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JAZZ, A SOCIAL CALL

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Message par Patlotch le Lun 25 Fév - 11:42


j'ai en 2002 consacré plusieurs chapitres à la dimension sociale du jazz dans mon livre JAZZ ET PROBLÈMES DES HOMMES, intégralement en ligne, avec sommaire d'accès

on les trouve quant aux aspects sociaux et économiques
dans I1 le contexte spectaculaire du jazz

I1 1. économie quand tu nous tiens
I1 2. culture et crise de l'art dans la Société du Spectacle
I1 3. les choix des musiciens
I1 4. le comportement des publics
I1 5. "jazz" des médias et jases des experts
I1 6. premier interlude : pour qui sonne Ornette ?

et pour la dimension de "musique raciale", "musique d'un peuple en lutte"
dans II1 l'éthique africaine -américaine du jazz

II1.1 le jazz de la Nouvelle-Orléans et la mentalité africaine
II1.2 le jazz et l'enracinement ethnique, africain, africain-américain
II1.3 la création collective, les échanges, l’individualité et le groupe
II1.4 la hiérarchie dans le groupe, le rôle de leader, d’arrangeur
II1.5 la relation au public, le don aux auditeurs
II1.6 avec Leroi Jones aux sources du jazz
II1.7 de l’influence des Gospel et Spiritual dans le jazz
II1.8 quand les musiciens de jazz parlent du blues
II1.9 le blues et l’harmonie du jazz (hypothèses)
II1.10 permanence du rapport aux sources africaines

j'emprunte à Betty Carter en 1955 le titre du sujet



(à suivre)

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Message par Patlotch le Dim 3 Mar - 7:43


JAZZ, A SOCIAL CALL Quote-the-artist-s-role-is-to-raise-the-consciousness-of-the-people-to-make-them-understand-amiri-baraka-92-71-94




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Message par Florage le Sam 4 Mai - 21:43


GANGSTA' JAZZ
l'économie politique de la marginalité
devenue symbole culturel de l'Amérique des années 30 !
Patlotch a écrit:pas trop le temps, mais signalé, j'y reviendrai... La bande son ( je la connais par cœur depuis....) est sur mesure du problème et le texte largement extrait du livre signalé réédité en 2016 (première édition française 1997), dont la petite bombe discrète jetait un pavé dans l'histoire connue du "Jazz", critiques français secoués en tête de la "discrétion" sur le problème. Pensez donc, le jazz au plus haut niveau n'aurait existé que grâce aux mafias !!! Mais on ne dira jamais assez l'importance des musiciens italiens et juifs dans l'histoire du jazz, à cette époque et depuis...Une heure, trop court, mais incontournable pour découverte et plus, si affinité

JAZZ, A SOCIAL CALL Jazz_Echo-1re_couv
1997

Que seraient devenus Duke Ellington, Louis Armstrong, Earl Hines ou King Oliver sans les gangsters qui les employaient ? Ces mobsters et ces racketeers, souvent juifs ou siciliens, n'étaient pas aveuglés par les préjugés racistes qui empêchaient l'establishment blanc d'apprécier et de soutenir les musiciens noirs. Dans les clubs qui proliférèrent pendant la Prohibition, ils assurèrent la sécurité de l'emploi nécessaire à la constitution d'orchestres stables et à la maturation d'un style. Et ce sont les politiciens conservateurs qui, en faisant de la Mafia leur bouc émissaire, ont mis fin à l'âge d'or du jazz.
À l'appui de cette thèse étonnante, Le Jazz et les gangsters propose une enquête et une documentation exceptionnelles, une peinture réaliste de la vie des premiers musiciens de jazz et du milieu de la pègre à la Nouvelle-Orléans, à Chicago, New York et Kansas City. Ronald L. Morris lève ainsi le voile sur un pan méconnu de l'histoire de la culture populaire. Les gangsters, conclut-il, se sont comportés avec les jazzmen comme les grands mécènes de la Renaissance : "Il n'y eut peut-être jamais, dans toute l'histoire de l'art, d'association plus -heureuse."

