The Jazz and People’s Movement

April 23rd, 2015

 

.

.

Heinrich Klaffs, CC BY-SA 2.0, via Wikimedia Commons

Rahsaan Roland Kirk, 1972

.

.

___

.

.

 

In 1969, in the midst of rock music’s ascent and the social protests that effectively changed the way we looked at war, race and feminism, the great jazz musician Rahsaan Roland Kirk emerged as the leader of “The Jazz and People’s Movement,” a movement to, as John Kruth, author of Bright Moments: The Life and Legacy of Rahsaan Roland Kirk describes it, “rescue black classical music from certain oblivion and thrust it into the consciousness of the unwitting public.” Part of their plan was to “disrupt the prime time airwaves for the sake of the music they dearly loved and believe in,” and they were largely successful at it, disrupting the shows of Johnny Carson, Dick Cavett and Merv Griffin. Their tact was to attend these shows as audience members and then disrupt them by blowing whistles, holding signs (some reading “More Jazz Music On TV” and “Honor American Jazz Music”), and wreaking basic havoc on show schedules. This was so successful that Ed Sullivan invited Kirk to appear as a guest on his show so it wouldn’t be victimized by Kirk’s loud protests from the audience.

I recently came across a terrific essay devoted to this chapter in Kirk’s life. In “Rahsaan Roland Kirk’s TV Dreams,” John G. Rodwan, Jr., writes about Kirk’s ambition for saving jazz music by advocating for black jazz musicians on the popular television of the 1970’s You can read it by clicking here.

Meanwhile…Here is The Jazz and People’s Movement “Statement of Purpose,” drafted in 1969 by Kirk, friend Mark Davis, fellow musician Archie Shepp, and other members of the movement:

Many approaches have been used through the ages in the attempted subjugation of the masses of people. One of the very essential facets of the attempted subjugation of the black man in America has been an effort to stifle, obstruct and ultimately destroy black creative genius; and thus, rob the black man of a vital source of pride and liberating strength. In the musical world, for many years a pattern of suppression has been thoroughly inculcated into most Americans. Today many are seemingly unaware that their actions serve in this suppression. Others are of course more intentionally guilty. In any event most Americans for generations have had their eyes, ears and minds closed to what the black artist has to say.


Obviously only utilization of the mass media has enabled white society to establish the present state of bigotry and whitewash. The media have been so thoroughly effective in obstructing the exposure of true black genius that many black people are not even remotely familiar with or interested in the creative giants within black society.
Such injustice has reaped immense ramifications for white society. By suppressing black creativity the white man has managed to avoid competitive confrontation – thus insuring his own position and security, both emotionally and monetarily. Concomitantly, he has partially succeeded once more in emasculating a facet of black culture and the black quest for freedom. However, in one respect the pattern of suppression has clearly failed, for though there has been success in blocking the exposure of black artists, and in whitewashing the minds of most Americans, attempts to destroy the sources of creation have not succeeded.


Action to end this injustice should have begun long ago. For years only imitators and those who would sell their souls have been able to attain and sustain prominence on the mass media. Partially through the utilization of an outlandish myth, that in artistic and entertainment fields bigotry no longer exists and by show-rooming those few blacks who have sold out, the media have so far escaped the types of response that such suppression and injustice should and now will evoke.

Help in the struggle to open the media and to enable black artists to reach the positions of prominence that their artistry so deserves – to breathe new life into black culture.

 

_____

 

 

Read my interview with John Kruth, author of Bright Moments: The Life and Legacy of Rahsaan Roland Kirk 

 

 

 

Share this:

3 comments on “The Jazz and People’s Movement”

  1. Creativity and the arts, the soup of the soul; without it we are simply robots: both white and black and all other colors and persuasions

  2. Creativity and the arts, the soup of the soul; without it we are simply robots: both white and black and all other colors and persuasions

Comment on this article:

Your email address will not be published. Required fields are marked *

In This Issue

painting of Clifford Brown by Paul Lovering
A Collection of Jazz Poetry — Spring/Summer, 2024 Edition...In this, the 17th major collection of jazz poetry published on Jerry Jazz Musician, 50 poets from all over the world again demonstrate the ongoing influence the music and its associated culture has on their creative lives.

(featuring the art of Paul Lovering)

Publisher’s Notes

photo by Rhonda Dorsett
On turning 70, and contemplating the future of Jerry Jazz Musician...

The Sunday Poem

Painting of Thelonious Monk by Martel Chapman
“Ten-Suite Epistrophies and Improvisations: for T. Monk” by Bill Siegel...

Click here to read previous editions of The Sunday Poem

Poetry

“Revival” © Kent Ambler.
If You Want to Go to Heaven, Follow a Songbird – Mary K O’Melveny’s album of poetry and music...While consuming Mary K O’Melveny’s remarkable work in this digital album of poetry, readings and music, readers will discover that she is moved by the mastery of legendary musicians, the wings of a monarch butterfly, the climate and political crisis, the mysteries of space exploration, and by the freedom of jazz music that can lead to what she calls “the magic of the unknown.” (with art by Kent Ambler)

Interview

The Marvelettes/via Wikimedia Commons
Interview with Laura Flam and Emily Sieu Liebowitz, authors of But Will You Love Me Tomorrow?: An Oral History of the 60’s Girl Groups...Little is known of the lives and challenges many of the young Black women who made up the Girl Groups of the ‘60’s faced while performing during an era rife with racism, sexism, and music industry corruption. The authors discuss their book’s mission to provide the artists an opportunity to voice their experiences so crucial to the evolution of popular music.

