“Accent on Youth,” by Sam Bishoff

February 26th, 2013

 

Sam Bishoff, a high school student from Bainbridge Island, Washington, is the 2012 Jerry Jazz Musician Accent on Youth writer. His passion for jazz and the challenges he faces as
a youthful fan of it is the focus of the column.

_____

This column was originally published on June 9, 2012

*

Listen to Dinah Washington sing Accent On Youth

__________

Duke Ellington: Demanding Cultural Respect One Note at a Time

 

__________________________________________

The vocalist, actor and black activist, Paul Robeson, one said, “In my music, my plays, my films, I want to carry always this central idea: to be African” (“Black”). This way of thinking, of celebrating African roots, became extremely important to black artists of the Harlem Renaissance and beyond. No one embraced this approach more readily than the world famous jazz band leader, Duke Ellington. While he was not an outspoken voice in the civil rights movement, Ellington still made a tremendous impact, using respect and dignity rather than confrontation or anger to promote equality. Using the common language of music, the popularity of musicals, and the explosion of jazz into the popular music scene, Duke Ellington promoted the importance of African Americans, and inspired blacks everywhere to “command, rather than demand, respect for the race” (Anderson).

Ellington promoted civil rights ideals by taking advantage of black and white audiences’ love for his music. He composed several extended jazz suites, many of which showed unparalleled pride for his people and celebrated the legacy of African Americans. In Black, Brown and Beige: A Tone Parallel to the History of the American Negro, a forty minute suite that Ellington premiered at Carnegie Hall, Ellington “illustrated black history from the African continent to the African American contribution in World War II” (Cohen). Using his music as a medium, Ellington argued the importance of the black contribution to the modern world. Timing could not have been better. The year was 1943 and Ellington’s illustration of the black war effort took advantage of pro-WWII sentiment (Cohen). The power of Ellington’s message was that he presented it in a way that was also appealing to white Americans. Unlike the tactics of many other black activists which often alienated whites, Ellington’s approach embraced white audiences and influenced rather than forced change. Harvey G. Cohen even suggested that Ellington fused black and white America and therefore “softened the enemy” so that they would be more accepting of change. While Ellington’s shorter and more popular compositions certainly paid the bills, his true passion was for his extended pieces and for the promotion of his people. “For a long time, social protest and pride in black culture and history have been the most significant themes in what we’ve done” (Hentoff, “The Duke”). Ellington wrote prolifically in this area, producing numerous jazz suites, such as Black Beauty, Harlem Suite, and Black and Tan Fantasy which all musically illustrated the beauty of the African American (Hentoff, “Duke Ellington”).

Taking his civil rights efforts beyond music, Ellington promoted black pride to even larger audiences through the creation of several musicals. Most notably, Ellington produced Jump for Joy, an all-black musical that as Ellington said, “would take Uncle Tom out of the theater, eliminate the stereotyped image that had been exploited by Hollywood and Broadway, and say things that would make the audience think” (Holmes). The musical did say some controversial things. For one, the entire production was meant as a humorous criticism of Jim Crow laws and southern segregation (Cohen). In addition to making the audience think, it also made the performers think. Ellington was very intent on promoting black pride in his show and so he prohibited any of the actors from donning blackface or saying their lines in black “dialect”. While a few of the show’s comedians complained at first, they soon realized that they could be successful without playing down their race and “came off stage smiling…with tears running down their cheeks. They couldn’t believe it” (Holmes). Ellington succeeded in doing two important things with the production of Jump for Joy. First, he gave African Americans in both the cast and the audience something to be proud of. Secondly, and even more importantly, he proved that black pride could and should be part of popular culture and remain at the front of the public mind.

Finally, arguably Ellington’s most significant contribution to black civil rights was his promotion of jazz. The reason this contribution was so important is that jazz is a distinctly black invention and contribution to American society. Ellington loved to think of jazz as the American classical music, and at times he emphasized African Americans’ role by calling it “Negro music” (Cohen). His point was that jazz, a combination of the structure of Western classical and black traditional music, was a respectable and legitimate art form that came from a respectable and legitimate race. Ellington knew that “jazz…exploded the dichotomy between high and low cultures by bridging the gap between classical and vernacular art”, and he made sure that the audience knew this too (Anderson). He was proving to audiences that to respect the music was to respect the race. Ellington was by far the leader in jazz’s promotion. He and his band carried themselves in a respectable manner, always sharply dressed and professional. The growth of their popularity paralleled the growth of jazz’s popularity and critical recognition, and they brought the music from the speak-easy clubs of the 20’s to Carnegie Hall and the White House. This incredible growth and development in cultural recognition was an important and necessary step in black civil rights and owed much of its success to the efforts of Duke Ellington.