Ronald L. Morris, a enseigné l'histoire sociale dans des universités anglaises et améri.caines, écrit sur le roman noir américain et pratiqué le jazz.
Préface et traduction de l'américain par Jacques B. Hess [jazz-érudit accepté par l'Université française, et contrebassiste à ses heures...] [


Une heure dans les Etats-Unis des années folles, les roaring twenties, entre prohibition, frénésie et essor du jazz. Dans les grandes villes, les clubs poussent comme des champignons. Et les musiciens dansent un curieux pas de deux avec les mafieux...

JAZZ, A SOCIAL CALL 838_gettyimages-1084714982
Le chanteur de jazz Frankie Laine, dont le père avait travaillé comme barbier personnel d’Al Capone, ici à New York en 1948, accompagné du batteur Jimmy Crawford. Crédits : William P Gottlieb Collection - Getty

Au milieu des années 1920, les Etats-Unis basculent dans la folie du jazz qui, en peu de temps, va conquérir la planète. Or cette musique est alors essentiellement le fait d’une génération de jeunes musiciens noirs. Des noirs qui à l’époque sont loin d'être toujours bien considérés. Aussi, se met en place un système de mécénat et de protection, les musiciens se plaçant sous la bienveillante houlette des mafias italiennes ou juives dont les patrons - qui ont le même âge qu’eux - gèrent les boîtes de nuits et les clubs de New-York ou de Chicago. En pleine prohibition, les gangsters s’entichent en effet de cette nouvelle musique dont ils font la bande son de leurs cabarets.

Dans cette histoire on croisera des hommes sanglés dans des costumes impeccables, des femmes chapeautées de cloches, les crissements de puissantes décapotables et des rafales de swing...



m'étonne pas que l'historien britannique Eric Hobsbawm, ait écrit en 1966, sous le pseudonyme de Francis Newton, une  Sociologie du Jazz qu'on m'a offert pour mes vingt ans...

JAZZ, A SOCIAL CALL 51fpJ6GAe7L._SX371_BO1,204,203,200_

Il s'est beaucoup intéressé aux "gens ordinaires" qui font aussi l'histoire : Rébellions - La résistance des gens ordinaires : jazz, paysans et prolétaires, trad. Stephane Ginsburgh et Hélène Hiessler, Éditions Aden, Bruxelles, 2010 (éd. originale : Uncommon People: Resistance, Rebellion and Jazz, 1998) Marx et l'histoire, Paris, Fayard, 2010

JAZZ, A SOCIAL CALL 41jc8p7e%2BlL._SX350_BO1,204,203,200_


Florage

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Message par Florage le Jeu 25 Juil - 8:44

Patlotch a écrit:on ne l'a pas toujours su ou pas voulu le dire, le jazz ne serait rien sans les gangsters, la franc-maçonnerie américaine, les Juifs, les Italiens, et naturellement les Afro-Américains, qui se croisèrent aussi, dans tous les sens du terme, en prison

Le blues du pénitencier
5 épisodes d'une heure
France Culture
Plus qu’un thème, la prison est un territoire que les musiques du monde entier ont autant exploré que dénoncé. Si l’on a cherché à y étouffer des mélodies inouïes de puissance et de beauté, on y a aussi organisé des concerts mythiques, et rêvé de liberté plus fort qu’ailleurs. On s’y est déchaîné contre la misère sociale et les injustices politiques. Et, accessoirement, on y a inventé le blues… Le bruit des clefs, les pas des matons, le raffut des gamelles rythmeront cette série musicale et carcérale. Franchissons les portes du pénitencier, dont les murs ne seront jamais assez hauts pour faire taire les voix les plus inspirées, qu’elles soient coupables ou innocentes.

Épisode 1 : Coupables et innocents
22/07/2019
Forçons les portes d'un monde de béton aux arbres de barreaux fleuris de désespoir, où la musique ne fait guère tomber les murs… que sur un plan symbolique....

