Maestro Marsilis conducts the Boys in the Band
An Evening of Gilded Memories and Divine Music
Standing in front of Zellerbach Hall waiting for the great Jazz at Lincoln Center Orchestra to hit, my mind was filled with random thoughts; all provoked by being in that particular place on that particular occasion. The University of California at Berkley has a unique niche in my memory bank. I first became aware of this campus in the 1960’s, over half a century ago, when it had a dual identity both as a center for radical ideas and activism, and the University with the most Nobel Laurates on its faculty.
Furthermore it was located in a part of America whose exotic manscapes and landcapes looked as if they had emerged from a fairy tale to my East Coast eyes. The aura of “radical chic” was enhanced by the fact that Berkeley was located just across the Bay from San Francisco, then the home of the Hippy Counter-Culture which I had observed first hand upon my maiden voyage to the City, where I found myself living at the intersection of Haight and Ashbury.
The Square outside Zellenboch Hall
It was as if I had stumbled into an alien world unbeknownst to me. I had been raised in the racially segregated black community in St. Augustine Florida, where I was socialized on the values of the “Talented Tenth;” the enlightened striving class who set high standards for the Afro-American community and guided us away from “the worst in our own and other races” as Dr. DuBois had called upon them to do in 1903.
And I made my maiden voyage to San Francisco directly from the comparatively staid and culturally conservative environment of Philadelphia. I had driven up from Los Angeles with a young mathematician who had worked on the Appollo Space Project plotting maps around the moon. And her sister, a young MD, lived the Haight-Ashbury District. It was the now iconic “Summer of Love,” a time and place where like the song says “anything goes.” It was sex, love, acid, Psydchelic rock music, and people were tuning on and tuning out. I was fairly shocked at the way white folks were carrying on in “the Haight.” The few black folks I encountered were Jimi Hendrix acolytes, and at that time I thought Hendrix had lost his cotton pickin mind.
Me and the Mathematician
Dr. Fine: My Sanfrancisco Guide
At the time I was a disciplined member of the leadership of the Revolutionary Action Movement – an armed underground movement of Afro-Americans which gave birth to the Black Panther Party of Oakland, a matter I have written about extensively elsewhere – and as a doctrinaire Maoist I viewed the entire counter-cultural movement as a mass exercise in bourgeois self-indulgence that only well off white folks could afford to fool with. I was a soldier in the black struggle, a committed warrior intellectual who had been trained in the use of arms by the US military.
My first visit to the University of California Berkley was occasioned by an invitation to present a speech on the importance of Black Studies in the struggle to eradicate white racist ideology and behavior from American life. Given the nature of the times – with massive urban riots in which it seemed that the torching of American cities had become common fare and the country was on the verge of race war – this subject matter was considered an urgent matter and Universities were trying to define a useful role they could play in resolving the racial crisis. Normally presenting this argument was easy work; I had already presented it with great success at universities and school boards across the country, including the Claremont Colleges and four of the campuses of the University of California.
But to my mind Berkeley was different. I was all too aware that this was the incubator of the “Free Speech Movement,” an Ivory tower where great minds communed about perplexing problems in the social and physical world. Hence when I walked through the imposing gates on Telegraph Ave and set foot on the campus I felt an intimidation that I had never felt before. Nobody really knew me there yet I got a big audience because I was on the program with Afro-American writer Alex Haley, whose collaboration on “The Autobiography of Malcolm X” had made him the most famous author in America, and read around the world.
At the time Haley was a Writer-in-Residence at the university and was working on a new book that he called “Before the Anger,” but was later published as “Roots,” an epic saga about African slavery in America that became one of the bestselling books in the history of publishing and was made into a riveting blockbuster television saga that made ratings history. As a devotee of Brother Malcolm, whom I knew well, and a big fan of the book, I was delighted to meet Mr. Haley, whom I thought had done America a spiritual benefaction by writing the “Autobiography.”
He was a warm and unpretentious southern brother that reminded me of church deacons that I had known in Florida. I expressed my gratitude for his labors which he accepted with grace. As I waited to go on after his remarks, I pondered how to approach this audience, who routinely heard great minds hold forth in this space. It was as if I suddenly had a revelation; I heard an inner voice say “What would John the Prophet Do?”
It was not the biblical prophet that I had in mind but the modern day sound sorcerer John Coltrane, whose music we revolutionaries were convinced was the sound track of the black Revolution. And when he showed up at a speech of mine in North Philly at a rally organized by radical activist/Jazz Pianist John Churchville, a leader in the Northern Student Movement and we spent the rest of the evening rapping, I was convinced that we were right….Trane told me so. “I say it all with my horn young brother,” he replied when I invited him to speak to a Black history class I was teaching in the basement of Mt. Zion Church, pastored by the Reverend Doctor Leon Sullivan, “The Lion of Zion!”
After pondering the question for a moment, I decided that if Trane was in my place he would come out and wail, knowing there was no profounder musical truth than that which he was preaching….so that’s what I did. The audience bought what I was selling – being a skilled orator trained by my aunt Rosa, an exacting tutor, made the task a lot lighter – and they rewarded me with a standing ovation! All of these memories swirled around in my head as I waited for the concert to start in Zellerbach Hall.
Although I am a former history professor who left the profession for other endeavors, I have never lost my love for the study of history and how it can illuminate our understanding of present realities. It is especially gratifying when you can reflect on events that you participated in that have now become important historical milestones and the people now famous whom you knew back when.
I found special satisfaction in how Black Studies have become a standard part of university curriculums across this nation. This was not always true; I know because I was a co-founder of the first free standing, degree granting, Black Studies Department in the world at UMass Amherst in 1969, just a couple of years after I spoke on this campus, and we were the first to incorporate Jazz Studies taught by seminal artists into the curriculum when we awarded full professorships to instrumentalists/Composers/bandleaders Max Roach and Archie Shepp.
