Jazz is an inclusive music – or so we like to think.
Its umbrella is wide, and it opens its arms to many sub-genres, cultural origins and influences. It is appealing again to the young, and also to veterans enjoying the refreshing energy poured into the music. It is a vibrant music of all colors, races and beliefs.
Blends of other music like street, rap, garage, hip-hop and rock are part of modern society and are blended into the newer jazz coming out of clubs, gatherings and colleges. Everyone is welcome. Women are slowly increasing their presence, with the aid of (or in spite of) the old guard. There are more female role models, which is further increasing the rate at which women come into music and jazz. It all feels incredibly positive as old works with new, different ideas appear and are included.
So how, amid this supposedly equal footing and inclusive atmosphere, did a jazz journal publish a piece that contained a gay slur? Since deleted, the reviewer said an up-and-coming singer “had yet to reach bar three of the first track when I formed the impression he had had a metacarpal surgically removed from his wrist and nothing that followed disabused me of that feeling.”
This appeared on the website of an established British jazz publication. It was allowed to stand for days before continued backlash finally led to the quiet removal of these offensive comments. But the question is, how did it happen in the first place?
Jazz needs to move on, and it is doing so in many areas. Back in 1938, for instance, one well-respected magazine asked why “outside of a few sepia females, the woman musician was never born capable of ‘sending’ anyone farther than the nearest exit? It would seem that even though women are the weaker sex, they would still be able to bring more out of a defenseless horn than something that sounds like a cry for help?” The headline?: “Why Women Musicians Are Inferior.”
When the renowned musician Peggy Gilbert wrote a response, her reply was published but only after someone added the derogatory title: “How can you blow a horn in a brassiere?” Gilbert eventually made a name as a supporter of female musicians, and the item is now cited as the height of misogyny. It’s no small comfort that today this sort of thing would probably not get past an editor. Why? Because women are more powerful, noticed and making change happen – along with the fact that enlightened people consider music before prejudices concerning gender.
Fast forward to today. For the jazz journal in question, allowing the piece to publish was perhaps a mistake, an error maybe. What angered many who commented was the obvious lack of response to the many emails and tweets sent pointing out this mistake. This sentence probably caused such a backlash because the musician referred to was clearly hurt and much loved – but also the fact that there appeared to be no apology.
The only admission of fault was the editing of the piece to remove the sentence. Any business worth its salt can be judged by how they deal with mistakes, not just successes – and this journal has had many successes as well, so it should not be judged too harshly. There should be perhaps a gratitude shown, even to those who point out errors, especially when they are prejudiced. Maybe a lesson learned?
Still, the question remains: Is jazz as inclusive as it should be? The LGBT community is present in jazz, some musicians and supporters are open about supporting LGBT causes, while others see their sexual orientation as private and their business. Yet, like every community, they need to be treated with due attention and care. It may feel like a minefield but generally, if journalists write honestly and without personal comment, there should be no offense caused to anyone. They should be mindful.
At the same time, editors need to be diligent and check submissions to ensure outdated and ignorant comments are excised, so that their articles help with the enjoyment and maybe understanding of this music. It is a really simple thing. After all, as with issues of race and gender identity, sexual orientation is unrelated to whether a musician is a poor or great performer.
Jazz is a music born out of oppression, of hardship, but also of the joy of life and spirituality. It was kidnapped and changed in parts by the middle classes, then slowly released and shared. It has become music which reflects society back at itself. It is a shame if that reflection is marred by mistakes and prejudice.
Racism is rightly disapproved of in jazz, and hopefully in any genre. Misogyny is being dealt with – slowly but surely – and the jazz community will point out errors of judgment and prejudice. Yet there is still work to be done for jazz to be considered completely inclusive. Only then, when people write about the music regardless of politics, race, gender identification or any other issues which cloud judgment, can jazz be said to be wholly inclusive. Let’s keep working on it.
