Blog #3

Race has always been a very important factor in jazz and the development of it.  There had always been problems between races, dating back to the early beginnings of jazz.  The Swing Era of the 1930s portrayed many differences that the blacks and whites had because during this time, the musicians were not only fighting for economic advances and privileges, but also respect for the cultural background of their race.  Although it seems that this tension continued on throughout the 1930s, jazz actually brought whites and blacks together to make some magnificent music as a team effort.  Two main events took place during the Swing Era which was located at The Savoy and Carnegie Hall.  Benny Goodman, a white musician, performed in a “musical battle” against black musician, Chick Webb, creating something that has gone down in history.  At Carnegie Hall, Benny Goodman again performed with three other musicians, who all happened to be black.  At this performance some people did not enjoy the mixture of races but others still were very fond of it.  Black musicians and white critics also played a role in this racial immigration of the 1930s.  John Hammond who was a white critic had some very strong words against jazz musician, Duke Ellington, saying that his “tact and suave manner disguised a willingness to tolerate racial indignities for the sake of commercial success” (Swing Changes).  Even with this embarrassment of a critique, Hammond later became a fan of different black musicians such as Fletcher Henderson, Count Basie, and Billie Holiday. 

            Some of these black musicians tried to integrate races together more than others, such as Duke Ellington, and were actually very successful with the process.  Many factors played a role in this success, the main one being the radio.  With the radio, everyone and anyone had the ability to listen to jazz music, whether it was from a white or black musician and the listener was either white or black as well.  The radio brought many opportunities for both white and black musicians because of the fact that anyone could get their hands on one to listen to the jazz music of the 1930s. 

Blog #2

In the 1920’s, both Chicago and New York were both a part of the jazz music.  New York however was the more important place and had a bigger impact on jazz during this time.  New York was a place full of new opportunities for every person associated with the city.  The diversity seen here and the integration of people forced the creation of different communities throughout the whole city.  Because of the endless opportunities, many people believed that New York influenced the status of black men as well.

            New York has been a piece of jazz history for a long time.  Jazz was seen and heard in New York not only in the 1920s but also before the migration.  Social and economic conditions in New York were always providing opportunities for everyone.  Because jazz music was popular during this time, people enjoyed listening and dancing to it, which meant that there were going to be jobs for musicians to provide the joy that this music brought.  The racial communities in New York brought many new cultures and traditions that were brought together.  The integration of the diverse backgrounds in New York helped shaped the style of jazz as well in the 1920s.

            During this time, there was a Harlem style of jazz.  This style was then split up into two Harlems- the Harlem Renaissance and the Harlem of rent parties.  During the Harlem Renaissance, “an entire elite had come together, drawing confidently on the full range of human expression…in which creative thought could flourish” (Gioia, 94).  This Harlem was in full support of the black culture and had a great sense of community.  The Harlem of rent parties on the other hand, was associated with “harsh economics, low salaries, and looming rent payments” (Gioia, 94).  Despite the harsher living conditions, this was the Harlem that created music.  Rent parties were “the special passion of the community” (Gioia, 95).

            The art form that best represents the culture and community of New York, I believe is ragtime.  With ragtime came the creation of the stride piano which was “the center of new music” (Gioia, 96).  Ragtime was a widely known type of music and also fit into the many diverse groups of people in New York.  According to Gioia, “ragtime was played all over, in bars, cabarets and sporting houses” (96) connecting to each of the different crowds of New York.  Jazz music connects to the audience through communication to an audience and tells stories through the communication.  This aspect of the style of music relates to Bakhtin in how he says that in every story there is someone in mind.