A Love Supreme

Coltrane’s bare-bones score for his masterpiece, the four-movement suite A Love Supreme, which was recorded in one session in December, 1964:

Coltrane has noted in the manuscript that the piece should be played “in all keys together.” As his biographer Lewis Porter says, at the end of the first movement (titled “Acknowledgment”):

Coltrane’s more or less finished his improvisation, and he just starts playing the “Love Supreme” motif, but he changes the key another time, another time, another time. This is something very unusual. It’s not the way he usually improvises. It’s not really improvised. It’s something that he’s doing. And if you actually follow it through, he ends up playing this little “Love Supreme” theme in all 12 possible keys . . . To me, he’s giving you a message here. First of all, he’s introduced the idea. He’s experimented with it. He’s improvised with it with great intensity. Now he’s saying it’s everywhere. It’s in all 12 keys. Anywhere you look, you’re going to find this “Love Supreme.”

Porter suggests here that Coltrane wasn’t truly improvising, but composing.

Is A Love Supreme a jazz example of word-painting, a compositional technique dating back to the Renaissance and Baroque eras?

An example of word-painting from the English Renaissance: Thomas Weelkes’s madrigal “As Vesta Was From Latmos Hill Descending.” Note the way the vocal line travels downward on the word “descending,” for instance, and upward on the word “ascending.”

The fourth movement, entitled “Psalm,” is Coltrane’s note-for-word musical translation of his poem “A Love Supreme,” which was included in the liner notes of the LP. Coltrane described it as a “musical recitation of prayer by horn.”

A Love Supreme
I will do all I can to be worthy of Thee, O Lord.
It all has to do with it.
Thank You God.
Peace. There is none other.
God is. It is so beautiful.
Thank You God.
God is all.
Help us to resolve our fears and weaknesses.
In you all things are possible.
Thank you God.
We know. God made us so.
Keep your eye on God.
God is. He always was. He always will be.
No matter what… it is God.
He is gracious and merciful.
It is most important that I know Thee.
Words, sounds, speech, men, memory, thoughts,
fears and emotions–time–all related…
all made from one… all made in one.
Blessed be His name.
Thought waves–heat waves–all vibrations–
all paths lead to God. Thank you God.
His way… it is so lovely… it is gracious.
It is merciful–Thank you God.
One thought can produce millions of vibrations
and they all go back to God… everything does.
Thank you God.
Have no fear… believe… Thank you God.
The universe has many wonders. God is all.
His way… it is so wonderful.
Thoughts–deeds–vibrations,
all go back to God and He cleanses all.
He is gracious and merciful… Thank you God.
Glory to God… God is so alive.
God is.
God loves.
May I be acceptable in Thy sight.
We are all one in His grace.
The fact that we do exist is acknowledgement
of Thee, O Lord.
Thank you God.
God will wash away all our tears…
He always has…
He always will.
Seek him everyday. In all ways seek God everyday.
Let us sing all songs to God.
To whom all praise is due… praise God.
No road is an easy one, but they all
go back to God.
With all we share God.
It is all with God.
It is all with Thee.
Obey the Lord.
Blessed is He.
We are all from one thing… the will of God…
Thank you God.
I have seen God–I have seen ungodly–
none can be greater–none can compare to God.
Thank you God.
He will remake us… He always has and He
always will.
It’s true–blessed be His name–Thank you God.
God breathes through us so completely…
so gently we hardly feel it… yet,
it is our everything.
Thank you God.
ELATION–ELEGANCE–EXALTATION–
All from God.
Thank you God. Amen.

In fact, as you can see in this video, which shows the handwritten poem, in “Psalm,” Coltrane plays each syllable as a note, making it a kind of recitative in the form of a prayer.

