, the best of which is probably Bukka White’s “Parchman Farm Blues“. To keep them as isolated as possible from the rest of the inmate population, they were kept in the Maximum Security Unit, the “prison within the prison”. Led by James Farmer, they maintained a participatory democracy amongst themselves. According to Martinson, it wasn’t easy:

“Imagine the frustration of maintaining democracy under such physical conditions. Someone in cell No. 2 on the far side makes a motion which is ponderously passed from cell to cell, to our “pivot man” and down the thirteen cells on our side. Assuming the motion managed this precarious passage without distortion (or objection), the debate began.

Each person’s remarks and interpolations had again to be passed around the block. After everyone had had his full say, the voting would begin. “How does cell No. 4 vote?” “One for, one against.” “O.K. Cell No. 5 , what about you?” “Two abstentions. We want to explain our abstentions.” A series of low groans would break out. This democratic spirit was doggedly defended to the very end. The Freedom Riders would not conform to the authoritarian structure of prison life…

…In these almost hopeless conditions the democratic forms continued. Solidarity was somehow recaptured through song, prayer and discussion. Even our, nemesis–Deputy Sheriff Thyssen–seemed a little surprised, even curious. He asked a young Negro why he was smiling and received no answer. He repeated the question in his deadly way: “Boy, what you got to smile about? You in jail, you know” 

“Sheriff,” he answered, “you just wouldn’t understand. I’m smiling because I’m free.”

I don’t really have anything to add to that besides a couple of great jazz albums from those years that were inspired by this new vision of freedom.

Sonny Rollins, The Freedom Suite (1958)

 

 

 

 

 

 

Art Blakey, Freedom Rider, (1961)

 

 

 

 

 

 

 

Max Roach, Freedom Now Suite (1960)

 

 

 

 

 

 

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Jane Jacobs: Self, Community, and Freedom

In an an October issue of the Saturday Evening Post, the legendary Jane Jacobs wrote a summary of her just published The Death and Life of Great American Cities. For the moment I would like to just excerpt her concluding paragraph. Then, in a rather roundabout way, I will try to show how Jacobs’ vision fit within a newly emerging Left, one that differed in fundamental ways both from the the Old Left of the New Deal and the more moderate Cold War liberalism of the Fifties. What we shall see is a Left moving away from not only class and labor, the crux of the Old Left, but also the restricted technocratic version of liberty held by Cold War liberals. In place of these two models, Jacobs points towards a fuller, more complex form of freedom that is grounded in authenticity and community. Certainly there were gains and losses in this transition, but here I just want to focus on the nature of the transition itself, and specifically Jacobs’ place within it.

But before we get to the excerpt from the Jacobs article, just a few words on the book and Jane Jacobs. Here’s a passage from her New York Times obituary in 2006:

In her book “Death and Life of Great American Cities,” written in 1961, Ms. Jacobs’s enormous achievement was to transcend her own withering critique of 20th-century urban planning and propose radically new principles for rebuilding cities. At a time when both common and inspired wisdom called for bulldozing slums and opening up city space, Ms. Jacobs’s prescription was ever more diversity, density and dynamism — in effect, to crowd people and activities together in a jumping, joyous urban jumble.

Ms. Jacobs’s thesis was supported and enlarged by her deep, eclectic reading. But most compelling was her description of the everyday life she witnessed from her home above a candy store at 555 Hudson Street.

Indeed, her street scene descriptions are some of the finest passages of urban writing you will ever see: full of energy, movement and exact observation. But let’s move on now to her 1961 Post article. In the article she describes the vibrancy of the North End in Boston and her own Manhattan neighborhood, which she and her neighbors were fighting to protect from bulldozers. She also attacks the idiotic thinking behind projects such as Morningside Heights in Manhattan. We’ll get back to some of that later. For now, let’s look at the conclusion of her Post article:

The true problem of city planning and rebuilding in a free society is how to cultivate more city districts that are free; lively and fertile places for the differing plans of thousands of individuals—not planners. Nothing could be farther from the aims of planners today. They have been trained to think of people as interchangeable statistics to be pushed around, to think of city vitality and mixture as a mess. Planners are the enemies of cities because they offer us only the poisonous promise of making every place in a city more like dull and standardized Morningside Heights. They have failed to pursue the main point: to study the success and failure of the real life of the cities. With their eyes on simple-minded panaceas, they destroy success and health. Planners will become helpful only when they abandon what they have learned about what “ought”‘ to be good for cities. When they learn how fulfilling life in a city really can be, then they will finally stop working against the very goals they set out to achieve.

This is a really sharp example of the intellectual Left finding its bearings after its decade of silence in the Fifties. Here we have Jacobs, a bona fide activist and intellectual, writing in the rather stodgy and safe Saturday Evening Post. But if she represents a re-energized Left, she is also presenting a reformulated Left, one more centered on the spiritual needs of the self and community. So, what happened to the old class-based Left?

