The True Roots of American Music

THE TRUE ROOTS OF AMERICAN MUSIC
Duke Ellington, a legend in his own time.
NEARLY EVERY FORM OF music and dance found in the Western Hemisphere since the
landing of Columbus on “Hispaniola” in 1492, can be traced to the people of Africa. Whether it
be Cuba, Columbia, Brazil or the United States, the music and dance has its “roots” in Africa.
Unfortunately in the United States little attention is given to this fact. On the contrary, every effort
possible is being made to demonstrate that white Americans shared in the original creation of
what is now being called “American” music.
This latter impression is becoming more and more difficult to correct, because those who control
the entertainment industry, via talent agencies, theaters, record companies, major festivals,
radio and television networks, appear determined to distort the true history of music in America.
So complete is this distortion that most Americans are more familiar with white artists who
imitate black artists, than they are with the original black artists themselves. In too many
instances, the imitators become rich and famous, while the blacks whom they imitate remain
poor and unknown.
Tommy Dorsey is well known, but few people recall “Tricky” Sam Nan ton. Likewise Gene Krupa
has become a household word, but Sid Cattlet is all but unknown to the general public. Then
there is Dave Brubeck, George Gershwin, Al Jolson and Stan Getzbut who, except Jazz
enthusiasts, recall Bud Powell, Billy Strayhorn, Janis Joplin, Bessie Smith or Lester Young?
Whenever white musicians, some even well meaning, have taken this music abroad they have
presented it as “American” music, leaving the impression that it is of European or white
American origin. More critical is the fact that there is a growing movement to make jazz
America’s national music, without acknowledging its African Roots.
While this movement presents many famous African American musicians as entertainers and
participants in the naturalization process, it nonetheless carries a subtle undertone with political
and cultural motivations. One may ask, why is it necessary for white Americans, or any people
in fact, to claim credit for the music transplanted from the shores of Africa? To answer this
question we will have to turn back the pages of history to the time of the so-called American
“settlers.”
Most of the Europeans who settled in America initially came from the lower cultural strata of
their countries. Others fled, in rebellion to the culture and lifestyle of their mother country. Some,
such as the “crackers” (so called because of their indebtedness), were literally expelled. Thus,
for all intent and purpose, the “settlers” purpose, the “settlers” brought no culture with them,
especially no significant music or art forms.
In addition, the Europeans have never exhibited a culture which had “natural” universal appeal.
Often, by force of arms, their lifestyles were, and still are, being imposed on various nations;
however, it is usually acknowledged that the Europeans absorb more of the culture of the
“conquered” than is the reverse.
Turning to the Africans who were brought to these shores, historical data indicates that they
brought with them a heritage and a culture of universal appeal. Everywhere they are said to
have gone, the people with whom they had contact borrowed some of their culture, especially
music and dance. This was true historically for Rome, when the 10th Roman Legion, known as
the African Corps, was used by Julius Caesar to defeat Pompey. The African “drum” played a
significant part in Roman communications.
What about this strength of cultural influence in the United States, especially in the face of the
“slave breaking” process? Dr. E. Franklin Frazer, in his book, “The Negro in the United States,”
points out that “the free Negro held a monopoly in the skill trades; this was especially true in
music.”
So absolute was the dominance of the blacks in music that most of the early white entertainers
painted their faces black to give an authenticity to their performance. It was felt that a blackened
face helped a white person to sing and dance better. Before the Civil War, the “black face” was
done as a compliment to the black man’s musical and dancing skills; it was only after the war
that white entertainers did it to ridicule the blacks.
As we turn to jazz, let us review a description of the African as he made his impact upon New
Orleans, the indisputable cradle of jazz in America. In his book “The Story of Jazz,” Marshall
Stearns quotes G. W. Gable saying see them, tall, well knitted Sene gales from Cape Verde,
black as ebony, with intelligent, kindly eyes, long straight, shapely noses, (and those) from
Gambia River, lighter of color, of cruder form, cunning that shows in their countenance, whose
enslavement seems especially a shame, the merchants of Africa dwelling in towns, industrious
thrifty, skilled in commerce and husbandry The dominant culture of the African people in New
Orleans was Yoruba, and the major religion was Voudon, which in some aspects was practiced
also by a number of whites. According to Stearns, the Catholic Church sought to outlaw the
practice of Vodou.
Then, in Haiti, a major event “shook” the entire hemisphere. The African people threw both the
French and Spanish off the Island and established two republics, one Haiti itself and the other
The Dominican Republic. What followed was a combined force of European countries sailing to
crush this “rebellion.” The European forces failed, but France was able to exact a political price
in terms of tax or debt payments for a number of years.
Illustration by Alex Mattison.
Stearns claims that because the drums were such a major factor in the success of the people of
Haiti against the French (i.e. communications), these particular types of drums were actually
outlawed in New Orleans, with the exception of the famed “Congo Square” where the blacks
were allowed to practice their culture.
Stearns states, “it was feared that the Vodou religion would go underground, so it was permitted
to be practiced openly.” Later, as we shall see, Congo Square became central to the
development of jazz. “Private ceremonies” and “Public performances,” preserving both rhythm
and rituals, abetted the survival of musical forms in America, Stearns contends.