With A Love Supreme,

Coltrane was reaching a much broader audience than people realized. Coltrane, far and above other jazz artists perhaps with the exception of Miles, was alone in the way that he reached listeners beyond the normally accepted jazz audience or jazz cognoscenti. He was reaching also a very young audience — black and white. The way that he spoke to [listeners across race and class] in a way parallels the way white suburban youth were embracing Public Enemy a couple of decades later. Not just because of the music, and not just because of its soul, but because of the inherent sort of danger in it. Even though Coltrane and his many defenders talk about how his music was not angry, the perception of anger or the perception of frustration that black America had with its situation was something that definitely appealed to white listeners, especially white youthful listeners. . . .As such, Coltrane’s music was a bridge not only between musical styles but also across the racial divide.

Listen to the entire album here.

And read some of the comments on Youtube:

“This album got me sober, thank you Coltrane.”

“This album helped me survive a Dark Night of the Soul.”

“This reaches something that is beyond our existence.”

As critic Martin Gayford put it,

A Love Supreme marks the point at which jazz – for good or ill – ceased for a while to be hip and cool, becoming instead mystical and messianic.

In fact, there’s an entire religion based around the album, the Saint John Coltrane African Orthodox Church in San Francisco, which hosts a monthly meditation on A Love Supreme.

As jazz writer Nat Hentoff put it:

Listening to Coltrane work through his own challenge may well stimulate self-confrontation in the rest of us. Each listener, of course, will himself be challenged in a different way. 

Pastoral Scene of the Gallant South

Content warning: images of racial violence.

“Strange Fruit” was written by longtime DeWitt Clinton High School English teacher Abel Meeropol in 1937 (shown above with his sons Robert and Michael, the biological children of Ethel and Julius Rosenberg, whom Abel and his wife adopted after the Rosenbergs’ execution). The text was first published as a poem in a New York City teachers’ union bulletin.

Meeropol wrote the text after seeing this iconic image of a lynching which took place in Marion, Indiana, in 1930.

The words:

Southern trees bear strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant south,
The bulging eyes and the twisted mouth,
Scent of magnolias, sweet and fresh,
Then the sudden smell of burning flesh.
Here is fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for the trees to drop,
Here is a strange and bitter crop.

Billie Holiday in 1959, the year of her death:

Other versions:

  1. Nina Simone:

2. Which was sampled by Kanye West:

3. John Legend:

4. Jill Scott:

5. India Arie:

6. Operatic mezzo-soprano Marietta Simpson and guitarist Tyron Cooper:

7. Late guitarist Jeff Buckley:

8. Katey Sagal as Gemma in the series Sons of Anarchy:

9. Jazz singer Cassandra Wilson with the trio known as Harriet Tubman:

10. Annie Lennox with a string orchestra. She faced pushback for not mentioning the song’s topic of lynching when she did publicity interviews for the album on which it appeared.

Do these cover versions work? Why or why not? Can you find more covers of the song?

So Black and Blue

Ralph Ellison, above, writes in Invisible Man, his 1952 novel about race in America:

Now I have one radio-phonograph; I plan to have five. There is a certain acoustical deadness in my [apartment], and when I have music I want to feel its vibration, not only with my ear but with my whole body. I’d like to hear five recordings of Louis Armstrong playing and singing “What Did I Do to Be so Black and Blue ”— all at the same time. Sometimes now I listen to Louis while I have my favorite dessert of vanilla ice cream and sloe gin. I pour the red liquid over the white mound, watching it glisten and the vapor rising as Louis bends that military instrument [the trumpet] into a beam of lyrical sound. Perhaps I like Louis Armstrong because he’s made poetry out of being invisible. I think it must be because he’s unaware that he is invisible. And my own grasp of invisibility aids me to understand his music . . . Invisibility, let me explain, gives one a slightly different sense of time, you’re never quite on the beat. Sometimes you’re ahead and sometimes behind. Instead of the swift and imperceptible flowing of time, you are aware of its nodes, those points where time stands still or from which it leaps ahead. And you slip into the breaks and look around. That’s what you hear vaguely in Louis’ music.

“(What Did I Do to Be So) Black and Blue?” is a song by pianist and composer Fats Waller, with lyrics by Andy Razaf; it was written for the score of Hot Chocolates, a 1929 Broadway musical with an all-black cast. The original context for the song is a plot line about colorism, in which a dark-skinned woman loses her love interest to a lighter-skinned woman.