The Missing Generation

Daniel Bell

Many scholars have argued persuasively that it disappeared as a result of suppression. Maurice Isserman in If I Had a Hammer…: The Death of the Old Left and the Birth of the New Left and Ellen Schrecker in Many are the Crimes: McCarthyism in America argue that McCarthyism (which really existed well before McCarthy provided a label for it) hollowed out the New Deal Old Left, leaving what Irving Howe called a “missing generation” when the New Left sprang into existence. As a result, the radical infrastructure that could act as a repository of knowledge simply did not exist. This meant that when the Students for a Democratic Society (SDS) was founded, they had no bridge to the past. Instead of an experienced and practical group of hard-nose lefties to turn to for guidance, they only saw guys like the technocratically liberal Daniel Bell, who published his most famous book, The End of Ideology, in 1961. Needless to say, Bell was not going to guide them to much of anything. Indeed, there is much truth to this narrative of a missing generation of radicals. For example, magazines like Partisan Review, which had been fiercely political in the Thirties had long since stopped bothering with radical politics. In fact, its main political thrust had become liberal anti-communist. In 1961 Partisan Review’s only sustained political statement came in a double issue dedicated to Soviet dissidents. For the young New Left, they could only feel alienated from the milk-toast Cold-War liberalism they saw–and ultimately intellectually impoverished by having no institutional and spiritual roots. Versions of this story can be found in Irving Howe’s Margin of Hope, Todd Gitlin’s The Sixties: Years of Hope, Days of Rage and the Isserman’s If I Had a Hammer.

The Generation Liberal Intellectuals Missed

I think there is some truth in this story, but I feel that it shortchanges the Civil Rights Movement of the Fifties. I really don’t think you can talk about a “missing generation”in the Fifties when there were thousands of people participating in a truly radical movement which generated enormous cultural shifts and created an incredible amount of institutional knowledge. What was actually missing was a generation of Northeastern elite intellectuals to support them and amplify their message. With some exceptions, such as Michael Walzer at Dissent, Northern intellectuals found little or no spiritual affinity with the Movement, even if they supported its putative goals. And what remained of the Old Left did not take much interest in it either. Alongside a missing generation, I think it makes sense to talk in terms of shifts on the Left. In the Fifties there was a new Left emerging, but it was so different that other parts of the Left did not know how to assimilate it.

Bayard Rustin

Why did Fifties and early Sixties liberals, particularly the intellectuals have so little interest in the Civil Rights Movement.? For instance, why didn’t the Partisan Review cover the Freedom Rides in the summer of 1961? Why no special double issue for them? Not that devoting a double issue to Soviet dissidents wasn’t a worthy, even morally necessary, thing to do. But the U.S. had its own political dissidents as well, dissidents who badly needed platforms in New York. Why not publish great intellectual activists like Bayard Rustin? He had certainly spent his share of time wrongfully imprisoned, just like I’m sure many of those Soviet dissidents had. It’s understandable that Partisan Review had become a bit timid because of McCarthyism in the 1950s, but by 1961 there was nothing to fear from a full-thoated support of the Civil Rights Movement. While there was talk of MLK being a communist, nobody was ready to haul a bunch of black ministers in front of HUAC, or, for that matter, some writers and editors expressing support for them. Also, those intellectuals, whether we’re talking about writers for Partisan Review, Commentary, or the New Yorker certainly supported the concrete goals of the movement. So what was going on?

The Civil Rights Movement: Ideology and Freedom

The truth is, the Civil Rights Movement as it developed in the Fifties and at the beginning of the Sixties made many on the Left skittish because of its passionate moral commitment. For Cold War liberals, the horrors of Stalinism and Fascism had made them rightly suspicious of ideology. Between 1917 and 1945, how many innocents had been killed in the name of ideology? However, what kind of progressive politics could you have without ideology? Really none beyond technocratic Washington D.C. stuff. When intellectuals wrote about politics you got a kind of fussy technocratic pragmatism from people like Daniel Bell and Arthur Schlesinger. Popular historians like Daniel Boorstin stressed the level of consensus that existed throughout American history. Political scientists showed that politics was really just a constellation of “interest groups” rationally pursuing their interests within the rule-governed political arena. And, really, they had a point. The prosperity of the United States and the catastrophic failures of “ideological” states provided quite a bit of proof that they were on the right track.

So, again, what to make of the Civil Right Movement? As Richard King has shown in his Civil Rights and the Idea of Freedom, it did not fit into any established understandings of how politics should work. Unions and place of work meant little to the movement. In fact, meetings were almost always held in churches. Also, you couldn’t really call it a “rational” form of interest group politics. Individuals were voluntarily risking their lives, which really does not fit into any poli-sci model of rational, self-interested behavior. And where was the “rule-governed political arena”?

