An Indictment on the Jazz Establishment

The recent dismissal of writer Stanley Crouch from Jazz Times because he has already made his "point many times about what jazz is and who can play it," has been the subject of numerous conversations for the past few months. The interestingly-timed and clearly unprofessional canning of Crouch brings into play a serious exposure of a reoccurring and often hidden plague within the world of jazz—the jazz Establishment.

As always there are three sides to the story, the version presented by Jazz Times, the word according to Stanley Crouch and the reality that this thing called jazz is getting further and further away from its own self, whatever that was. The current presentation of jazz neglects the mature talents of the living legends in exchange for the promotion of the new and often young voices within the music. Over the history of jazz each new generation of musicians has prided themselves on repertoire and the upliftment of legacy, heritage and connection. Even when the elders did not all approve or acknowledge the new trends in the music, there was still a sense of pride for those younger musicians who had a grasp and understanding of repertoire, history and the role of musicians within greater society. The musicians who innovated bebop had a clear understanding of swing whether or not they wanted to play it or not. Even most of the free jazz musicians of the 1960's had an understanding of swing, bebop and/ or hard bop whether they wanted to play it or not. These musicians also understood the importance of their societal roles as spokespersons, activists and motivators in addition to musicians/ artists. Let us remind ourselves that the music of Ellington, Williams (Mary Lou), Coltrane and Coleman (to add a little extra flavor) all dealt with the good and bad of human nature. Might we even consider them sociologists or anthropologists in addition to their highly recognized professions as composers and creators of this music we now can't define? Yet, Stanley can define it, and because he can, he got fired. Although I am not a huge Crouch fan, and rarely agree with him, I do respect his talent at writing and more importantly the fact that unlike many jazz writers/ critics, he is consistent. His allegiances are pronounced, his theories are predictable and his words create controversy. I've always held the notion that controversy breeds curiosity which creates sales, and yet he receives the final pink slip (by email no less).

Jazz magazines such as Jazz Times, Jazziz and Downbeat have put so much focus on the hybrid jazz stepchildren, the various post 1960's fusions (jazz-rock fusion, jazz-r&b fusion, jazz-hip hop fusion, jazz-"neo" soul fusion, jazz-reggae fusion, etc.) that we might need to ask for the real jazz to please stand up. These are all fusions that incorporate elements of jazz and mix, merge or synthesize them with other musical forms. But are they really the face of jazz? These fusions have been co-opted and presented as the look, feel and touch of jazz and the identity of the merged genre becomes the silent second "z"—not pronounced and not mentioned (jazz). Perhaps it is an attempt to stay fresh, current, hip and on the cutting edge. Regardless of the motive, jazz magazines have attempted to create new jazz giants out of the freshman class omitting not only the teachers, but the lessons brought forth by these teachers after decades of living the music. These magazines and many of their writers have transformed jazz from a way of life into a way of making a living. These magazines and many of their writers have returned to the old habit (or practice) of positioning themselves as the owners and/ or keepers of jazz. These magazines and many of their writers not only write a revisionist chronicle of the music often neglecting extremely important cultural underpinnings but they also disregard the ideas, opinions and more importantly, the voices of the musicians who create the music. Jazz has been reduced to a musical language that is learned and no longer lived. These magazines and many of their writers have removed the legacy, heritage and unique culture from the chronicle of the music in exchange for attempting to be the first to present the newest innovator(s).

This is not an attack on the young talented newcomers, they are all welcomed and a much needed infusion of fresh blood. There is room at the top for all who deserve. However, I prefer to celebrate both the living legend teachers, who have given their lives to the music and created paths not fully realized and replicated, while simultaneously watching the growth and musical maturity now bourgeoning of perhaps the next generation of legends. As a matter of fact, I'd love to see the teacher and student share the same stage more, although Crouch feels this will not happen for other reasons.

This is an indictment on the jazz establishment. According to Frank Kofsky, the jazz establishment refers "to those individuals who own everything worth owning -with the possible exception of the instruments of the musicians themselves..." (Kofsky 1998:107). Kofsky continues, "The term [jazz establishment], in other words, denotes the booking agents, concert and festival promoters, recording company executives, radio-station and nightclub owners, musical instrument manufacturers and, not least, editors and publishers who, collectively, control the political economy of jazz." (Kofsky 1998:108). It is not the first time and certainly won't be the last indictment on the jazz establishment. A quick read of "Jazz and the White Critic" by Amiri Baraka (then LeRoi Jones) or "Critiquing the Critics" by Kofsky would reveal a long term epidemic (or shall we say pandemic).

Conversations about the presence of a white critical establishment are humorous. Of course, there is a white critical establishment within jazz. Isn't it peculiar that in an art form dominated by Black innovators from the very beginning there are no qualified Blacks to be CEO, Editor-in-Chief, Managing Editor or any kind of editor of a major jazz magazine. Are there really only the few talented Black writers that have the opportunity to present their viewpoints in print? Are there no others who are qualified for a seat at the table? These questions are really of no consequence when you approach the history of jazz critics and the jazz magazines.

Perhaps if we return to the mindset of jazz as a way of life rather than as a business, things may be different. Perhaps we would continue to gain listeners, regain our radio stations and programs, revitalize the interests of a wide span of generations of jazz fanatics as opposed to losing folk, venues, radio stations and programs and the like. Regardless of Crouch's hiring or firing, the jazz establishment has a responsibility to the music and the culture created through the music. Let's move towards equal access and equal opportunity so that any spat involving a writer who is Black is not first a racial issue.

Regardless of the real reason for the firing of Crouch, shame on Jazz Times and CEO Glenn Sabin for a horrible move! A quick perusal of the Jazz Times discussion board (or AllAboutJazz's discussion board) would reveal the popularity of Stanley Crouch and the numerous people who take the time to banter back and forth over his writing(s). Whether they refer to him as a racist, a neo-conservative or whatever, he has an audience and his aggressive style of sensible agitation is in some ways attractive to volumes of readers. Nevertheless, I dare not claim to be one who would threaten to cancel my subscription due to his firing. Jazz Times and CEO Glenn Sabin can do whatever they want. Jazz Times has been one of a number of reasons that I renew my public library card and add a regular sojourn to my monthly calendar.

Sources

Baraka, Amiri (LeRoi Jones). "Jazz and the White Critic," in Black Music. New York: William Morrow & Company, Inc., 1968

Crouch, Stanley. "Jazz Alone: Putting the White Man in Charge" in Jazz Times. April 2003: 28

"The Problem with Jazz Criticism," a Newsweek Web Exclusive. June 5, 2003 http://www.msnbc.com/news/922745.asp

King, Daniel. "Crouch, Jazz & the All-American Skin Game: Hanging the Judge" in the Village Voice. May 14-20, 2003.

Kofsky, Frank. "Critiquing the Critics," in Black Nationalism and the Revolution in Music. New York: Pathfinder Press, 1991 (1970)

"The Forerunners resist establishment repression, 1958-1963" in John Coltrane and the Jazz Revolution of the 1960s. New York: Pathfinder Press, 1998 (1970)

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