Louis Armstrong made his Broadway debut in the show’s pit orchestra, and recorded the song for Okeh Records later that year.

The lyrics:

Cold empty bed, springs hard as lead
Pains in my head, feel like old Ned
What did I do to be so black and blue?

No joys for me, no company
Even the mouse ran from my house
All my life through I’ve been so black and blue

I’m white inside, but that don’t help my case
Cause I can’t hide what is on my face
I’m so forlorn. Life’s just a thorn
My heart is torn. Why was I born?
What did I do to be so black and blue?

I’m hurt inside, but that don’t help my case
Cause I can’t hide what is on my face
How will it end? Ain’t got a friend
My only sin is in my skin
What did I do to be so black and blue?
Tell me, what did I do to be so black and blue?

In his book Sounding the Color Line: Music and Race in the Southern Imagination, Erich Nunn writes:

The song’s lyrics proclaim the superficiality of visible racial difference, proposing an understanding of race as skin-deep. While calling attention to the arbitrary significance of skin color in the verses, however, the song [also] ironically points to a normative . . . whiteness . . . “Black and Blue” balances the relative frivolity of the Broadway show tune genre with social satire and critique.

Do you agree that Louis Armstrong meant to present the song as ironic social commentary?

While on a European tour in 1965, Armstrong watched news footage of the beating of civil rights protesters in Selma. Although he hadn’t performed the song in many years, in a concert in East Berlin a few weeks later, he

revived “Black and Blue,” but with a crucial lyric change. He sang, “I’m right inside, but that don’t help my case/’cause I can’t hide what is on my face.” The song concludes, “My only sin is in my skin/What did I do to be so black and blue?” Armstrong had turned “Black and Blue” into a song of racial protest, one that he would continue to play for the rest of his life.

Watch that performance here, and notice that Armstrong very pointedly changes the lyric at 3:27.

How does this change alter the meaning of the song in its entirety? Does the change of one word change the song’s entire message?

Freedom Now

sit in

Sit-in at a lunch counter in Greensboro, NC.

Max_Roach-We_Insist!_Max_Roach's_Freedom_Now_Suite_(album_cover)

The album cover of We Insist! was an explicit reference to the Greensboro protests. We Insist! drew analogies between social and political freedom and the aesthetic freedom of its music.

The Max Roach Quintet performing “Driva Man,” one of the numbers on We Insist!, about the abuses of slavery. Note Abbey Lincoln’s Afrocentric dress and natural hair style, signs of resistance in the early 1960s.

“All Africa.”

“Freedom Now.”

Before her collaboration with Max Roach, Lincoln had been a nightclub “girl singer” in New York and Hollywood, marketed as much for her looks as for her musicianship.

Read “The Photos that Lifted Up the Black Is Beautiful Movement,” a lovely photo essay about 1960s resistance to white standards in the beauty and fashion industries.

Some black radicals completely rejected the idea that music could be revolutionary. In his poem “Hipping the Hip,” Ramón Durem wrote:

Blues — is a tear
bop — a fear
Of reality.
There’s no place to hide
in a horn

Durem also makes a musical reference to the Mau Mau uprising — the armed revolt in the 1950s that drove the British out of Kenya and led to that nation’s independence, comparing Kenyan tribal music favorably to the widely-ranging music of bebop:

Mau Mau only got a five-tone scale
but when it comes to Freedom, Jim —
they wail!

dig?

Mau Mau songs sung at a monument for Kenyan rebel leader Dedan Kimathi:

How Billie Sang

billie

Billie Holiday began singing in Harlem jazz clubs at sixteen, and made her first recordings in 1933, at the age of eighteen.

By the time she returned to the studio in 1935, she was a revelation — neither the white balladeers who dominated the Hit Parade nor the black blues queens from whose ranks she emerged provided a precedent for her.

“I’ll Be Seeing You,” sung by Jo Stafford.

Sung by Billie Holiday.

“Falling in Love Again,” sung by Marlene Dietrich.

Sung by Billie Holiday.

“Gimme a Pigfoot,” as sung by Bessie Smith.