I also have a deep pride in what the Jazz at Lincoln Center Orchestra has made of itself since I was present at its inception and produced the most extensive media report on the opening of Jazz at Lincoln Center, presented on WBAI FM in New York. I have also worked on a book project with the world famous photographer Frank Stewart, who is the official photographer for the JALC Orchestra.
Titled “Magic Moments in the House of Swing,” the book documents some of the great performances in this Mecca of Jazz in words and pictures. Some of my essays were written as program notes for important concerts at Rose Hall, and they were illustrated with Frank’s photos. As I write the manuscript is finished but unpublished because publishers say a picture book is too expensive to publish correctly and books on Jazz don’t sell well enough for them to make the investment.
The slice of history that I was most conscious of that evening was a story told by Dr. Ortiz Walton – bassist extraordinaire, insightful music critic and Ph.D. in sociology – who had been a doctoral student when Duke Ellington and his Orchestra performed on campus circa 1966. Walton – who would later write the great book “Music: Black, White and Blue” – was shocked and appalled by the absence of black students at the concert. In order to provide a scientific explanation for what was obvious evidence of a cultural disconnect Walton designed a questionnaire and administered it to the Black students at Berkeley, and the results provided evidence a cultural disaster!
The dominant answer of the black students was that they played past the concert because Duke Ellington’s band “didn’t play Black Music.” Walton was astonished! Duke Ellington, the greatest composer in the Afro-American musical tradition, had become a stranger to his progeny; a prophet without honor in his own land. It was the predictable results of a music business driven by the imperatives of commerce rather than a commitment to promoting high culture, and a educational system that has either removed musical instruction altogether or continues to priviledge European concert music over the indigenous art music of America.
This experience led Walton to write two important books about music and the Afro-American tradition. A musically ambidextrous virtuoso on the double bass violin, Walton was a principal bassist with the Cairo Symphony and also played with John Coltrane. Like Wynton, he is a master of both musical Idioms.
Hence one of the things I paid close attention to was the number of black students, or young black people from whatever walk of life, who attended the Jazz at Lincoln Center Orchestra concert. Although half a century has passed since Duke’s band was here, and the world has turned upside down, black student disinterest in serious Afro-American art music has evidently remained pretty much the same. Here the old adage “the more things change the more they stay the same” applies. The scant black presence at the concert dribbled off to near nothing when it came to young people, who were outnumbered by their elders despite, and among those that I talked to only one young couple were not musicians; the rest were all aspiring musicians.
However the diversity of the crowd and the young musicians who sought Wynton’s musical advice is eloquent testimony to the widespread influence of the Afro-American art of Jazz; which in its love of personal freedom and promotion of invention makes it the quintessentially American art. (see: “Jazz Around the World” on this site.) And that art has never been on finer display than it was at Zellenbach auditorium on that enchanted evening. The band, an aggregation of virtuosi on all instruments, was in fine form. The ensemble play was perfectly balanced, with each musician contributing his unique voice to a musical tapestry composed of many intriguing colors.
The program moved effortlessly as the music went from the classic big band repertoire to the most modern Jazz styles; the entire tradition of complex Afro-American art music was traversed and each was true to the performance style of the period. The essence of Jazz is individual improvisation in conversation with the ensemble, which places the soloist at the center of the action.
Here the JALC orchestra offers an embarrassment of riches as each instrumentalist speaks with a highly original voice and individual style that moves the audience to repeated ovations. I think the seeker would be hard pressed to find a Jazz orchestra that ever played the music better than this one, now or at any period in the past.
Maestro Marsalis: Leader of the Band
The Brighest Star and Guiding Light
Wynton Marsalis, Pulitzer Prize winning composer and multiple Grammy winning trumpeter, remains the Orchestra’s guiding light as Artistic Director, as well as its most celebrated and inspirational performer. When the orchestra sounded its last note the audience, hungry for more of these celestial blues drenched sounds that make body and soul dance, rose to its feet in a thunderous ovation and shouts of “Bravo!” rang out in the auditorium.
I have seen this Orchestra play many times; they are always excellent….and on this night in Berkeley they served up the music straight with no chaser, swinging hard and straight ahead. The audience showed their love through vigorous applause when the musicians were on stage, and something akin to hero worship during the reception backstage when they got a chance to meet and greet them. I was there, and I had my camera. Below are some of my visual impressions of the evening.
The sold out audience was mostly white, Asian…..
………..and long in the tooth
This couple were the only young black people……
…..who were not musicians
The Afro-Americans in attendance were Seasoned Fans
Like Heidi Moore-Reynolds
Positions himself to meet and greet the crowd
And they came in droves
Some just wanted to speak to the great artist
Other’s posed for Pictures
A momento that, like fine wine, will grow more valuable with time
Other band members soon joined Wynton in the reception lounge
Ali Jackson shares tricks of the trade with a young drummer
Trombonist Don Gardner
Imbibed Spirits with the adoring music lovers
A brilliant composer and arranger
He always takes the time to talk with aspiring
Alto Saxophonist / Arranger Ted Nash
Was right at home among the Cosmopolites
With Oakland’s City Council President Jane Doe on left
And Sculptor/Professor Susannah Israel to his right
Sophisticated Ladies from all walks of life….
……….vie for his Attention
And Music students ask complex technical questions
Demonstrating the proper embrocure for trumpet
Other times he conducts impromtu discourses
Discussing weighty questions about music theory
The City Council President paid close attention
And listened closely
So did Professor Israel