The Civil Right Movement was truly something new under the sun for the Left. First of all, it was, as King writes, the first time “political initiative [had] shifted from Washington back out into the country itself” since the Depression. It happened to shift the center of the Left away from secular urban centers to religious communities in the South. But for technocratic liberals, one of the biggest problems was the radically new conception of “freedom” being constructed through the movement. Mid-century liberals understood freedom in a rather pinched sort of way, primarily because of their fears about totalitarianism. For them, freedom was best thought of as “negative liberty,” the term popularized by Isiah Berlin. This type of freedom can be roughly defined as freedom from government interference within one’s personal sphere so as long one is not harming others. While the members of the Civil Rights Movement would have understood the value of “negative liberty,” it is not what really drove them, not what inspired all the freedom songs. In addition to negative liberty, Richard King identified three other strands that made up the Movement’s idea of freedom:

Freedom as autonomy: “a cluster of characteristics…such as autonomy, self-determination, pride, and self-respect”

Participatory freedom: fulfilling one’s potential as a citizen by actively participating not just in voting, but in demonstrations, political meetings, or open political discussion. Voting and participation are not viewed merely as a right or a duty, but as a positive and purposeful action that expands and enriches one identity.

Freedom as collective deliverance: freedom from occupiers or captivity. This conception of freedom does not come from any philosophical tradition, but from, in the case of African Americans, the Old Testament, specifically Exodus.

By combining these four types, the Civil Rights Movement had created a far more textured and complex vision of freedom than was held by Cold War liberals. It was rooted in community and when put into practice, it transformed its participants. Those who participated in the movement found a truer, higher self through participating in collective action. This transformational energy was what drew the nascent New Left to the Civil Rights Movement in 1961 and 1962, and the visions of authenticity and broad notions of freedom are reflected in its founding document, The Port Huron Statement. Here’s a taste:

Men have unrealized potential for self-cultivation, self-direction, self-understanding, and creativity. It is this potential that we regard as crucial and to which we appeal, not to the human potentiality for violence, unreason, and submission to authority. The goal of man and society should be human independence: a concern not with image of popularity but with finding a meaning in life that is personally authentic: a quality of mind not compulsively driven by a sense of powerlessness, nor one which unthinkingly adopts status values, nor one which represses all threats to its habits, but one which has full, spontaneous access to present and past experiences, one which easily unites the fragmented parts of personal history, one which openly faces problems which are troubling and unresolved: one with an intuitive awareness of possibilities, an active sense of curiosity, an ability and willingness to learn.

This kind of independence does not mean egoistic individualism — the object is not to have one’s way so much as it is to have a way that is one’s own. Nor do we deify man — we merely have faith in his potential.

Montgomery, 1956

My overall point is not that the narrative of the missing generation is wrong. It isn’t: those McCarthyite pressures were real, and ultimately they shifted political energies away from class-based concerns. But that doesn’t mean that radical politics disappeared. Thousands of people were engaging in radical politics in those years, just not of a communist or socialist variety.

The New Left Shift: Authenticity, Individuality, and the Disappearance of Class

So we have the Civil Rights movement leading a shift towards a community-based politics that puts a broad vision of freedom and the transformation of the self at the core of its politics. In itself this was radically different than either the Old Left politics of the Thirties or Cold War liberalism. We also have McCarthyism gutting the more class-based form of Leftism. If you came of age politically in those years, and were inclined to the Left, you saw very little discussion of labor and class from intellectuals. For the Civil Rights Movement, this must have been part of the reason that it had so little initial connection to labor, centering instead on the church. As a newly energized Left developed in the late Fifties and early Sixties, there were two other factors that contributed to this new landscape:

  • Anxiety about loss of ethnic authenticity: I blogged about this here. Many who had moved to the suburbs and who were long separated from ethnic enclaves felt anxiety about being homogenized. There had been very little immigration into the U.S. since immigration laws were tightened in the Twenties. This anxiety, according to Theodore Solotaroff, led to the fascination with urban Jews and their neighborhoods. Also, for many young whites who were part of the emerging New Left, black people in the South represented an authentic “folk”. As Grace Elizabeth Hale shows in A Nation of Outsiders: How the White Middle Class Fell in Love with Rebellion in Postwar America, SNCC’s Freedom Singers traded on this romance quite effectively, touring college campuses in the early Sixties to raise money for the Movement.
  • The Organization Man and Conformity: William H. Whyte, who mentored Jane Jacobs, published Organization Man in 1957. By 1961, the phrase “Organization Man,” was commonly used in the press as shorthand for the bland office worker lacking in all creativity and initiative, a man of reduced humanity, a passive product of efficient business practices. The other word I have seen with nauseating regularity in writings from 1961 is conformity. Somehow the United States had become a nation of conformers who all agreed the conformity was for losers.

Jane Jacobs and the New Politics

Now let’s go back and look at that excerpt from Jacobs again. You can see that this is the rhetoric of a New Left:

“The true problem of city planning and rebuilding in a free society is how to cultivate more city districts that are free; lively and fertile places for the differing plans of thousands of individuals—not planners.”

It is important to note that the cities planners whom Jacobs was rebelling against would have identified themselves as liberals. But they were liberals who were not thinking from a community perspective and who had a very limited vision of freedom. Jacobs, on the other hand, thinks of freedom in more expansive terms. In one memorable passage, she describes a conversation with a Boston city planner about the North End, an Italian neighborhood in Boston that she had just visited. Jacobs loved the North End. He was dumbfounded:

The North End

Why in the world are you down in the North End?” he said. “Nothing’s going on there. Eventually, yes, but not yet. That’s a slum!”

