I've written about jazz as a model for American democracy before, but only in passing. However, in light of voting rights issues that arose during the 2000 presidential election, the events surrounding the 9/11 attacks and what's most important - our government's response to those events - it dawned upon me that "Now's The Time" (Charlie Parker) for deeper reflection on the evolution of jazz as it mirrors the development of the American democratic process. Jazz forms, like our American constitution, are dynamic, living, evolving ideas that became cultural institutions. If jazz is truly a reflection of an ideal American democracy, jazz - like our constitution - must have the ability to evolve. The constitution has the capacity to be amended to meet the needs of the electorate as the society evolves toward its ideal. Likewise, jazz potentially has the ability to respond and adapt to changes in our culture. Jazz needs an environment where it can benefit economically from aesthetic and technological advances, yet maintain the spirit and character that makes the jazz ensemble the embodiment of freedom in a democratic society.
Jazz, the product of the African-American community, was created by the descendants of former slaves. "So What" (Miles Davis) could a former slave know about freedom, liberty and democracy? A state of being that is "So Near, So Far" (Miles Davis) for the African slave. Even in the most oppressive period of slavery, the principles of freedom were expressed in the music of the slaves. You hear it in the sorrow songs, the work songs, the spirituals and the blues as an ideal to strive for or as an expression of joy when that ideal is realized. After all, the idea of freedom can be reduced to a state of mind. In the musical pursuit of happiness, it was revealed that the slave was actually free in his mind and spirit. What the slave lacked was liberty and the civil and human rights to own, develop and benefit from his own creations.
Even though jazz was declared the music of America by an act of Congress (HR 57), some citizens may not fully understand the parallels between the principles that govern jazz and our constitutionally guaranteed freedoms and liberties inherent in our democratic society. Here are the three principle lines of thought.
Jazz requires that the performers be informed. To play jazz you must know and apply the theories that govern jazz. How can you "jam" on a tune if you don't know the "Changes" (Charles Mingus)? Likewise, the participants in a democratic society must be informed not only of their civil and human rights but of their responsibilities to the collective. If you don't know what your rights are, how can you insist upon them. Citizens in a democratic society must take the responsibility to learn, know and understand the components of important issues so that they can make informed decisions concerning self governance.
Jazz sounds best when there is group cohesiveness. Each member must understand the role that the other members play in the group because the jazz group is only as strong as its weakest member. Each member is expected to make informed - even inspired - contributions to the group in stylistic context, within the musical form. Likewise, for a democratic society to survive and evolve, it takes the full participation of an educated, informed electorate contributing toward the common good of the body politic. The individual member must understand the role that each member plays. It's also important that citizens hold each other accountable to the process.
Most jazz groups require that each member contribute as a soloist. This is the individual's opportunity for his/her voice to be heard. Members in a jazz ensemble are not required to blindly follow or back-up the soloist or leader. Your solo is your chance to lead and for others to listen and follow. Likewise a democratic society must require opportunities for individual voices and minorities to be heard and even lead when the message seeks to create the greatest good.
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.