There is understandably a long history of animosity between white and blacks in America. However, a major reason for this tension lies in the great difference between white and black culture. We fear what we do not understand. That is why Duke Ellington played such an important role in the civil rights movement and the progression of equality. He gained respect and understanding of the black culture from his white audiences, thereby building trust and brotherhood between two very different peoples. He did so by harnessing the one thing they shared in common; music, that wonderful universal language. He was not outspoken or confrontational in his actions only because he had learned it paid to “advance the politics of race through music, lifestyle, and image, but rarely words” (Cohen).

*

Works Cited

Anderson, Iain. “Duke Ellington’s America.” The Journal of American History 98.1 (2011): 255-

. ProQuest Research Library. Web. 24 May 2012.

“Black Pride.” African American Quotes. Web. 24 May 2012.

Cohen, Harvey G. “Duke Ellington and Black, Brown and Beige: The Composer as Historian at

Carnegie Hall.” American Quarterly 56.4 (2004): 1003-34. ProQuest Research Library. Web. 24 May 2012.

Hentoff, Nat. “Duke Ellington and the D.C. Law School.” The Village Voice: 18. ProQuest

Research Library. Nov 19 1991. Web. 24 May 2012 .

—. “The Duke, in Private.” Wall Street Journal: A12. Los Angeles Times; National

Newspapers Core; The Wall Street Journal. Dec 09 1991. Web. 24 May 2012 .

Holmes, Emory. “When the A Train Hit L.A. ” Los Angeles Times: 8. Los Angeles Times;

National Newspapers Core. Apr 25 1999. Web. 17 May 2012 .

______________________________

Sam Bishoff

*

Sam Bishoff, a high school student from Bainbridge Island, Washington, is the 2012 Jerry Jazz Musician Accent on Youth writer. His passion for jazz and the challenges he faces as
a youthful fan of it is the focus of the column.

You can contact Sam at: [email protected]

———-

You can read Sam’s previous column on the next page

Share this:

One comments on ““Accent on Youth,” by Sam Bishoff”

Comment on this article:

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

Site Archive

Your Support is Appreciated

Jerry Jazz Musician has been commercial-free since its inception in 1999. Your generous donation helps it remain that way. Thanks very much for your kind consideration.

Publisher’s Notes

Creatives – “This is our time!“…A Letter from the Publisher...A call to action to take on political turmoil through the use of our creativity as a way to help our fellow citizens “pierce the mundane to find the marvelous.”

In This Issue

Announcing the book publication of Kinds of Cool: An Interactive Collection of Jazz Poetry...The first Jerry Jazz Musician poetry anthology published in book form includes 90 poems by 47 poets from all over the world, and features the brilliant artwork of Marsha Hammel and a foreword by Jack Kerouac’s musical collaborator David Amram. The collection is “interactive” (and quite unique) because it invites readers – through the use of QR codes printed on many of the book’s pages – to link to selected readings by the poets themselves, as well as to historic audio and video recordings (via YouTube) relevant to many of the poems, offering a holistic experience with the culture of jazz.

Interview

photo Louis Armstrong House Museum
Interview with Ricky Riccardi, author of Stomp Off, Let’s Go: The Early Years of Louis Armstrong...The author discusses the third volume of his trilogy, which includes the formation of the Armstrong-led ensembles known as the Hot Five and Hot Seven that modernized music, the way artists play it, and how audiences interact with it and respond to it.

The Sunday Poem

photo of Billy Wilder via Wikimedia Commons


“You Know by the Laughter,” by Joan E. Bauer


The Sunday Poem is published weekly, and strives to include the poet reading their work....