Épisode 2 : Rage contre la machine
23/07/2019
Second temps de cette série musicale consacrée à l'univers carcéral. Aujourd'hui, nous explorons les geôles qui ont enfermé prisonniers politiques et inspiré...

Épisode 3 : Petite histoire des concerts en prison

24/07/2019
Retour sur les concerts en prison légendaires : de Johnny Cash à Johnny Hallyday, bon nombre d'artistes ont franchi les portes du pénitencier pour jouer...

Épisode 4 : Sing Sing’s Songs
25/07/2019

Florage

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Message par Florage le Lun 9 Sep - 5:55


Toni Morrison et Max Roach : La voix et le rythme
France Culture 09/09/2019 (1ère diffusion : 14/01/1995)
American Center, Paris, Festival d'Automne, novembre 1994
Par Gérard Tourtrol - Avec Toni Morrison et Max Roach - Réalisation Géraldine Prutner

JAZZ, A SOCIAL CALL Medias_file_w600_h600_FAP_1994_MU_07_PHO_600
@ DR
Patlotch a écrit:ce n'est pas son prix Nobel qui m'a incité à lire Toni Morrison, mais le titre de son roman Jazz en 1992, et plus encore cette rencontre avec le batteur compagnon de Charlie Parker, Miles Davis, Sonny Rollins, Clifford Brown, Coleman Hawkins, Abbey Lincoln dont il fut le Pygmalion avec le disque "We Insist! Freedom Now Suite"...

... celui que la mise de son talent musical au service de la cause afro-américaine, engagement majeur de sa vie et lui valut d'être sur les listes noires des compagnies de l'industrie du disque durant les années 1960, à l'époque de Money Jungle avec Charles Mingus et Duke Ellington


JAZZ, A SOCIAL CALL PAR50766
Guy Le Querrec, Magnum

6 août 2019

Florage

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Message par Florage le Lun 1 Juin - 4:41

@sowetokinch "a aimé" cette information
à George Floyd

Soweto Kinch

The Black Peril / Riot Music




Sax, riots and racism: the radical jazz of Soweto Kinch
Ammar Kalia, The Guardian, 21 novembre 2019

The saxophonist-rapper faces constant racism – and has also been accused of it. He explains the black cultural celebration of his new album, and why he defended a Labour activist accused of antisemitism

JAZZ, A SOCIAL CALL 3549
Soweto Kinch: ‘Jazz has a stronger political heart now than it ever has.’ Photograph: Iza Korsak undefined

It’s rare to see Soweto Kinch without his saxophone. Six foot tall and most often dressed in black, he can usually be found, sax in hand, at his jam night in his hometown of Birmingham or at a session at Ste am Down in London, although I saw him last in May at 2am in a hotel bar in Cheltenham, Gloucestershire, joining vocalist Gregory Porter for an unexpected set. “You never know when you might need to play,” Kinch says, tucking his saxophone case under the table between us.

Over the past 15 years, he has played a lot. Now 41, Kinch has released six albums, on themes ranging from austerity to maths, and curated an annual festival. A lyrically dextrous MC as well as saxophonist, he has long been championed as the future of British jazz. Yet, when a jazz revival bubbled into the mainstream three years ago, American players such as Kamasi Washington and younger Brits such as Shabaka Hutchings and Nubya Garcia were at the forefront. “I’ve just had my head down, honing my craft,” Kinch says. “Black British music has always been beautiful and powerful, and now the younger generation are getting some recognition.”

The contributions of black culture to western society are the focus of Kinch’s seventh album, The Black Peril, which gets its live premiere at the London jazz festival on Friday. Its 24 tracks explore the musical legacy of 1919 – the year of the first world war armistice and anti-black race riots across the US. Kinch, who studied history at Oxford, says: “I was struggling to understand what that historical moment means, why it’s not remembered as much as it should be, and why these conflagrations happen.”



Musically, he says, “1919 was a primordial soup, a moment of unity between different forms of black music, which we have lost now. America hadn’t yet claimed jazz as its own and reggae hadn’t been seen as a cultural export from Jamaica.”

