Final Blog: How BLST14 Changed My Outlook

Before taking Black Studies 14 this quarter, I was very much a jazz fan already, which prompted me to enroll in the class to begin with. I was interested in the background of one of my favorite genres of music as well as the legacy of some of its greatest players. Prior to this class I had assumed that jazz was an inherently complex art form; one that required a mathematical precision unlike that of other genres of music. This presumption was born out of my listening preferences for the progressive jazz music of today–  artists like Tosin Abasi who utilize extremely precise and mathematical arrangements and time signatures. After taking the course, I realize that nothing could be farther from the truth. Though the jazz artists that I revered the most– Monk, Coltrane, Tatum and the like– did indeed have among them expert musical training, they were more well-known for their attacking force and improvisational capabilities. Artists whom I had never listened to, such as Dizzy Gillespie, startled me with bold improvisations. While I had before considered jazz music akin to classical in the sense that it was structured and dense, I now have a new understanding of jazz; the new concept of improvisation that we have studied has caused me to rethink the concept of a ‘composer’, for each unique take of a single song may have a new inflection or mood.

The amorphic fluidity that is present in the heavy improvisation in jazz is what I believe makes it so special. Almost all of the artists that I admire most in jazz are from the era of extreme improvisation: modern jazz, and bebop. Composers such as Coltrane, Gillespie, Monk and many more create something totally unique during each performance– for with the ability to change at any time comes the ability to direct the mood and flow of a song based on the feel at the time. These improvisers are literally molding their compositions in real time into a new and distinct iteration, making changes where they feel necessary and often letting their emotions dictate the direction of the piece (Gioia). One perfect example of this quality of improvisation is in Thelonious Monk’s quirky stage-dancing, which in fact could be a genius method for augmenting the rhythm to his liking (Kelley 231). Studying jazz changed my definition of improvisation to reflect that it is not so much a ‘tool’ used by musicians, but rather that improvisational music is an utterly different art form altogether. Improvisation allows emotional and melodic possibilities that are simply not possible in non-improvisational forms.

Even more startling to me is how ingrained improvisation is in jazz music. Improvisation seems to be one of the founding characteristics of jazz music, and even farther back into African musics. Although not exclusively African, improvisation is a musical trait distinct to Africa, where music can promote social solidarity and benefit the community. Jazz is no exception to this. Throughout its evolution, jazz has invigorated the community and evolved in response to it; which, ironically, can be seen as improvisation on a larger scale. Studying the tie between improvisation and community participation made me see how improvisation is a reflection of the community’s idea of music. Improvisation reflects the notion that music and art are not static; that they are alive, and ever-changing, at the mercy of those who are bold enough to participate and improvise (Thompson). Improvisation is the ability of the individual or the group to respond without deliberation. Taking this into consideration, it is clear that the jazz players improvised not only in the performance, but in the dialogic creation of a style (Lecture 3/12).

Consequently, I have newfound respect for many the jazz greats and non-jazz musicians alike, as well as new ideas about how my own musical ability can be used. My new definition of improvisations reflects the opinion that improvisation should be an integral part of all musics, because it represents the soulfulness of art.