Joan E. Bauer reads her poem at its conclusion


Click here to read previous editions of The Sunday Poem

Feature

“What one song best represents your expectations for 2025?” Readers respond...When asked to name the song that best represents their expectations for 2025, respondents often cited songs of protest and of the civil rights era, but so were songs of optimism and appreciation, including Bob Thiele and George David Weiss’ composition “What a Wonderful World,” made famous by Louis Armstrong, who first performed it live in 1959. The result is a fascinating and extensive outlook on the upcoming year.

Poetry

Sax in a Blue Suit by Samuel Dixon
21 jazz poems on the 21st of March, 2025...An ongoing series designed to share the quality of jazz poetry continuously submitted to Jerry Jazz Musician by poets sharing their relationship to the music, and with the musicians who perform it.

Interview

photo by Brian McMillen
Interview with Phillip Freeman, author of In the Brewing Luminous: The Life and Music of Cecil Taylor...The author discusses Cecil Taylor – the most eminent free jazz musician of his era, whose music marked the farthest boundary of avant-garde jazz.

Feature

photo of Rudy Van Gelder via Blue Note Records
“Rudy Van Gelder: Jazz Music’s Recording Angel” – by Joel Lewis...For over 60 years, the legendary recording engineer Rudy Van Gelder devoted himself to the language of sound. And although he recorded everything from glee clubs to classical music, he was best known for recording jazz – specifically the musicians associated with Blue Note and Prestige records. Joel Lewis writes about his impact on the sound of jazz, and what has become of his Englewood Cliffs, New Jersey studio.

Poetry

photo of Charlie Parker by William Gottlieb/Library of Congress; Design by Rhonda R. Dorsett
Jerrice J. Baptiste’s 2025 Jazz Poetry Calendar...Jerrice J. Baptiste’s 12-month 2025 calendar of jazz poetry winds through the upcoming year with her poetic grace while inviting us to wander through music by the likes of Hoagy Carmichael, Antonio Carlos Jobim, Sarah Vaughan, Melody Gardot and Charlie Parker.

Playlist

“Sextets: The Joy of Six” – a playlist by Bob Hecht...The cover of the 1960 debut album by the Jazztet, co-founded by the trumpeter Art Farmer and the tenor saxophonist Benny Golson, and which always featured a trombonist and a piano-bass-drums rhythm section. Golson wrote much of the music, but “Hi-Fly” – a tune featured on Bob Hecht’s two-hour playlist devoted to sextets – was written by pianist Randy Weston, and appears on the 1960 album Big City Sounds.

Interview

Interview with Jonathon Grasse: author of Jazz Revolutionary: The Life and Music of Eric Dolphy....The multi-instrumentalist Eric Dolphy was a pioneer of avant-garde technique. His life cut short in 1964 at the age of 36, his brilliant career touched fellow musical artists, critics, and fans through his innovative work as a composer, sideman and bandleader. Jonathon Grasse’s Jazz Revolutionary is a significant exploration of Dolphy’s historic recorded works, and reminds readers of the complexity of his biography along the way. Grasse discusses his book in a December, 2024 interview.

Feature

Dmitry Rozhkov, CC BY-SA 4.0 via Wikimedia Commons
“Thoughts on Matthew Shipp’s Improvisational Style” – an essay by Jim Feast..Short of all the musicians being mind readers, what accounts for free jazz musicians’ – in this instance those playing with the pianist Matthew Shipp – incredible ability for mutual attunement as they play?

Art

Photo of Joe Lovano by Giovanni Piesco
The Photographs of Giovanni Piesco: Joe Lovano...Beginning in 1990, the noted photographer Giovanni Piesco began taking backstage photographs of many of the great musicians who played in Amsterdam’s Bimhuis, that city’s main jazz venue which is considered one of the finest in the world. Jerry Jazz Musician will occasionally publish portraits of jazz musicians that Giovanni has taken over the years. This edition features 1999 photographs of the saxophonist Joe Lovano.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 11: “Chick” and “Hen” Lit...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 11th edition, Rife writes about the “chicks” (energetic women, attractive, and open to experience) and “hens” (older women who have either buried or lost a loved one, and who seem content with their lives) who are at the center of stories with jazz within its theme.