It is this sense of unity that drives Kinch’s current work, a combination of early 20th-century ragtime with postwar classical atonality, mixed up with West Indian folk, hip-hop and trap. “I wanted to explore dualities,” Kinch says, “the guttural and the cerebral. There’s an unbridled joy that comes through the music, a refusal to be dehumanised in the face of racism.” Kinch gestures to the Afro-spiritual origins of black music: “For African people, music is part of an entire way of engaging with the sacred. If you feel something emotional in the music, it’s not because that’s an F sharp being played, it’s something far deeper.”

Kinch has been the subject of racism, including an incident he documented on social media this year when he was refused service in a pizzeria. Another was more recent. “On the train down to London today I was asleep and this white guy wakes me up to sit down next to me, despite there being loads of empty seats in the carriage,” he says. “He just kept elbowing me really aggressively, like he wanted a confrontation. I politely told him to stop, but of course no one else stood up for me – in fact, one person even came to his defence and said it was me that had to leave.” Kinch is defiant in the face of these microaggressions. “The one thing these people want is to silence us and that isn’t something I will give in to.”


JAZZ, A SOCIAL CALL 1996
Soweto Kinch playing live in 2016.
FacebookTwitterPinterest Soweto Kinch playing live in 2016.

Photograph: Edu Hawkins/Redferns

Yet, this unwillingness to stay quiet has landed Kinch in trouble. When the activist Jackie Walker was expelled from the Labour party in March for antisemitic comments, Kinch described it as “persecution without trial”. He says: “Jackie was making some very nuanced comments, like the fact that some Jewish people were involved in financing the slave trade, which is something she admits her ancestors might have been involved in, as she is half Jewish. And rather than being talked with, she was just shut down.”

Kinch admits he “may have unwittingly used offensive tropes” and is “open to learning”. He says of the ensuing backlash: “The last thing I intended was to cause any harm to Jewish people, and I am fully aware of how words can get misconstrued. But we need more discussion so that words aren’t weaponised for political ends. A lot of people will see me – Oxford-educated, darling of the BBC – and say: he can’t complain. But it’s especially important for someone with my platform to speak up, to show that racial injustices continue, and to set an example of learning from my own actions.”

The Black Peril has a specific meaning – “the fear of black men miscegenating with white women”, which Kinch sees as having dominated white thinking, preventing black people becoming part of society. “It’s why I wanted the music of [early 20th-century black composers] James Reese Europe and Samuel Coleridge-Taylor to influence the record, to fight the notion that diverse Britain began somewhere after a boat called the Windrush when black people were invented – along with Reggae Reggae Sauce. We have a history of being here for much, much longer than that.”

Why has this history been neglected for so long? “Black cultures suffer from trauma when dealing with the past. We like to jettison anything that’s more than five years old.” It is for this reason that Kinch emphasises the lineage of the music he plays.

“When I hear early jazz, it’s got a pulsating energy I identify with Busta Rhymes and Missy Elliott,” he says. “Lyrically, I’m embodying the swag that comes across with Paul Dunbar’s 19th-century poems, for instance. That’s why I say things like ‘I’ll outrun a wagon wheel’ or ‘I’ll fight a grizzly bear with my bare hands’. Conquering material realities to create something supernatural has got a very long history within black culture. Calypsonians do it, toasters in reggae culture do it, MCs do it.”

The result is a kaleidoscopic record that veers from the jaunty clarinet and foot-stomping trap-swing of Riot Music to the big band harmonies of Alms. Throughout, Kinch raps in a surly, understated baritone, while his alto sax playing is tenderly perceptive, looping between the surging vamps of tracks such as Sirens. The album plays like a swirling montage, an effort to resist the linear narration of history.

By colliding genres in this way, Kinch is trying to “recreate the shock that the audience would have felt at hearing rag for the first time or jazz.” He feels that jazz holds that radical place once more. “Jazz has a stronger political heart now than it ever has,” he says. “People like Shabaka Hutchings, Christian Scott and Theo Croker understand the power of diaspora in ways that I don’t think were possible 20 years ago, when major labels controlled the ways artists would collaborate. Now we just hit each other up on Instagram.” The live performance will feature choreography to underline the connections between black dance styles, “from ragtime dancing to buck to breakdance”.