Book Excerpt

An excerpt from Emily Jon Tobias’ MONARCH: Stories, and a reflection on our friendship

In Memoriam

photo via Wikimedia Commons
A few words about Willie Mays...Thoughts about the impact Willie Mays had on baseball, and on my life.

Poetry

photo of Earl Hines by William Gottlieb/Library of Congress
Pianists and Poets – 13 poems devoted to the keys...From “Fatha” Hines to Brad Mehldau, poets open themselves up to their experiences with and reverence for great jazz pianists

Art

photo of Archie Shepp by Giovanni Piesco
The Photographs of Giovanni Piesco: Archie Shepp...photos of the legendary saxophonist (and his rhythm section for the evening), taken at Amsterdam's Bimhuis on May 13, 2001.

Poetry

CC BY-SA 4.0 , via Wikimedia Commons
“On Coltrane: 4th of July Reflections” – a poem by Connie Johnson

Click here to read more poetry published in Jerry Jazz Musician

Calling All Poets!

News about a Jerry Jazz Musician printed jazz poetry anthology, and information about submitting your poetry for consideration

Short Fiction

pickpik.com
Short Fiction Contest-winning story #65 — “Ballad” by Lúcia Leão...The author’s award-winning story is about the power of connections – between father and child, music and art, and the past, present and future.

Click here to read more short fiction published on Jerry Jazz Musician

Interview

photo of Louis Jordan by William Gottlieb/Library of Congress
Interview with Tad Richards, author of Jazz With a Beat: Small Group Swing, 1940 – 1960...Richards makes the case that small group swing players like Illinois Jacquet, Louis Jordan (pictured) and Big Jay McNeely played a legitimate jazz that was a more pleasing listening experience to the Black community than the bebop of Parker, Dizzy, and Monk. It is a fascinating era, filled with major figures and events, and centered on a rigorous debate that continues to this day – is small group swing “real jazz?”

Playlist

photo of Coleman Hawkins by William Gottlieb/Library of Congress
“The Naked Jazz Musician” – A playlist by Bob Hecht...As Sonny Rollins has said, “Jazz is about taking risks, pushing boundaries, and challenging the status quo.” Could there be anything riskier—or more boundary-pushing—than to stand naked and perform with nowhere to hide? Bob’s extensive playlist is comprised of such perilous undertakings by an array of notable woodwind and brass masters who have had the confidence and courage (some might say even the exhibitionism) to expose themselves so completely by playing….alone.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 3: “Louis Armstrong”...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this third edition featuring excerpts from his book, Rife writes about four novels/short fiction that include stories involving Louis Armstrong.

Trading Fours with Douglas Cole

The cover of Wayne Shorter's 2018 Blue Note album "Emanon"
Trading Fours, with Douglas Cole, No. 20: “Notes on Genius...This edition of the writer’s poetic interpretations of jazz recordings and film is written in response to the music of Wayne Shorter.

Click here to read previous editions of Trading Fours with Douglas Cole

In Memoriam

Hans Bernhard (Schnobby), CC BY-SA 3.0, via Wikimedia Commons
“Remembering Joe Pass: Versatile Jazz Guitar Virtuoso” – by Kenneth Parsons...On the 30th anniversary of the guitarist Joe Pass’ death, Kenneth Parsons reminds readers of his brilliant career

Book Excerpt

Book excerpt from Jazz with a Beat: Small Group Swing 1940 – 1960, by Tad Richards

Click here to read more book excerpts published on Jerry Jazz Musician

Jazz History Quiz #172

photo of Teddy Wilson by William Gottlieb
Teddy Wilson once said this about a fellow jazz pianist:

“That man had the most phenomenal musical gifts I’ve ever heard. He was miraculous. It’s like someone hitting a home run every time he picks up a bat. We became such fast friends that I was allowed to interrupt him anytime he was playing at the house parties in Toledo we used to make every night. When I asked him, he would stop and replay a passage very slowly, showing me the fingering on some of those runs of his. You just couldn’t figure them out by ear at the tempo he played them.”

Who is the pianist he is describing?

Community

photo via Picryl.com
.“Community Bookshelf, #2"...a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books. This edition includes information about books published within the last six months or so…

Contributing Writers

Click the image to view the writers, poets and artists whose work has been published on Jerry Jazz Musician, and find links to their work

Coming Soon

An interview with Larry Tye, author of The Jazzmen: How Duke Ellington, Louis Armstrong, and Count Basie Transformed America; an interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans, and the Lost Empire of Cool; A new collection of jazz poetry; a collection of jazz haiku; a new Jazz History Quiz; short fiction; poetry; photography; interviews; playlists; and lots more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.

Site Archive