Following the Civil War, military bands took on a very African Character. With “freedom” granted
to the slaves, there was a great deal more movement by blacks. Many secret societies evolved
among them and, by and large, most developed marching bands which initially performed at
funerals. The similarity of these “funeral rituals” with bands was strikingly similar to those
performed in the West Indies and all over West Africa.
As tourism increased, the Congo Square became literally surrounded by houses of ill repute.
Northerners, amazed by the sight of the area, nicknamed it “Storyville.” It is significant to note
that in every major city where jazz is played, there is at least one jazz club named “Storyville.”
formed to throw out the Yankee Carpet baggers, and to keep the “Negro” in his place. The end
result was the restriction of freedom of movement again for blacks, including the Creole people
of color, who had up until then been spared the abuse borne by the “ordinary” black people.
Lack of work, and little meaningful employment forced the musicians of Congo Square to seek
work in night clubs and houses of prostitution. Consequently, though “below their dignity, the
musicians developed a professional ism by working full time. The Creole, forced into a closer,
natural relationship with his darker brother, now contributed his knowledge of notes and
European instruments. At that time however, the Creoles lacked the ability to improvise, which is
the heart of jazz. Later it became “natural” for them. Some noted Creoles, developing this ability,
included Jelly Roll Morton, Kid Ory, Bechet and Celestin. In another development, whites,
observing black musicians, copied their style and some became famous as “DixieLand”
musicians in the 1880s.
Another such “white” movement became known as the “Cool School” of the 1950s. It was a
movement by some white musicians who tried to imitate the “Bebop” of New York which had
been designed by “concerned” black musicians to reunite jazz with its African roots and rid it of
its European “impurities.” These “impurities” were said to have been picked up during the
so-called “swing” era.
The culture of African people in the United States, is seen by most white Americans as they
“see” black (Afri can) people as a whole someone or something not to be respected, not to be
taken seriously. Thus, white musicologists classify European music as “seri” implying that
“black” music music is not.
Actually this puts white America to Illustration by Alex Mattison. tally out of step with the rest of
the world. In fact, the new Soviet leader, Andropov is an avid Miles Davis fan. The King of
Thailand is an excellent jazz musician, and the list of prominent world figures and their citizenry
who respect acknowledging its African roots is numerous.
Throughout Europe now, there are schools of jazz, even specialized branches such as the
“John Coltrin Coltrane” school. Noted author Frank Kofsky states that if whites are in the jazz
world proper, they will tend to deny that it is foremost and firstly a black art, created and
nurtured by African Americans. Secondly he says, if they are not in the jazz circles, they will
accept that jazz is “black” but reject it as something durable or worthy.
Kofsky, a Caucasian himself, suggests in his book, “Black Nationalism and the Revolution in
Music,” that it is understandable that white America would attempt to exert some kind of control
over jazz, especially given its respectability the world over.
As we have seen earlier, white Americans have complete control of the American world of
music. Most of those who write about jazz, for instance, are white, especially the critics, many of
whom have no musical ability at all. Nevertheless they have the power to determine who will
play, when they will play, where they will play and who will “make money,” and who will “starve.”
Eubie Blake has been quoted as saying, “After the white writers learned to write syncopation,
they did not need us anymore. From that time on work was very hard to find.’
As we pointed out, there is now a major movement to make jazz America’s national music, and
the black man can be expected to be written out, no matter how many blacks are enlisted in the
process. Kofsky himself points out that “recording companies, booking agencies, festival
promoters, and nightclub owners make fortunes, while most black jazz musicians remain poor.
According to Richard Harrington, in a recent Washington Post Article, Tom Kendricks, director of
operations at the Kennedy Center said that Roger Stevens, the Center’s chairman, “is big on
two things: the American musical and jazz, both being America’s nationalMusic.
Stevens and George Wein, a longtime jazz promoter (Newport, etc.) are initiators of the June 5,
1983 “KOOL” Jazz Festivals in Washington at the Kennedy Center, and in Baltimore at the Civic
Center. Kendricks was quoted as saying that this affair “gives you an opportunity to say in a very
direct way that this is national music being highlighted in the national culture center. And then
you get a double blessing in that it is a national event and a community event because of where
it is.”
It becomes imperative that such a movement as this must have “truth” and “justice” at its base.
Blacks and whites who love jazz must establish a dialogue to maintain the authenticity of jazz,
so that the opportunity for exploitation will vanish. As Black musicians must strive to gain more
control over the direction of jazz movements such as the “national” drive. They must ensure that
black musicians are not exploited “fodder, many (even $1 million superstars), black athletes
happen to be. A movement to educate black families in the history and musical culture of the
African Americans, should be taken up by the “named” and unnamed true jazz musicians.
This could develop national ethnic support and revenue so that jazz will not become another
“sacred” art cheapened by crass commercialism.
This is no appeal for boycotting “festivals”; it is an appeal for increasing the quality of such
events, the dignity and the authenticity of the movement. It is an appeal for the preservation of
the historical roots of our musical culture and a fair return for the genealogical investment of the
African and African American people.