Sung by Billie Holiday.

“I Cover the Waterfront,” as sung by Frank Sinatra. Sinatra credited Holiday as “the greatest single musical influence on me,” but Holiday downplayed the compliment, and admitted only to having told Sinatra

that he didn’t phrase right. He should bend certain notes. He says, “Lady, you aren’t commercial.” But I told him certain note at the end he could bend, and later he said I inspired him. Bending those notes — that’s all I helped Franke with.

As sung by Billie Holiday.

The poet Larry Neal, who was the education director of the Black Panther Party, wrote about Billie in his poem “Malcom X — An Autobiography”:

But there is rhythm here. Its own special substance:
I hear Billie sing, no good man, and dig Prez [saxophonist Lester Young], wearing
the Zoot
suit of life, the pork-pie hat tilted at the correct angle,
through the Harlem smoke of beer and whiskey, I
understand the
mystery of the signifying monkey,
in a blue haze of inspiration, I reach to the totality
of Being.

Swinging at the Savoy

Big band jazz was also known as swing. Swing dance developed in the segregated dance halls and ballrooms of New York City, such as the famous Savoy Ballroom on Lenox Avenue and 140th Street. Whitey’s Lindy Hoppers, who you see in the film below, were the professional dance team at the Savoy. Note that the dancers are dressed in the uniforms of black workers of the 1930s: the men are cooks, maintenance workers, delivery men, while the women are dressed as domestic servants.

The Savoy Ballroom was a popular, self-referential theme in several songs of the era:

More about the Savoy:

 

 

Jazz 59

Miles Davis: Kind of Blue, the biggest-selling jazz record in history.

Pay special attention to the spaciousness in the sound, and the minimalist approach to the solos.

Charles Mingus: Mingus Ah Um.

Pay special attention to the virtuosity of the solos and to Mingus’s compositional and arranging genius.

Ornette Coleman: playlist of all the tracks on The Shape of Jazz to Come.

Pay special attention to the balance between absolute freedom and “controlled chaos.”

Ornette Coleman’s style would come to be called “free jazz.” Some critics linked his sound with the struggle for civil rights. Nevertheless, as one critic put it:

The free jazz movement sprang from musical sources, not social forces. . .were there free jazz players who made music to express anger over civil rights struggles? Yes. . . Did [all of them] abandon [traditional jazz] chord changes because of the civil rights-related anger? No. The free-form approach came first. Were there avant-garde musicians who protested via music without abandoning preset chord changes? Yes. Charles Mingus was one (for instance, “Original Fables of Faubus,” with lyrics about Orville Faubus, the segregationist governor of Arkansas.

Nevertheless, pianist Mal Waldron, who played with Mingus

was . . . eager to embrace the new freedoms [of free jazz]. As [Waldron] saw it, they went hand in hand with being a black musician in the era of civil rights. The bar lines in a song were, he recalled, like “going to jail for us.” “We were talking about freedom, and getting out of jails…. So everyone wanted to escape from that.”

What is Hip?

A playlist/watchlist/reading list to accompany your reading by Scott Saul from his book Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties.

  1. Oscar Brown, Jr.: “But I Was Cool”
  2. Lenny Bruce:
  3. Norman Mailer’s essay “The White Negro,” published in Dissent in 1957.
  4. One of the “jazz” excerpts from Jack Kerouac’s beat novel, On the Road:

    Boom, kick, that drummer was kicking his drums down the cellar, and rolling the beat upstairs with his murderous sticks, rattlety-boom! The pianist was only pounding the keys with spreadeagled fingers, chords, at intervals when the great tenorman was drawing breath for another blast – Chinese chords, shuddering the piano in every timber, chink and wire, boing! The tenorman jumped down from the platform and stood in the crowd, blowing around; his hat was over his eyes, somebody pushed it back for him. He just hauled back and stamped his foot and blew down a hoarse, laughing blast, and drew breath, and raised the horn, and blew high, wide, and screaming in the air.