Sammy Stein is a columnist, reviewer and broadcaster on BBC Radio who has run the London Jazz Platform. She's the author of 2017's 'All That's Jazz' and 2019's 'Women In Jazz.' Follow her on Twitter: @SammyStein111. Contact Something Else! at [email protected].
Jazz is an inclusive music – or so we like to think.
Its umbrella is wide, and it opens its arms to many sub-genres, cultural origins and influences. It is appealing again to the young, and also to veterans enjoying the refreshing energy poured into the music. It is a vibrant music of all colors, races and beliefs.
Blends of other music like street, rap, garage, hip-hop and rock are part of modern society and are blended into the newer jazz coming out of clubs, gatherings and colleges. Everyone is welcome. Women are slowly increasing their presence, with the aid of (or in spite of) the old guard. There are more female role models, which is further increasing the rate at which women come into music and jazz. It all feels incredibly positive as old works with new, different ideas appear and are included.
So how, amid this supposedly equal footing and inclusive atmosphere, did a jazz journal publish a piece that contained a gay slur? Since deleted, the reviewer said an up-and-coming singer “had yet to reach bar three of the first track when I formed the impression he had had a metacarpal surgically removed from his wrist and nothing that followed disabused me of that feeling.”
This appeared on the website of an established British jazz publication. It was allowed to stand for days before continued backlash finally led to the quiet removal of these offensive comments. But the question is, how did it happen in the first place?
Jazz needs to move on, and it is doing so in many areas. Back in 1938, for instance, one well-respected magazine asked why “outside of a few sepia females, the woman musician was never born capable of ‘sending’ anyone farther than the nearest exit? It would seem that even though women are the weaker sex, they would still be able to bring more out of a defenseless horn than something that sounds like a cry for help?” The headline?: “Why Women Musicians Are Inferior.”
When the renowned musician Peggy Gilbert wrote a response, her reply was published but only after someone added the derogatory title: “How can you blow a horn in a brassiere?” Gilbert eventually made a name as a supporter of female musicians, and the item is now cited as the height of misogyny. It’s no small comfort that today this sort of thing would probably not get past an editor. Why? Because women are more powerful, noticed and making change happen – along with the fact that enlightened people consider music before prejudices concerning gender.
Fast forward to today. For the jazz journal in question, allowing the piece to publish was perhaps a mistake, an error maybe. What angered many who commented was the obvious lack of response to the many emails and tweets sent pointing out this mistake. This sentence probably caused such a backlash because the musician referred to was clearly hurt and much loved – but also the fact that there appeared to be no apology.
The only admission of fault was the editing of the piece to remove the sentence. Any business worth its salt can be judged by how they deal with mistakes, not just successes – and this journal has had many successes as well, so it should not be judged too harshly. There should be perhaps a gratitude shown, even to those who point out errors, especially when they are prejudiced. Maybe a lesson learned?
Still, the question remains: Is jazz as inclusive as it should be? The LGBT community is present in jazz, some musicians and supporters are open about supporting LGBT causes, while others see their sexual orientation as private and their business. Yet, like every community, they need to be treated with due attention and care. It may feel like a minefield but generally, if journalists write honestly and without personal comment, there should be no offense caused to anyone. They should be mindful.
At the same time, editors need to be diligent and check submissions to ensure outdated and ignorant comments are excised, so that their articles help with the enjoyment and maybe understanding of this music. It is a really simple thing. After all, as with issues of race and gender identity, sexual orientation is unrelated to whether a musician is a poor or great performer.
Jazz is a music born out of oppression, of hardship, but also of the joy of life and spirituality. It was kidnapped and changed in parts by the middle classes, then slowly released and shared. It has become music which reflects society back at itself. It is a shame if that reflection is marred by mistakes and prejudice.
Racism is rightly disapproved of in jazz, and hopefully in any genre. Misogyny is being dealt with – slowly but surely – and the jazz community will point out errors of judgment and prejudice. Yet there is still work to be done for jazz to be considered completely inclusive. Only then, when people write about the music regardless of politics, race, gender identification or any other issues which cloud judgment, can jazz be said to be wholly inclusive. Let’s keep working on it.
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