Interview

photo by Carl Van Vechten, Library of Congress
A Black History Month Profile: The legendary author Richard Wright...In a 2002 Jerry Jazz Musician interview, Richard Wright biographer Hazel Rowley discusses the life and times of legendary author Richard Wright, whose work included the novels Native Son andBlack Boy

Feature

On the Turntable — The “Best Of the ‘Best Of’” in 2024 jazz recordings...Our annual year-end compilation of jazz albums oft mentioned by a wide range of critics as being the best of 2024

In Memoriam

photo via Pexels.com
“Departures to the Final Arms Hotel in 2024” – poetic tributes, by Terrance Underwood...2024 produced its share of losses of legendary jazz musicians. Terrance Underwood pays poetic homage to a handful who have touched his life, imagining their admittance to the Final Arms Hotel, a destination he introduces in his prelude.

Community

Stewart Butterfield, CC BY 2.0, via Wikimedia Commons
Community Bookshelf #4...“Community Bookshelf” is a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books and/or recordings. This edition includes information about books published within the last six months or so (September, 2024 – March, 2025)

Feature

Trading Fours, with Douglas Cole, No. 23: “The Wave”...In this edition of an occasional series of the writer’s poetic interpretations of jazz recordings and film, Douglas’ poem is written partly as a reference to the Antonio Carlos Jobin song “Wave,” but mostly to get in the famed Japanese artist Hokusai’s idea of the wave as being a huge, threatening thing. (The poem initially sprang from listening to Cal Tjader’s “Along Came Mary”).

Short Fiction

Stan Shebs, CC BY-SA 3.0 , via Wikimedia Commons/blur effect added
Short Fiction Contest-winning story #67 — “Bluesette,” by Salvatore Difalco...The author’s award-winning story is a semi-satirical mood piece about a heartbroken man in Europe listening to a recording by the harmonica player Toots Thielemans while under the influence of a mind-altering substance.

Interview

Interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lost Empire of Cool...The esteemed writer tells a vibrant story about the jazz world before, during, and after the 1959 recording of Kind of Blue, and how the album’s three genius musicians came together, played together, and grew together (and often apart) throughout the experience.

Feature

photo of Lester Young by William Gottlieb/Library of Congress
Jazz History Quiz #179...Throughout his career, this saxophonist was known as the “Vice Prez” because he sounded so similar to “Prez,” Lester Young (pictured). Who was he?

Community

Nominations for the Pushcart Prize XLIX...Announcing the six writers nominated for the Pushcart Prize v. XLIX, whose work was published in Jerry Jazz Musician during 2024.

Publisher’s Notes

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

Feature

“Are Jazz-Hop Instrumentals Jazz?” – an observation (and playlist) by Anthony David Vernon...Google “what is jazz-hop?” and the AI overview describes it is “a subgenre of hip-hop that combines jazz and hip-hop music. It developed in the late 1980s and early 1990s.” In Mr. Vernon’s observation, he makes the case that it is also a subgenre of jazz.

Community

Notes on Bob Hecht’s book, Stolen Moments: A Photographer’s Personal Journey...Some thoughts on a new book of photography by frequent Jerry Jazz Musician contributing writer Bob Hecht

Art

“The Jazz Dive” – the art of Allen Mezquida...The artist's work is inspired by the counterculture music from the 1950s and 60s, resulting in art “that resonates with both eyes and ears.” It is unique and creative and worth a look…

True Jazz Stories

Columbia Records; via Wikimedia Commons
“An Evening with Michael Bloomfield” – a true blues story by David Eugene Everard...The author recounts his experience meeting and interviewing the great blues guitarist Mike Bloomfield in 1974…

Short Fiction

photo via PxHere
“The Magic” – a story by Mark Bruce...Most bands know how to make music. They learn to play together so that it sounds good and maybe even get some gigs. Most bands know that you have your chord progressions and your 4/4 beat and your verses and bridges. Some bands even have a guy (or a woman, like Chrissy Hynde) who writes songs. So what gives some bands the leg up into the Top 40?

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 Sascha Feinstein, author of Writing Jazz: Conversations with Critics and Biographers;, Also, a new Jazz History Quiz, and lots of short fiction; poetry; photography; interviews; playlists; and much 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.