Ultimately, The Black Peril is the effort of an artist to place himself firmly within the rich diaspora of black music. “If there is one takeaway to be had, it is that I am absolutely now proud to be black and British,” Kinch says. “But that’s contingent on a new definition of patriotism, one that includes all the people who have traditionally been excluded from it. If we’re going to go forward, we need to abandon the attachment to whiteness.”

With that, he picks up his saxophone. “The days of needing gatekeepers to say what’s cool, and to articulate what music means before the musicians get a chance to do it themselves, are numbered,” he says. “We just need to play.”

Soweto Kinch: The Black Peril is at London Jazz festival on 22 November

Florage

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Message par Florage le Lun 1 Juin - 6:46

@sowetokinch "a aimé" cette information
à George Floyd

Soweto Kinch

The Black Peril / Riot Music




Sax, riots and racism: the radical jazz of Soweto Kinch
Ammar Kalia, The Guardian, 21 novembre 2019

The saxophonist-rapper faces constant racism – and has also been accused of it. He explains the black cultural celebration of his new album, and why he defended a Labour activist accused of antisemitism

JAZZ, A SOCIAL CALL 3549
Soweto Kinch: ‘Jazz has a stronger political heart now than it ever has.’ Photograph: Iza Korsak undefined

It’s rare to see Soweto Kinch without his saxophone. Six foot tall and most often dressed in black, he can usually be found, sax in hand, at his jam night in his hometown of Birmingham or at a session at Ste am Down in London, although I saw him last in May at 2am in a hotel bar in Cheltenham, Gloucestershire, joining vocalist Gregory Porter for an unexpected set. “You never know when you might need to play,” Kinch says, tucking his saxophone case under the table between us.

Over the past 15 years, he has played a lot. Now 41, Kinch has released six albums, on themes ranging from austerity to maths, and curated an annual festival. A lyrically dextrous MC as well as saxophonist, he has long been championed as the future of British jazz. Yet, when a jazz revival bubbled into the mainstream three years ago, American players such as Kamasi Washington and younger Brits such as Shabaka Hutchings and Nubya Garcia were at the forefront. “I’ve just had my head down, honing my craft,” Kinch says. “Black British music has always been beautiful and powerful, and now the younger generation are getting some recognition.”

The contributions of black culture to western society are the focus of Kinch’s seventh album, The Black Peril, which gets its live premiere at the London jazz festival on Friday. Its 24 tracks explore the musical legacy of 1919 – the year of the first world war armistice and anti-black race riots across the US. Kinch, who studied history at Oxford, says: “I was struggling to understand what that historical moment means, why it’s not remembered as much as it should be, and why these conflagrations happen.”



Musically, he says, “1919 was a primordial soup, a moment of unity between different forms of black music, which we have lost now. America hadn’t yet claimed jazz as its own and reggae hadn’t been seen as a cultural export from Jamaica.”

It is this sense of unity that drives Kinch’s current work, a combination of early 20th-century ragtime with postwar classical atonality, mixed up with West Indian folk, hip-hop and trap. “I wanted to explore dualities,” Kinch says, “the guttural and the cerebral. There’s an unbridled joy that comes through the music, a refusal to be dehumanised in the face of racism.” Kinch gestures to the Afro-spiritual origins of black music: “For African people, music is part of an entire way of engaging with the sacred. If you feel something emotional in the music, it’s not because that’s an F sharp being played, it’s something far deeper.”

Kinch has been the subject of racism, including an incident he documented on social media this year when he was refused service in a pizzeria. Another was more recent. “On the train down to London today I was asleep and this white guy wakes me up to sit down next to me, despite there being loads of empty seats in the carriage,” he says. “He just kept elbowing me really aggressively, like he wanted a confrontation. I politely told him to stop, but of course no one else stood up for me – in fact, one person even came to his defence and said it was me that had to leave.” Kinch is defiant in the face of these microaggressions. “The one thing these people want is to silence us and that isn’t something I will give in to.”