    Dean was directly in front of him, with his face lowered to the bell of the horn, clapping his hands, pouring sweat on the man’s keys, and the man noticed, and laughed in his horn a long, quivering, crazy laugh, and everybody else laughed and they rocked and rocked; and finally the tenorman decided to blow his top and crouched down and held a note in high C for a long time as everything else crashed along and the cries increased and I thought the cops would come swarming from the nearest precinct.

    kerouac

    (Kerouac in 1959.)

  5. A cinematic portrayal of the same scene from the 2012 film On the Road:
  6. A Youtube playlist of all the music mentioned in the book.
  7. Cab Calloway singing “Minnie the Moocher’:
  8. Mezz Mezzrow, “Blues in Disguise”:
  9. More on Mezzrow: “The Original Rachel Dolezal was a Jew Named Mezz Mezzrow.”
  10. Miles Davis, Birth of the Cool complete album:

The Evolution of Bebop

basquiat-bird-on-money-1981

(Bird on Money, Jean-Michel Basquiat’s tribute to Charlie Parker.)

The song “Cherokee,” by the English dance-band leader Ray Noble:

Charlie Parker’s version:

Blaues_Selbstportait

Parker said that, when playing “Cherokee,” he realized that the 12 semitones in any scale could take a piece of music from one key into any other, a realization that Arnold Schoenberg had also come to in Vienna earlier in the century.

webernmatrix

“Ko-Ko,” based on the harmonic progression (i.e. chord changes) of “Cherokee”:

How does Parker’s soloing represent a break from that of the saxophone masters who came before him? Can you hear how Lester Young improvises on the melody, while Bird goes deep into the harmony, skews it, and cobbles together new melodies from different scale degrees?

How does Parker’s version of “Lover Man” differ from Coleman Hawkins’s?

By the way, it was Lester Young who famously noted that he couldn’t play a tune because he didn’t know the words.

Beneath the Underdog

Trigger/content warning: disturbing video imagery, offensive language.

ah um

When I was working on my doctorate and teaching a writing class for music majors, I wanted to assign my students a passage from the great jazz bass player, composer, and bandleader Charles Mingus’s 1971 memoir, Beneath the Underdog. The fiftieth anniversary of the desegregation of Little Rock Central High was coming up, and I wanted to talk about Mingus’s famous tune “Fables of Faubus,” from his 1959 album Mingus Ah Um. “Fables of Faubus” is an anti-tribute to Arkansas governor Orval Faubus, who had sent the state National Guard to Little Rock to prevent nine black students from entering the school (Louis Armstrong had called Faubus, in the press, an “uneducated plow boy”).

“Fables of Faubus” begins with a snide, insinuating riff, a sonic reference to Faubus’s destructive bigotry, which nevertheless manages to portray him as weak and ineffective, a cartoon villain. Mingus had written lyrics for the song, but his record label, Columbia, would not let him include them on the recording, so the tune was first recorded as an instrumental number. A year later, however, Mingus re-released the song, with lyrics, on a smaller label as “Original Faubus Fables.”

Note the mocking, satirical call-and-response between Mingus and drummer Dannie Richmond, and the wild, swirling trumpet and saxophone solos (Ted Curson and Eric Dolphy, respectively) in between verses, creating an eerie and malignant atmosphere.

Oh, Lord, don’t let ’em shoot us
Oh, Lord, don’t let ’em stab us
Oh, Lord, no more swastikas
Oh, Lord, don’t let ’em tar and feather us!

[Chorus]
Oh, Lord, no more Ku Klux Klan
Name me someone who’s ridiculous, Dannie
Governor Faubus!
Why is he so sick and ridiculous?
He won’t permit integrated schools
Then he’s a fool!

Boo! Nazi Fascist supremists!
Boo! Ku Klux Klan (With your Jim Crow plan)

[Chorus]
Name me a handful that’s ridiculous, Dannie Richmond
Bilbo, Thomas, Faubus, Russel, Rockefeller, Byrd, Eisenhower
Why are they so sick and ridiculous?
Two, four, six, eight:
They brainwash and teach you hate

In my writing class, it was hard to find an appropriate passage from Beneath the Underdog to read in class. The book, though it’s written with tremendous energy, is almost indescribably obscene. It’s full of exaggerations and outright lies about Mingus’s sex life, such as his claim that he pimped his wives and girlfriends. As one critic writes:

The book is . . . written in faux-difficult stream of consciousness – many chapters consist of only dialogue between Mingus and musicians, Mingus and pimps, Mingus and psychiatrists or Mingus and women. Who are almost constantly referred to as “bitches.” And ALL (except his stepmother, who he extensively verbally abuses) fuck him.

