LITMIR.BIZ

      Introduction

       BUCK CLAYTON WAS READY TO RUMBLE.

      It was about 1934 and this Negro trumpeter found himself in Shanghai, a city on the cusp of being bombarded by marauding Japanese troops. But that was not his concern. Instead, what he thought he had escaped when he began performing in China had followed him across the Pacific Ocean. “White guys [were] saying,” he wrote decades later, “there they are. Niggers, niggers, niggers!” These incendiary epithets lit the fuse and “soon fists were flying” and “when it was all over the Chinese onlookers treated us like we had done something that they had always wanted to do and followed us all the way home cheering us like a winning football team.”¹

      He may not have recognized it at the time of the fracas, but Clayton’s Asian encounter illustrated several themes that had ensnared Negro musicians, especially practitioners of the new art form called “jazz.” Often, they had to flee abroad, where they found more respect and an embrace of their talent. And often the sustenance found there allowed them to develop their art and sustain their loved ones. Overseas they were capable of fortifying the global trends that in the long run proved decisive in destroying slavery and eroding the Jim Crow that followed in its wake.² The pianist Eubie Blake, born in 1883, referring to Canada and Europe, was moved to argue—extravagantly and emphatically, though understandably given the United States was his reference point—that “color don’t make any difference to them people and I can understand why a lot of Negroes stayed over there to live.”³ Back home they were forced to fight to repel racist marauders, some of whom had hired them to perform.

      Furthermore, the presence of these exiled artists of African ancestry undergirded existent hostility to U.S. imperialism, shoring up the generally faltering position of African Americans back home. Thus, one study of the music in Paris concludes that jazz served to sustain “anti-Americanism” and this artistic bent also meant “solidarity with African Americans in opposition to white Americans.” A French book on the music had an “astonishing” 150 editions, indicating why, during the Cold War, says critic Andy Fry, Washington “represented a greater threat to Europe than Communism.”⁴ This point inferentially raises the related matter of the new music seen as an analogue to democracy in the interaction between and among musicians on the bandstand and the ineffable reality that the bulk of the artists were of African descent, leading Washington to sponsor concerts abroad of the music. Ironically, analogizing jazz to democracy, a frequent Cold War trope, belied the fact that the music was embraced by Italian fascists, among other anti-democratic miscreants.⁵

      A glimpse of this phenomenon was exposed when the Negro composer and musician Benny Carter arrived in Copenhagen as Clayton was being pummeled in Shanghai. When he exited the train, he was recognized as a celebrity. “I was literally lifted onto the shoulders of people,” he said decades later, “and they carried me out of the station to a waiting automobile and I was taken to my hotel with this crowd behind. And I was really never so thrilled.” He was stunned to ascertain that Europe was less racist toward those like himself in comparison to his homeland; in Europe he found “acceptance of you just on the basis of you as a human being.”⁶

      This is a book about the travails and triumphs of these talented musicians as they sought to make a living, at home and abroad, through dint of organizing—and fighting. I approach this subject with a certain humility, well aware, as someone once said, that “writing about music is like dancing about architecture,” that is, “using one artistic vocabulary to portray another” is inherently perilous.⁷ This task is made all the more complex when writing about this form of music, where the historical record is studded with various and often contrasting versions of the same episode. The co-author of the informative memoir of a well-known pianist asserted that “Dr. [Billy] Taylor has told more than [one] version of the same story. He noted the fallibility of memory

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