Race in the 1930's

From the beginning, when jazz emerged in New Orleans, racial discrimination and inequality has played a significant role in the development of jazz.  The tension between blacks and whites was apparent in the African dancing in Congo Square, the assimilation of a black-originated art form into the mainstream of white culture, and most prominently, in the Swing Era of the 1930’s (Swing Changes, February 14, 2013).  The 1930’s were a decade of competition, and musicians strategically prevented other people from profiting economically from their creativity. However, in addition to the competitive nature of the era, jazz simultaneously brought races together to perform and collaborate dialogically. 

Duke Ellington made his mark in the jazz world by not only bringing an unprecedented sense of style and sophistication to jazz, but by understanding how to tactically attain popularity during the harsh times of the Great Depression while staying in his respectful place in a segregated music community.  To do so, Ellington hired a Jewish agent, Irving Mills, to collaborate with and help him popularize his music and get on the radio in return for some of his earnings.  The radio was responsible for a transformation in the musical world as it allowed a passage through segregated barriers and the expansion of the audiences of black musicians.  Ellington recognized the opportunities that the radio brought as listeners couldn’t hear the color of the musician.   

The roles of black performers and white jazz critics played an important part in the racial discourse of the 1930’s.  According to lecture, the white, radical audience represented the “true” fan of jazz (February 14, 2013).  The integration of Swing included this audience critically commenting on the performances and music of the colored musicians. John Hammond, a white jazz critic, publicly attacked Duke Ellington’s musical appeal to the white audience writing, “Ellington’s tact and suave manner disguised a willingness to tolerate racial indignities for the sake of commercial success” (Swing Changes, February 14, 2013). 

Historical collaborations of races in the Swing Era included two different events at Carnegie Hall and The Savoy.  Carnegie Hall contained high culture concerts with sophisticated people watching and listening to performers play European music.  In 1937, Benny Goodman performed with three black musicians.  Although some people walked out viewing the musical integration as inappropriate, the event was largely a success.  In addition, at The Savoy, Benny Goodman performed a musical battle with the black musician, Chick Webb.  These historical events ultimately broke the musical race barrier and experimented with integration. 

Racial discourse has always been apparent in the history and development of jazz.  However, it was in the 1930’s when integration, competition, the radio, and musical relationships developed making race become explicit.