And this is the reason why the book is awful. Mingus can write BEAUTIFULLY about jazz: about the energy, the freneticism of live performance, about the thrill of composition, the joy of musical development, the excitement of learning, creativity, a shared language of artistic expression… But his autobiography is not about jazz. His musical career seems almost incidental, referred to occasionally . . . The reader learns nothing interesting or new about Charlie Parker, Miles Davis, Coleman Hawkins, Dizzy Gillespie whoever, other than the fact that they KNEW CHARLES MINGUS. Because this is not a book about jazz. This is a book about the continual, priapic, misogynistic and possibly fictional sex life of the author.

In fact, the only passage in Beneath the Underdog where Mingus bothers to give his music serious mention is near the end of the book, in a scene where he’s just been released from Bellevue and is playing a club date. Mingus uses the foil of a British interviewer coming over to his table between sets, while he’s flirting with the woman who will become his third or fourth wife, to expound for a page or so on his musical philosophy:

“Do excuse me, Mr. Mingus, I can see you’re awfully busy, but may I ask a question or two for my paper? For instance, what do you feel about jazz?”

“Man, just listen, it’s all there.”

“. . . They’d like to know what you think in England, just a few words?”

“Well . . . I can tell you how I feel tonight anyway. Up to now, I don’t think nobody has given nothing important since Bird [Charlie Parker] died except his contemporaries who were overlooked at the time — [Thelonius] Monk, Max [Roach], [Sonny] Rollins, Bud [Powell], others, maybe even me. Bird was playing then what they’re calling avant-garde today — putting major sevenths with minor sevenths, playing a fourth away from the key . . . All this free-form business isn’t new . . . I was doing it and Duke [Ellington] before me and Jelly Roll [Morton] before that. . . 

There was once a word used — swing. Swing went to one direction, it was linear, and everything had to be played with an obvious pulse and that’s very restrictive. But I use the term ‘rotary perception.’ If you get a mental picture of the beat existing with a circle you’re more free to improvise. People used to think the notes had to fall on the center of the beats in the bar at intervals like a metronome . . . That’s like parade music or dance music. But imagine a circle surrounding each beat — each guy can play his notes anywhere in that circle and it gives him a feeling he has more space . . . the original feeling for the beat isn’t changed . . . the pulse is inside you . . . It’s called strolling.”

The interviewer goes on to ask Mingus whether he thinks Englishmen can play jazz. Mingus responds:

If you’re talking about technique, musicianship, I guess the British can be as good as anybody else. But what do they need to play jazz for? It’s the American Negro’s tradition, it’s his music. White people don’t have a right to play it, it’s colored folk music. . . white society has its own traditions, let ’em leave ours to us. You had your Shakespeare and Marx and Freud and Einstein and Jesus Christ and Guy Lombardo but we came up with jazz, and don’t forget it, and all the pop music in the world today is from that primary cause.

In 1966, the filmmaker Thomas Reichmann followed Mingus and his five-year-old daughter through their daily lives as they were about to be evicted from their New York apartment. The film, Mingus: Charlie Mingus 1968, intersperses Mingus’s free-form soliloquizing with the scenes of the stress of his domestic situation and shots of live performance.

Mingus: Charlie Mingus 1968 from BPows on Vimeo.

Was Mingus a victim of his own genius? Or of the internalization of racism? Did jazz devour its young?

The image Mingus chose for the record cover of Mingus Ah Um is a painting by Japanese-American artist S. Neil Fujita, who, like Mingus, was both a victim and survivor of racism as an internee during World War II. I like to think of his painting as expressive of Mingus’s ideas about rotary perception.