‘It doesn’t seem like a slum to me.” I said.

‘Why that’s the worst slum in the city. It has 275 dwelling units to the net acre! [Excluding streets, nonresidential land, etc.] I hate to admit we have anything like that in Boston, but it’s a fact.”

‘Do you have any other figures on it?” I asked

He did. Statistics showed that the neighborhood’s delinquency, disease and infant-mortality rates are among the lowest in the city. The child population is just about average. The death rate is low, 8.5 per 1000, against the average city rate of 11.2.

‘You should have more slums like this,” I said. ‘Don’t tell me there are plans to wipe this out. You ought to be down here learning as much as you can from it.”

‘I know how you feel.” he said. “I often go down there myself just to walk around the streets and feel that wonderful, cheerful street life. You’d be crazy about it in summer. But we have to rebuild it eventually. We’ve got to get those people off the street.”

My planner friend’s instincts told him the North End was a healthful place. Statistics confirmed it. But his training as a city planner told him the North End had to be a “bad” place. It has little park land. Children play on the sidewalks. It has small blocks. In city-planning parlance, the district is “badly cut up by wasteful streets.” It also has “mixed uses”— another sin. It is made up of the plans of hundreds of people—not planners. Such freedom represents, as one of the wise men of city planning put it. “a chaotic accident . . . the summation of the haphazard, antagonistic whims of many self-centered, ill-advised individuals,”

Under the seeming chaos of a lively place like the North End is a marvelous and intricate order—a complicated array of urban activities. These activities support and supplement each other, keeping the neighborhood interesting and vital. The planners would kill it.

It’s important to remember that all the revitalized urban neighborhoods and the lively downtowns of college towns all across the country are are direct result of this brand of politics.

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The Year in Film: Best of the Year Lists

Pauline Kael

Film of the Year:

  • L’Avventura (Michelangelo Antonioni)

Honorable Mention:

  • La Dolce Vita (Federico Fellini)

 

 

Stanley Kauffman (The New Republic):

Film of the Year:

  • L’Avventura (Michelangelo Antonioni)

Honorable Mentions:

  • La Dolce Vita (Federico Fellini)
  • Breathless (Jean-Luc Godard)
  • The Love Game (Philipp de Broca)
  • The Joker (Philippe de Broca)
  • Saturday Night and Sunday Morning (Karel Reisz)
  • The Mark (Guy Green)
  • No Love for Johnnie (Ralph Thomas)
  • The Bridge (Bernard Wicki)
  • Cold Wind in August (Alexander Singer)
  • The Hustler (Robert Rossen)
  • West Side Story (Jerome Robbins and Robert Wise)

 

Gavin Lambert (former editor of Sight and Sound):

Films of the Year:

  • L’Avventura (Michelangelo Antonioni)
  • Breathless (Jean-Luc Godard)

Honorable Mentions:

  • The Misfits (John Huston)
  • Ballad of a Soldier (Grigori Chukhrai)

 

 

Dwight MacDonald (Esquire):

Films of the Year:

  • Shadows (John Cassavettes)
  • Breathless (Jean-Luc Godard)
  • L’Avventura (Michelangelo Antonioni)

Honorable Mention

  • The Connection (Shirley Clarke)
  • Rocco and His Brothers (Luchino Visconti)
  • Shoot the Pianist (Francois Truffaut)
  • Virdiana (Luis Bunuel)

 

Jonas Mekas (editor of Film Culture)

Films of the Year in Alphabetical Order:

  • Anticipation of the Night: Stan Brakhage
  • Ashes and Diamonds: Andrzej Wajda
  • Blazes: Robert Breer
  • Breathless: Jean-Luc Goddard
  • King of Kings: Nicholas Ray
  • La Dolce Vita: Federico Fellini
  • L’Avventura: Michelangelo Antonioni
  • Leda: Claude Chabrol
  • Prelude: Stanley Brakhage
  • The Flower Thief: Ron Rice
  • The Sin of  Jesus: Robert Frank
  • The Young One: Luis Bunuel
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The Year in Music: The Black Cosmopolis–A Primer

In my previous post, I attempted to show that Kind of Blue represented a watershed moment for jazz because it managed to create a sustained contemplative atmosphere through extended modal forms, minimalist vamping, and international sounds. In this post, I would like to discuss the broader context of the cosmopolitan sound that Miles Davis developed in Kind of Blue and other musicians, such as John Coltrane, Art Blakey, Randy Weston, Yusef Lateef, Max Roach, Charles Mingus and Sun Ra, further explored from the late 1950s up to 1961. I do not think Miles caused this development. Rather, I think Kind of Blue was merely the first masterpiece to reflect the twining of jazz with the increasingly sophisticated cosmopolitanism that marked black culture in the supposedly closed and conservative America of the 1950s. I’ll wrap the post, as I did in the previous one, with a quick review of a 1961 album that reflects some of the themes I’ve discussed. This time it’ll be Yusef Lateef’s Eastern Sounds.

