Will The Real Joe Harriott Please Stand Up?
Yet his best efforts may do little to challenge the mythology that has grown up around Harriott. The myths that surround the saxophonist centre on issues around his "neglect" by the jazz and wider music communities of the fifties, sixties and beyond. The causes ascribed to this neglect vary from racism and envy to misunderstanding and conservatism. For those who would mythologize Harriott, he is a "misunderstood genius," "ahead of his time," a "black man whose career was blighted by racism" and, finally, "a black artist, whose neglect reveals the inherent conservatism of British jazz of the period."
These myths stem in part from attempts to make Harriott representative of the generation of Caribbean migrants who came to Britain in the early fifties and later. In one sense, he is just that and his contribution to the British scene, alongside that of other musicians settling in Britain, has been of great significance. But the danger is that in seeking to make him representational in this way, aspects of his personality, behavior and beliefs become exorcised and our sense of the whole individual is lost.
It is hard to specify when this process of "mythification" began. One suspects, however, that it started in the mid-eighties, a period which saw a resurgence of interest in jazz and in Britain the emergence of a new generation of musicians, including a substantial number from Caribbean backgrounds. Like many British musicians of the fifties and sixties, Harriott was not often considered or remarked upon thereafter. His records, like others, had long been deleted. He was, in some respects, a forgotten artist from an era that had passed playing a music that had gone largely ignored at the timeat least when considered against the sales of pop, beat and rock releases of the same period.
The resurgence of jazz in Britainshort-lived though it wasmade it possible to rediscover the music's past and it was understandably important for young black musicians to identify with earlier figures in British jazz as role models. They were, after all, coming into the scene from a point of view of some isolation themselves, both within the black community, where reggae and soul were the musical reference points, and in relation to a scene that was, with only one or two exceptions, white. For these young musicians, as well as for some of the newer jazz writers (white in the main) a need emerged to explain Harriott's early demise and neglect.
There is no doubt that Harriott suffered racism during his 22 years in Britain. Certainly, some British jazz musicians of the sixties were dismissive of Harriott's free form experiments. Some might even have been motivated by racial prejudices. That there were conservative elements in British jazz is evident. Just read, if you will, articles by British musician-critics Steve Race or Benny Green, or those in Melody Maker by Bob Dawbarn. When John Coltrane toured with a quintet that included Eric Dolphy in 1961, many in the British jazz community (including incidentally Tubby Hayes) were shocked by the music 'Trane presented. However, as has been written elsewhere, some who heard the music on that tour got it immediately, others (like Hayes) got it later and some, like Steve Race, never did.