JAZZ, A SOCIAL CALL 1996
Soweto Kinch playing live in 2016.
FacebookTwitterPinterest Soweto Kinch playing live in 2016.

Photograph: Edu Hawkins/Redferns

Yet, this unwillingness to stay quiet has landed Kinch in trouble. When the activist Jackie Walker was expelled from the Labour party in March for antisemitic comments, Kinch described it as “persecution without trial”. He says: “Jackie was making some very nuanced comments, like the fact that some Jewish people were involved in financing the slave trade, which is something she admits her ancestors might have been involved in, as she is half Jewish. And rather than being talked with, she was just shut down.”

Kinch admits he “may have unwittingly used offensive tropes” and is “open to learning”. He says of the ensuing backlash: “The last thing I intended was to cause any harm to Jewish people, and I am fully aware of how words can get misconstrued. But we need more discussion so that words aren’t weaponised for political ends. A lot of people will see me – Oxford-educated, darling of the BBC – and say: he can’t complain. But it’s especially important for someone with my platform to speak up, to show that racial injustices continue, and to set an example of learning from my own actions.”

The Black Peril has a specific meaning – “the fear of black men miscegenating with white women”, which Kinch sees as having dominated white thinking, preventing black people becoming part of society. “It’s why I wanted the music of [early 20th-century black composers] James Reese Europe and Samuel Coleridge-Taylor to influence the record, to fight the notion that diverse Britain began somewhere after a boat called the Windrush when black people were invented – along with Reggae Reggae Sauce. We have a history of being here for much, much longer than that.”

Why has this history been neglected for so long? “Black cultures suffer from trauma when dealing with the past. We like to jettison anything that’s more than five years old.” It is for this reason that Kinch emphasises the lineage of the music he plays.

“When I hear early jazz, it’s got a pulsating energy I identify with Busta Rhymes and Missy Elliott,” he says. “Lyrically, I’m embodying the swag that comes across with Paul Dunbar’s 19th-century poems, for instance. That’s why I say things like ‘I’ll outrun a wagon wheel’ or ‘I’ll fight a grizzly bear with my bare hands’. Conquering material realities to create something supernatural has got a very long history within black culture. Calypsonians do it, toasters in reggae culture do it, MCs do it.”

The result is a kaleidoscopic record that veers from the jaunty clarinet and foot-stomping trap-swing of Riot Music to the big band harmonies of Alms. Throughout, Kinch raps in a surly, understated baritone, while his alto sax playing is tenderly perceptive, looping between the surging vamps of tracks such as Sirens. The album plays like a swirling montage, an effort to resist the linear narration of history.

By colliding genres in this way, Kinch is trying to “recreate the shock that the audience would have felt at hearing rag for the first time or jazz.” He feels that jazz holds that radical place once more. “Jazz has a stronger political heart now than it ever has,” he says. “People like Shabaka Hutchings, Christian Scott and Theo Croker understand the power of diaspora in ways that I don’t think were possible 20 years ago, when major labels controlled the ways artists would collaborate. Now we just hit each other up on Instagram.” The live performance will feature choreography to underline the connections between black dance styles, “from ragtime dancing to buck to breakdance”.

Ultimately, The Black Peril is the effort of an artist to place himself firmly within the rich diaspora of black music. “If there is one takeaway to be had, it is that I am absolutely now proud to be black and British,” Kinch says. “But that’s contingent on a new definition of patriotism, one that includes all the people who have traditionally been excluded from it. If we’re going to go forward, we need to abandon the attachment to whiteness.”

With that, he picks up his saxophone. “The days of needing gatekeepers to say what’s cool, and to articulate what music means before the musicians get a chance to do it themselves, are numbered,” he says. “We just need to play.”

Soweto Kinch: The Black Peril is at London Jazz festival on 22 November

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