First of all, it would be foolish to suggest that black culture lacked cosmopolitanism before the Fifties. Black leaders, from Frederick Douglass to W.E.B. Dubois, were almost always international in their outlooks. But I do think urban jazz musicians in the late Fifties were creating music within a uniquely charged atmosphere, one that encouraged a cosmopolitanism that I doubt has been matched in the U.S. ever since. I think you can pull out four major factors that came together at this time to encourage this cosmopolitanism:

  • The Cold War and the independence movements
  • The Civil Rights Movement and the Growth of Black Consciousness
  • The Embrace of Islam and eastern spirituality
  • The Folk Revival

You can’t really separate any of these neatly, and not all of the musicians mentioned above were equally influenced by them, but they all were affected in one way or another. They had to be. These four trends were part of the air a musician breathed if he or she were intellectually curious.

The Cold War and the Independence Movements

The African and Asian independence movements had an enormous impact on the jazz community. They received enormous coverage in not only the highbrow magazines and journals, but also the mainstream press. I haven’t blogged about news coverage of liberation movements, but I have been struck by just how deeply they were covered by The Nation, The New Republic, Commentary, Dissent, Newsweek, Time and the National Review. While I can’t provide any empirical evidence,  my impression is that the amount of sustained coverage in 1961-62 of “Third World” countries absolutely dwarfs what you would find today in those same magazines, even considering the recent spike in coverage that resulted from all the democracy movements in the Middle East and North Africa. The reason for all the coverage was pretty straightforward. Communism or third-way “neutralism” were perfectly viable options for all of these new nations. This meant that they could somehow “choose” or “reject” the United States, which created great stakes. The fate of the world’s balance of power seemed to rest on the choices these nations made. And it was not at all clear that they would “choose the West”. After all, all of these newly independent nations had just endured decades of Western colonialism. The West and capitalism didn’t necessarily look all that attractive. And wasn’t the U.S. an apartheid state? Not a very attractive model for cultural, political, and economic liberation. The U.S. would have to prove that it was committed to freedom at home for emerging nations to trust that it would be a worthwhile ally.

None of this was lost on the black press, Civil Rights leaders or, as the decade wore on, jazz musicians. In her Freedom Sounds: Civil Rights Call Out to Jazz and Africa, Ingrid Monson connects the dots between Third World liberation movements, the American Civil Rights Movement, and jazz. Many musicians, such as Max Roach, were directly involved in the Civil Rights Movement and the colonial liberation movement. Others, such as Art Blakey, were inspired by African independence movements to move to Africa. The U.S. government also used jazz as the centerpiece of its campaign to promote American culture. It provided funding for tours for quite a few jazz musicians, including Louis Armstrong and Dizzy Gillespie. These tours engendered a  sense of pride that jazz was seen as representing the best of what America had to offer.

The Civil Rights Movement and the Growth of Black Consciousness

Parallel to the liberation movements happening all over the world, the Civil Rights Movement was in full swing by the mid 1950s. It would be impossible to discuss all the ways in which the Civil Rights Movement affected jazz, but one big one can be briefly highlighted: the centrality of the Black church. While radical politics had centered on the workplace in the 1930s, the Church dominated in the 1950s. All throughout the South, communities forged new political, social and cultural identities within churches. They were led on marches by ministers and sang spirituals. Suddenly Southern black folk traditions had become a medium through which a new conception of freedom and black identity could be expressed. It was a living tradition which could voice to radically new and powerful expressions. This is why there was a sudden explosion of great church-influenced music in the late Fifties and early Sixties. Think of Charles Mingus’ “Better Git it in Your Soul” and “Wednesday Night Prayer Meeting“. Here’s Miles talking about Kind of Blue:

Kind of Blue also came out of the modal thing I started on Milestones. This time I added some other kind of sound I remembered from being back in Arkansas, when we were walking home from church and they were playing these bad gospels. So that kind of feeling came back to me and I started remembering what that music sounded like and felt like. That feeling is what I was trying to get close to. That feeling had got in my creative blood, my imagination, and I had forgotten it was there. I wrote this blues that tried to get back to that feeling I had when I was six years old, walking with my cousin along that dark Arkansas road.

What’s interesting about the rise of black consciousness is that it did not necessarily entail a nationalism–which is the antithesis of cosmopolitanism–of exclusion and essentialism. Miles became interested in black folk traditions just as he was exploring flamenco, the blues of Spain.

The Embrace of Islam and Eastern Spirituality

Many, many people in the jazz community converted to Islam in the 1950s. Importantly, most that I’m aware of– Yusef Lateef, Ahmad Jamal, McCoy Tyner, John Coltrane’s wife, Naima, and Art Blakey–did not choose to become members of the Nation of Islam. They embraced an open, international Islam, but it still had political implications. As Art Blakey said:

Islam brought the black man what he was looking for,an escape like some found in drugs or drinking: a way of living and thinking he could choose in complete freedom. This is the reason we adopted this new religion in such numbers. It was for us, above all, a way of rebelling. (Quoted in Freedom Sounds)

It is no mistake that all of the musicians who embraced Islam explored international sounds. Yusef Lateef, who learned to read, write, and speak Arabic, studied Middle Eastern music. He passed along his knowledge to Coltrane, who developed a Middle Eastern sound with his soprano sax, which contributed to the spiritual sound of “My Favorite Things”. But Coltrane himself never became a Muslim. Instead, his spirituality encompassed not only the Christianity he was born into, but also Buddhism and Hinduism.

