"Crow Jim" is Alive and Well/

and Busily Rewriting History


Among the sundry American 'expats' thronging to Paris after WWI were a great many artists and musicians. The doughboys had returned to the States full of praise and in awe of Europe and especially France. America was an unhappy place for blacks in the twenties with the rise of the KKK and the overall reaction to the returning black soldiers who represented a new kind of black man, who had seen the world and was demanding more equality at home. The draconian attempt to keep blacks under white domination was known as the 'Jim Crow Laws.'

In the twenties the French were mad for 'Le Jazz Hot!' as they called the new American music. The clubs in Paris booked all the jazz musicians they could find but were color conscious to a fault. The ones selected as authentic were invariably black. No whites need apply. It was, as white clarinetist Mezz Mezzrow complained in his novel, Really the Blues, a kind of reverse discrimination he called 'Crow Jim'. So while Buck Clayton, Peanuts Holland and Lionel Hampton found work and acclaim, talented white jazzmen often were met with rejection because of their race.

It's one thing to have had this kind of discrimination in 1920's France; quite another in twenty-first century America. But it's here and it is an affront to all the excellent white jazzmen who have contributed so much to the art form. I can recall as far back as the early 1950s among some intellectuals, jazz aficionados and hangers-on in the jazz scene, and, woefully, that included a few black musicians, the snide insinuation that white jazzmen were not as good; "they didn't have soul."

The most egregious example of 'Crow Jim' is found in what will likely become the archetypical standard reference of twentieth century jazz history; the documentary miniseries by Ken Burns, Jazz. The ten part series aired in 2000. Criticisms of this effort at documenting the history of jazz were legion and were most scathingly addressed by Jeffrey St Clair:
"The series is narrated by a troika of neo-cons: Wynton Marsalis, the favorite trumpeter of the Lincoln Center patrons; writer Albert Murray, who chastised the militant elements of the civil rights and anti-war movements with his pal Ralph Ellison; and Stanley Crouch, the Ward Connerly of music critics."

It is both correct and proper to credit black jazz musicians as sole custodians and creators of jazz at its earliest beginnings. However, from the nineteen twenties until the present, to ignore the strong contributions of countless white jazzmen, is reprehensible. I doubt that was Burns intention. I suspect he assigned Messrs Marsalis, Murray and Crouch the selection of the principals for the narrative thread and tragically, this 'Crow Jim' hagiography has, for the past decade, become the visual history of jazz. .

I would like to challenge Messrs M. M. and C. to listen again to J.J. Johnson (black), on trombone and Kai Winding (white) , trombone, on The Great Kai & J.J. (Impulse) album and tell the world which trombone playing is the more authentic and which lacks 'soul'. This is a good test for us all, to lay to rest a patronizing, discriminatory and racist appraisal of musicianship by color rather than merit.

The same attitude that prompted the French, and more recently, these chromatographers when rewriting,the history of jazz, is specious. The 'Crow Jim' syndrome can also be found at times attacking both race...and gender. A case in point is the high-handed treatment offered one of the early black writers who in addition to being deemed politically incorrect for the times, was female. Our old avian trickster friend 'Jim' stooped down on Zora Neale Hurston like a bird of prey.

Hurston, a member in good? standing in the Harlem Renaissance in the 1930s, a graduate of Barnard, an anthropologist of some renown, and a published author, was a Republican. She was an opponent of the New Deal which was supported by the majority of her colleagues including Langston Hughes. Additionally she was skeptical of organized religion and had a penchant for feminine individualism.

”She was scathing about those who sought "freedoms" for those abroad, but denied it to people in their home countries: Roosevelt "can call names across an ocean" for his Four Freedoms, but he did not have “the courage to speak even softly at home.” Wikipedia

None of this went over well with the idealogues of the Harlem Renaissance although her gifts and renown equalled or surpassed most of the others. Her first novel, Jonah's Gourd Vine published in 1934, was cited by Carl Sandburg as, "A bold and beautiful book, many a page priceless and unforgettable." "Though attacked by (Richard) Wright and virtually ignored by his literary heirs, Hurstons's ideas about language and craft undergird many of the most successful contributions to Afro-American literature that followed." Henry Lewis Gates, Jr

Lacking any support from her mostly male peers, Hurston, despite having published seven books, an autobiography and fifty shorter works, drifted into obscurity. But she continued to write and at one point worked as a maid to gather authentic material, anticipating by decades the novel, 'Help', by Kathryn Stockett, currently enjoying so much popular success.

Always outspoken she, years later when Truman dropped the A-bombs on Japan, Hurston called him "the Butcher of Asia." In 1960, Zora Neale Hurston died penniless in Florida and was buried in an unmarked grave perhaps with the local buzzards and crows for company.