Music And Politics

An inspiring character, which brought its website a section devoted exclusively to policy analysis of jazz from the sixties.

Camal observations are difficult, not ideologically you direct, is also successful in recovering both leading figures of the season, giving them a position (by value of all the examples of Frank Kofsky and Amiri Baraka, now today a little worried, the first class).

CAMAL mentions them, criticize them. I did not sign that their thoughts, "strong" and the jazz that claim the same of their charm, the years away.

Jazz Studies, more serious and philological, you will receive the spaces never before. There are writers who highlight the innovative initiatives and readings of the ordinary, for example, a wise man of the Black Atlantic Paul Gilroy professor of Black studies at Yale University, which offers a reading that is a live cold-historical-political and geographic region.

Correspondence from an e-mail was that, in addition to statements have not reduced Coltrane and Sonny Rollins, will be at the end of the list - is also quite different from the trivial -. "Policy" of jazz music

Frank Bergoglio: In its pages about jazz and the civil rights movement, or when talking about the jazz of the "black nationalism", is common to find the name and work of Frank Kofsky. What advice would you have matured in his job after studying the funding? Do you think that ideology has also brought about the matter or, conversely, the period is both well described in the writings of Amiri Baraka and Kofsky? Jerome Camal: Kofsky is an interesting character. In fact their work involves ideology so hard to make your subject reasoning of objections. An example of this attitude is his interview with Coltrane in which case, no we do to ensure the success of the political ideas of Coltrane.

Some points of the speech to address an interesting way, and collect the key aspect of the most effective example is the description of the economic conditions that will need to work with musicians blacks. His book The Black Nationalism at the end of the music is likely to be more profitable if you read the primary source of this ideology, which explains part of the musicians to reflect the Avant Garde.

FB: Amiri Baraka is a sociological analysis, he graduated Kofsky is no longer "political" of jazz ... I think his purpose was to carry out studies on the Marxist method of analysis, in practice, does not seem to you? JC: I would like, but I think we should think about two researchers presented a strong political motivation. And the time before the Po beautiful 'in my reading "Blues People", but, as memory, Baraka seems to me that pointed out the African-American culture and reaction towards the product of slavery and simultaneous connection to Africa. View Baraka it is based on "class", probably influenced by Marxism and the lines from the border with existentialism. He forms of jazz and blues, which has had more commercial success that are corrupted by white mainstream.

Reading him makes him the idea that he believes that assimilation is a form of corruption, bebop is a confirmation of the legacy roots in black music and a distancing of white supremacy, which was consolidated during the Swing Era. Many bands and artists of the movement it coagulated around the Afro-American art, the reasoning of Baraka they sounded. song writer Ralph Ellison other color was in flagrant opposition to the theses of Baraka and looked at the blues as a form of celebrating the achievements of Afro-American art. In events like the blues, Baraka has a tendency to see people of color as victims, Ellison emphasizes the sense of representation and affiliation in lieu thereof.

FB: What do you think you are formed to determine the course work of Coltrane? Prior to that cited his famous interview, and as in other areas, tenderness, and the saxophonist shows every few words, which will be reserved for the answers, humble and at the end of a vague compared to the Coltrane legacy.

JC: I think it's Coltrane process, we must consider his music from two distinct angles. Primo: the type of political message (if one of them), he planned to Coltrane's music? Under: who makes policy means that you have been attached to his return to music listeners the most diverse? In other words, I think there is a difference between Coltrane as it developed, and he lives his music and how it was interpreted and recepita. Generator that, I'm a Coltrane who "uses" his music to convey a message of inclusion and universality. I like to show a parallel between his interest in modal music, and especially to the attention of Indian Affairs and the Martin Luther King fliosofia of non-violence, drawn from Gandhi. In the early days of the struggle for civil rights of black people often ML

King drew a parallel between the struggle for freedom in the United States and the independence movement in Africa. I seem to be able to say that both men saw their work in universal terms. However, I do not think that the music of John Coltrane was received in this way and some of the more radical civil rights movement, who were quick to call the music of saxophonist spokesman. Coltrane even the idea did not seem excited, because it shows very clearly in his interview Kofsky, where the artist prefers to further explanations with a more general sense about the human condition. As said Craig Werner, Coltrane and Malcolm X were both in the message processed and used to justify the search for more radical in the movement, regardless of whether they wanted to be used and interpreted their work as well or not.

FB: You think there is a link between the new and damaging the American jazz? And what type?

JC: And the "question too broad a quick answer I've never been a legitimate link between the New Left and the music, though it seems an interesting topic to be developed ..

FB: To make a short list of political songs that you consider the history of jazz for the fundamental rights and give us a short comment piece?