The Folk Revival

During the Fifties, Coltrane came to view music in increasingly spiritual terms, which led him to world sounds. His search was greatly aided by the birth of Folkways Records. Through their catalogue he was introduced to Ravi Shankar and African music. In his excellent Ascension: John Coltrane and His Quest, Eric Nisenson writes that Coltrane found in Indian ragas and African music a different model for a performer. Like jazz, ragas are improvised, but the musician functions “more like a priest or a shaman than an entertainer”. Coltrane was attracted to the trance inducing repetition and cyclical forms that marked both Indian and African music. I will get into how these influenced Coltrane in my next post. For now, I would like to note how Coltrane did not view this music as exotic. For him, all music beneath surface differences expressed universal ideas, a Jungian cosmopolitanism, if you will.

Yusef Lateef’s Eastern Sounds: The Cosmopolitan Sound of 1961

While I don’t think it is a perfect album, Yusef Lateef’s 1961 Eastern Sounds is a good example of how jazz musicians were creating a new aesthetic that expressed the cosmopolitanism of 1961. Here are a couple of highlights:

 The Plum Blossom: This is the signature track of the album, a truly classic song. Lateef played this with a xun, or a “Chinese globular flute”. It has a scale of only five notes, which Lateef utilizes to create a delicately gentle circular melody. His bass player, Ernie Farrow, plays a rubab, an Afghan string instrument.This song achieves the hypnotic aesthetic that Coltrane had become fascinated by.

 

 

 

 

 

 

 

Blues For the Orient: This is an example of cosmopolitanism edging toward exoticism. It has a slightly silly sound, but I still really like it. Lateef is trying to play “oriental” blues with an oboe. A+ for effort.

Chinq Miau: This one melds the Middle Eastern  and jazz sounds a little more smoothly. Smoky, atmospheric and funky.

Love Theme From “The Robe”: A very pretty take on a piece of soundtrack music. Lateef plays the flute on this. Songs like this give the album a very accessible range. Whereas Coltrane tended to stay locked into a spiritual mode in his albums, Lateef will take the spiritual sound established in “The Plum Blossom” and expands it out into a lushly romantic and cinematic aesthetic. There is a hint of Ellington in some of the more velvety songs on Eastern Sounds.

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The Year in Music, Part 1: Extending Miles

1961 was one of jazz’s finest years, a year in which a critical mass of players were ready to explore new territory that had been opened up in the late Fifties. Also, two adventurous labels, Impulse! and Candid, had started up for the specific purpose of allowing these musicians to take risks. Way too many great albums came out for one post, so over the next few weeks, I will post about some of the most interesting ones. For now, I would just like to tell the story of how this new territory was created.  Specifically, I will try to explain how jazz collectively spun out of its be-bop/hard bop corner. As a bonus at the end, I’ll review one record from 1961, Gil Evan’s Out of the Cool.

Parallel Avant-Gardes

This story of sudden innovation and expansion of possibilities was, in many ways, reminiscent of the emergence of the Abstract Expressionists a dozen years earlier. For them the breakthrough came when they were able to assimilate all of the lessons of European modernism, and then find a way to move beyond those lessons to find an American voice for modernism. In their de Kooning: An American Master, Mark Stevens and Annalyn Swan masterfully pin down the dynamics of this moment in their description of de Kooning’s Excavation:

In Excavation, de Kooning took upon himself the European clash of styles. For decades, the art of painting had seesawed between expressionist impulses and classical reserve, between the rational and the irrational. In particular, cubism and surrealism presented two contrasting alternatives, one depending upon geometry and the grid, the other upon the looser form of dreams. Excavation was a magisterial synthesis of these two claims on modern truth. To de Koonning’s circle, cubism represented not only a certain way of organizing space, but also a responsibility to make a well-constructed picture; a painter should submit to the discipline of history and school the ‘self’ as a tradition of one. The surrealist found authority in the private dreams rather than any adherence to the past…de Kooning created a powerfully poised style that integrated the rigorous detachment of cubist structure with the personal drive and spontaneity of surrealism…

De Kooning gave his synthesis a strongly American character. Excavation had none of the monkish reserve of Parisian cubism, but seemed brash and pulsing, like the blinking sign of New York….

