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Jerome Camal, born in France, is an assistant at Washington University in St. Louis, specializing in jazz studies, music theory, and ethnic music. However, he is not content with just academic research and prefers to play in various venues, immerse himself in jam sessions, and teach practical instrument techniques.
On his homepage, Camal has a section dedicated to the analysis of political jazz from the 1960s, which provides stimulating insights. His observations are thought-provoking and offer a balanced perspective, often highlighting important figures such as Frank Kofsky and Amiri Baraka, who are sometimes overlooked in discussions of that era. Camal quotes and criticizes them, noting that their strong ideas about jazz still hold charm even after all these years.
The study of jazz is becoming increasingly serious and philologically accurate, with authors presenting innovative theses and alternative interpretations. One example is Paul Gilroy’s “Black Atlantic,” a work that offers a historical-political-geographical perspective on jazz. Gilroy is a professor of Black studies at Yale University.
In an email correspondence, an interview was conducted with Camal, which touches on his opinions on Coltrane and Sonny Rollins, as well as providing a list of politically charged jazz music that is anything but banal.
Frank Bergoglio: In your analysis of jazz and the civil rights movement, you often mention Frank Kofsky. What is your opinion of his work after studying it extensively? Do you think he introduced too much ideology into his writings, or do you find his writings accurately describe the period, as Kofsky and Amiri Baraka do?
Jerome Camal: Kofsky is an intriguing figure. His writings are heavily influenced by ideology, which sometimes undermines his arguments. For example, in his interview with Coltrane, he tried to extract political ideas from him without success. However, there are interesting points in his discourse, particularly in his description of the economic conditions that black musicians had to endure. His book “Black Nationalism in Music” should be read as a primary source that reflects the ideology of some avant-garde musicians.
Frank Bergoglio: Amiri Baraka seems to be more of a sociologist in his analyses, while Kofsky appears to be a more politically-focused researcher. Do you think Kofsky’s intention was to apply Marxist analysis to his studies?
Jerome Camal: I agree, but I believe we should see them both as researchers driven by strong political motivations. It has been a while since I read “Blues People,” but from what I remember, Baraka emphasized African-American culture as a product and reaction to slavery, as well as a connection to Africa. His analysis is based on a class-centric vision, possibly influenced by Marxism and bordering on existentialism. He viewed successful commercial forms of jazz and blues as corrupted by white mainstream influence. It seems that he considered assimilation to be a form of corruption, and believed that bebop reaffirmed the black roots in music and distanced itself from white hegemony. Many artists in the movement recognized the resonance of Baraka’s ideas, but Ralph Ellison, a writer of color, strongly disagreed and viewed blues as a celebration of African-American achievement rather than victimhood.
Frank Bergoglio: What is your opinion of Coltrane’s legacy? In his famous interviews, he was often reserved and ambiguous about the direction of his work.
Jerome Camal: To understand Coltrane, we need to consider his music from two different perspectives. Firstly, what political message, if any, did Coltrane intend for his music? Secondly, how has his music been interpreted and received by listeners with political implications? I believe there is a difference between how Coltrane conceived and saw his music and how it has been interpreted. I see Coltrane as using his music to communicate a message of integration and universality. I draw a parallel between his interest in modal music, particularly Indian music, and Martin Luther King Jr.’s focus on non-violence, influenced by Gandhi. During the early days of the civil rights movement, King often compared the struggle for liberty in the United States to the fight for independence in Africa. Both men saw their work in universal terms. However, it seems to me that Coltrane’s music wasn’t embraced in this way, and some radical factions within the civil rights movement quickly claimed him as their musical spokesperson. Coltrane himself doesn’t appear enthusiastic about this idea, as evident in his interview with Kofsky, where he prefers to delve into his musical explanations with a broader meaning regarding the human condition. According to Craig Werner, both Coltrane and Malcolm X had their messages transformed and used to justify more radical objectives within the movement, regardless of whether they intended for their work to be used and interpreted in that way.
Frank Bergoglio: Do you see a connection between the New Left and jazz? If so, what kind?
Jerome Camal: That is a complex question that requires further exploration. I haven’t specifically considered the connection between the New Left and music, but it is certainly an interesting topic to delve into.
Frank Bergoglio: Can you provide a brief list of pivotal political moments in the history of jazz, along with a comment for each?
Jerome Camal: My first choice is rather obvious: Charles Mingus’s “We Insist! Freedom Now Suite” (Candid 1961). This recording showcases how music can be used politically in various ways. Firstly, it exemplifies artists of color using their art to reclaim authority and control over their own history. The suite follows the story of African descent populations in the United States and Africa, starting with the experiences of slavery, the declaration of emancipation, and the ongoing struggle for equal rights in both places. Looking at it from this perspective, it is interesting to note that the order of the suite sections, as originally conceived by Mingus and Oscar Brown Jr., was changed. Scholars such as Scott Saul and Ingrid Monson have observed that the order of the sections in the suite was rearranged.
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