Table Of Content

7 5 2 ra x > s ; - ; : be : oe & ' — a ra — 3 7 an es 7 - ‘ F api Hes ae ba — cs am - a — aii iD. . 5 - a Dy pe a : a = - “~ ; . i i : * rm ; , >. - Me | aati ~ oo ae Ea at x Pal : #; ~« Consciousness Music, Race, and Ctra Paul Austerlitz jazz Consciousness PAUL AUSTERLITZ Jazz Consciousness MUSIC, RACE, AND HUMANITY WESLEYAN UNIVERSITY PRESS Middletown, Connecticut Published by Wesleyan University Press, Middletown, CT 06459 www.wesleyan.edu/wespress © 2005 by Paul Austerlitz All rights reserved Printed in the United States of America §4321 Library of Congress Cataloging-in-Publication Data Austerlitz, Paul- Jazz consciousness: music, race, and humanity/ Paul Austerlitz. p. cm.—(Music/culture) Includes videography and discography (p. _), bibliographical references (p. _), and index. ISBN-13: 978—O-8195—6781-9 (cloth: alk. paper) ISBN-10: O-8195—6781—7 (cloth: alk. paper) ISBN-13: 978—O-8195—6782—6 (pbk: alk. paper) ISBN-10: O-8195-6782-5 (pbk: alk. paper) 1. Jazz— Social aspects. 2. Jazz— History and cniticism. I. Title. II. Series. ML3918.J39A97 2005 781.65'089 —dc22 2ZOOSOIOS6I The author gratefully acknowledges permission to reproduce the following: ‘Sections of chapter 2 previously published in “Mambo Kings to West African Textiles” Copyright © Frances Aparicio From: Musical Migrations By: Frances Aparicio Reprinted with permission of Palgrave Macmillan Sections of chapter 4 previously published in “Dominican Jazz in the Black Atlantic Soundscape,” Black Music Research Journal vol. 18, no. 1/2, by permission of the Center for Black Music Research, Columbia College Chicago; and “The Jazz Tinge in Dominican Music,” Ethnomusicology Volume 44/2 (2000), by permission of the Society for Ethnomusicology. Contents Acknowledgments vil Introduction 1x I. Jazz Consciousness in the United States 1 2. Kente Cloth to Jazz: A Matrix of Sound 25 3. Machito and Mario Bauza: Latin Jazz in the U.S. Mainstream 42 4. Ambivalence and Creativity: The Jazz Tinge in Dominican Music 98 5. “Rhythm-Music”: Jazzin Finland 119 6. “My Teacher Is the Human Heart”: The Human Music of Milford Graves (by Milford Graves, as told to Paul Austerlitz) 157 Conclusion 184 Notes 191 Videography and Discography 223 Bibliography 227 Index 245 Color plates follow page 40. Photographs follow page 94. Acknowledgments —thth An Akan proverb states that “the family is a force” and, indeed, it has been only been with the support of my extended family of colleagues and friends that I have been able to complete this book. At Wesleyan University Press, I am especially grateful to Suzanna Tamminen, editor-in-chief, and Robert Walser, editor of the Music/Culture Series. Funds supporting research were provided by the Fulbright Foundation, the Wenner-Gren Foundation for Anthropological Research, the American-Scandinavian Foundation, the Finlandia Foundation, and the Watson Center for International Studies at Brown University. Many colleagues, friends, and students read drafts of this book, providing valuable feedback. I am particularly indebted to Te- resa Nemeth, whose editing greatly improved the clarity and readability of the text. Scott Currie, Mindy Keskinen, Meki Nzewi, David Yih, Ferdi- nand Jones, Alan Saul, Shanna Lorenz, Raul Fernandez, Lise Waxer, Ste- ven Rabson, and Eric Charry played important roles in helping me hone my thinking. Robert Farris Thompson, Michael S. Harper, Kwaku Kwaa- kye Obeng, David Carp, Lewis Gordon, Chris Washburne, Lina Fruzzett, Rebecca Miller, Judith Becker, James Campbell, Danielle Georges, Kimasi Browne, Dominique Cyrille, Tuomas Nevanlinna, Hannu Saha, Timo Leisi6, Vesa Kurkela, and Jari Muikku also provided advice and encourage- ment. Many students, including Katherine Brucher, Roshan Samtani, Kera Washington, Liam McGrenahan, Alan Williams, Liz Scheps, Paige McGin- ley, Jason McGill, and Adam Pogoff helped me cultivate this book. Leo- nardo Acosta, Max Salazar, Luc Delannoy, Pauli Hallman, Pekka Gronow, Keiko Morishita, and Markku Salo aided me in the field, while John Storm Roberts, Ruth Glasser, Ira Berger, and Anthony Brown helped me obtain oral historical data. I am indebted to Paul Karting, Henry Medina, Susan Dopp, Rick Britto, Bull Johnston, and Ken Carpenter for their generous Acknowledgments | vii help with photographs, art, and figures. Many musicians gave their time and wisdom; first and foremost among them is Milford Graves. Mario Grillo, Ray Santos, Delfin Pérez, José Madera, Jr., and Louis Bauzo provided assistance with my research on Machito. The Dominican and Finnish musicians I am most indebted to include Tavito Vasquez, Mario Rivera, Joseito Mateo, Julito Figueroa, Crispin Fernandez, Tony Vicioso, Edwin Lora, Rafaelito Roman, Rafaelito Mirabal, Juan Luis Guerra, Julio Alberto Hernandez, Antonio Lora, Pavin Tolentino, Agustin Pichardo, Heikki Syrjanen, and Pekka Westerholm. T also want to salute the Yoruba drisa Elégba by quoting a song: O Bara wa yo, Eké e, Est Odara, Omo yalawa’na Mama kéni irawo e. Vital force who comes to deliver [us], Forked Stick, Esu, performer of wonders, Child that separates, splits, and divides the road, May you not cut the initiates’ mat of goodness.* *Mason 1992: 69; my lineation. Acknowledgments / viii