No other American painting–not even Stuart Davis’s pictures–conveyed with comparable force the jazzy syncopation of the city…Color slipped beguilingly across the eye and was lost. Excavation was a personal improvisation on the great abstract grid of modern urban life: the gestural line sometimes seemed to step forward from the rest of the painting, almost like a jazz soloist…

The restless casting about of line–and the tension between darks and lights and the fitful illuminations of color–also suggested the nervous play of existential thinking in 1950…

There is much more to the passage, but I’ll stop there. I think this catches something universal about the avant garde throughout the 20th century. Specifically, I think that when innovation happened, the artists who pulled it off managed to assimilate lessons from divergent traditions and forge them, through sheer force of personality, into something new. Giants like de Kooning were able to create new aesthetic territory this way, which, in turn, opened things up for a flood of innovation. Essentially the flowering of American art in the Fifties was an exploration of territory opened up by a few artists: de Kooning, Pollock, and Rothko.

In the case of jazz, by the late Fifties, it was in danger of fossilizing into a sort of mannerism. Everyone had assimilated the demanding techniques of be-bop, but nothing had emerged to move beyond. So, what could you do? One solution was to fuse it with soul, which is what Blue Note did, and did with great success. But the hard bop was bound to become a bit repetitive, and ultimately dependent on Soul for innovation. This is why, with a few notable exceptions, all Blue Note managed to do in the Sixties was to become funkier. Another possibility was hitching jazz to Latin or African sounds, but that could also lead to a dead-end of silly bachelor-pad exotica .  Then you had the Third Stream movement that was being pushed by Gunther Schuller. His solution was to hitch jazz to chamber music. While I’m not sure if it is fair to regard this approach as a dead end, it was certainly problematic. The danger, of course, was that you might destroy the swing and improvisational energy that made jazz unique. But, again, I think Third Stream was ultimately pretty valuable, and in some upcoming posts I’ll talk about some stuff from 1961 that was influenced by it in very fruitful ways.

What all these solutions have in common is that they proposed hitching jazz to something else. And this makes sense. When a genre or movement begins to go stale, you’ll find this sort of thing all the time. Your wagon is in a rut, so you hitch onto another to get you out. And sometimes the results will be fantastic. Some of those Horace Silver tracks on his Fifties Blue Note records sound great. I also like Cal Tjader’s exotic lounge jazz. Nothing wrong with the vibraphone! But without the spark of genius, you don’t get anything fundamentally new from these appropriations.

So how did jazz go on to enjoy another dozen years of innovation? More than any other record, you have to give credit to Kind of Blue.  Yes, there were other records from 1959 that were innovative–Ornette Coleman’s “The Shape of Jazz to Come” and Charles Mingus’s “Mingus Ah Um” come to mind. But they didn’t have nearly the same effect. I know many would disagree, but Coleman’s free jazz was, for the most part, a dead end, like Finnegan’s Wake. You can’t really go any farther with it, although it did help some musicians, such as Coltrane, to drop the anchor of 4/4 rhythm. As for Mingus, “Mingus Ah Um” wasn’t really anything radically different from what he had already done on “Pithecanthropus Erectus” and “The Clown”. Also, Mingus’s innovations, which were tremendous, never seemed to influence anyone else. I have never understood this, but I suppose that is a story for my post on Mingus’s music from 1961.

The Kind of Blue Solution

There are technical explanations for how Davis led jazz out of the rut I described above, but I’m not at all qualified to do that. Instead, I’d like to start out by comparing the atmosphere it creates with other albums from the same year. For instance, you can hear a classic piece of hard bop from Blue Mitchell.

Blue Mitchell–\”Blue Soul\”

The Mitchell song is great, the perfect soundtrack for any urban setting where you could meet the man or woman of your dreams. It has a swinging poise, a stylish masculinity that is loose-limbed, confident, and sophisticated. It is completely opposed to the manliness  of John Wayne, the 1950s representation of laconic, humorless, sexually repressed masculinity. But it is also miles away from the desperate vulnerability that Elvis or James Dean were presenting as an alternative to John Wayne’s version of manhood and sexuality. No, it’s too grown up and urban for that. Now, check out “So What” from Kind of Blue:

Miles Davis — \”So What\”

The revolution is to shift the extroverted masculinity of hard bop and make it introverted, contemplative, even spiritual. And yet it has given up no erotic power in this inward turn. Indeed, it is as stylish as a tailored Italian suit, still limber and poised. Now when you consider what American men normally look and act like when they journey off into the spiritual realm, you’ll see Miles has pulled of something rare in American culture. If they are not sexless, busily sublimating their sex drives to achieve spiritual wholeness, America’s spiritual strivers are usually bearded, smelly, and wild-eyed.

How is this effect achieved? Richard Williams, in his The Blue Moment: Mile Davis’s ‘Kind of Blue’ and the Remaking of Modern Music, does a really nice job of getting at the innovations that make “Kind of Blue” sound so different form everything that came before it. First of all, it is “modal,” which is a technical term I don’t really understand. But what I do understand is that it achieves a kind of static ambiance that is unlike any other jazz that came before it.There is also the sonic space created by the good folks at Columbia, which allows all the instruments to fill the space of the song in a way that had never existed before. This was a result of improvements in recording technology, making it possible for bass, drums, and piano to move beyond being merely, as Williams describes it, a “platform” for the soloists. Also, through his tone and economy, Davis created solos that seem to have been “distilled from a much more complex subject. The most obvious hallmark of all this was restraint, but behind the economy of gesture and effort appeared to lie enormous reserves of intensity.”

Aside from Miles himself, Gil Evans was most responsible for creating the static ambiance I referred to above. Back in the late forties, Evans was already slowing jazz down and expanding its emotional palette by smuggling in sounds from impressionist composers like Faure and Ravel. He also befriended Davis in the  late Forties, leaving his door unlocked so Miles could crash there whenever he wanted. This was how Davis was exposed to French stuff like Faure and Ravel, but also American avant garde composers like John Cage and Harry Partch. He also introduced Miles to George Russell, a jazz composer who was loosely connected to the Third Stream crowd because was he was experimenting with exotic scales. You can hear an example from a 1957 show that also featured compositions by Charles Mingus and Gunther Schuller. On piano is Bill Evans two years before he played on “Kind of Blue”. Here is something from “New York, New York,” which featured Coltrane a year before “Kind of Blue” (his solo is around the 7:30 mark).

Also, Miles’ trip to France in 1957 further extended his sonic palette and provided an opportunity to explore more open song structures. He basically got off the plane, made friends with Sartre, and then fell in love with the singer Juliette Greco, whose version of “Autumn Leaves” would lead him to cut his own version in 1959 with Cannonball Adderley. It’s easy to see why he would have connected so easily them. The intellectual and erotic landscape of Sartre’s existentialism and 50s chansons is not at all far from Davis. But more than Sartre and Greco, it is was perhaps the opportunity to make a soundtrack for the film “Ascenseur pour l’echafaud” that  was a most important for Miles’ development. To make the soundtrack, Davis was given a few French players and a screen to watch the film. All he did was improv over fairly basic compositions, which freed him from creating conventional progressions and breaks for solos. Instead, he could just play what he thought would fit was going on in front of him, improvising a pure mood that could be cut off whenever he felt like it. The results are not necessarily the greatest album, but you can see that he was freed up to create some pretty cool snatches of song, as in “L’assassinat de Carla”.

Finally, the increasing cosmopolitan scene in New York encouraged him to explore African sounds. In 1959, he saw Keita Foddeba’s Les Ballets africains perform, which not only exposed him to new rhythms, but introduced him to the kalimba, a kind of hand-held piano. He tried to get Bill Evans to produce something like a kalimba effect on “All Blues“.

What you here is an integration of a number of loosely connected trends happening throughout the Fifties. First you have a meditative spirituality that was generated through a sustained mid-tempo modal playing. There is a comfort in the static, an atmospheric suspension that John Cage would have recognized. Certainly 1960s minimalists like Terry Riley did. And then you have touches of European, particularly French, high modernism smuggled in by Gil Evans’ arranging and Bill Evans’ Debussy-like melodies. It is certainly not Third Stream, but has assimilated its high modernist seriousness. You have a transmuted blues and world music, a sophisticated integration of earthy sounds.  Bluesy soul, world music, and classical: the three modes that jazz was fruitless trying to hitch itself to. But it was Davis, through the force of his own personal aesthetic, who took all three and created an entirely new landscape that could be explored over the next decade.

 1961: The Gil Evans Extension

With this massive terrain established in 1959, there were a bunch of different places to go. For now, I just want to start with a rather straightforward extension by Gil Evans. Taking what he had developed with Miles on “Kind of Blue” and “Sketches of Spain,” he cut two amazing records, ”Into the Hot” and “Out of the Cool,” with the new Impulse! label in 1961. “Into the Hot” is good, but it isn’t really an Evans record. Instead he just lent his name to it, leaving the composing/arranging to John Carisi and Cecil Taylor. But “Out of the Cool” is pure Evans, definitely one of the under-appreciated albums of the 1960s.

In “Out of the Cool,” you have an orchestra of a dozen or more players. But he doesn’t actually create a big swinging sound with it. Instead, you get something more stylish and atmospheric. Evans is on piano, providing very cool vamps, particularly the one at the beginning of “La Nevada“.  On trombone, you have Jimmy Knepper, who was frequently used by Mingus. But rather than the propulsive, careening drive that Mingus demanded, Knepper, on “Where Flamingos Fly,” plays with a drooping, hip melancholy, all stretched out with a repeating  portentous melody underneath that would fit a suspense film. The song just sort of fades to an end. After that is “Bilbao,” a Kurt Weil track that uses this odd little percussion instrument that is played with mallets made of rubber balls. It sounds sort of like a subdued karimba. After that is a George Russell composition, “Stratusphunk”. Then the album finishes with “Sunken Treasure,” which has rather Miles-like playing by John Coles on trumpet. Throughout the whole album, Elvin Jones provides a rhythm that gives the album its sonic space and depth.

It doesn’t have the quiet spiritual intensity of “Kind of Blue,” but that isn’t what it is going for. Instead, it is creating a cinematic sonic space that can transport you in the way the best exotica does. But rather than generating the touristy titillation of jungle princesses, it creates an urbane space, one informed by High Modernism. It is Kind of Blues‘ existentialist turned into a cosmopolitan man of action, a jazzy James Bond.

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