From The ExiledOne Commentary Archives… here is an article [PART THREE] about the exploitation of African people’s music and culture developed in America which has now reached international proportions. This last segment of 3 looks at the first racially integrated band to be commercially exposed in the United States of America. The music (so called jazz) may be more known about by Whites, Europeans and Asians than the original creative Africans in America. Read about some political and cultural (and financial) reasons why this came to be. The article’s title originally was The Seventh Decade: African People In America, Music and Politics
L to R: Lionel Hampton, vibraphone, Teddy Wilson, piano, Benny Goodman, clarinet, Gene Krupa, drums in the 1930s
Whites were about to play music in public with African "Americans".
The young Bix Beiderbecke, of prairie land Iowa and regarded as the "best White jazz musician" even today, had loathed the separation of the races in public performances. Mezz Mezzrow, of Chicago was fascinated with the music in its early Chicago days of King Oliver and Louis Armstrong and his wife Lillian, did too. Chicago born Benjamin David (Benny Goodman) said so too.
Yet it was the youthful liberal (NAACP board of directors in his 20s) John Hammond who spearheaded the racial integration of musicians on the high profile level. The son of an wealthy American family, the Vanderbilts, Hammond encouraged legendary leader Benny Carter to get hold of an aspiring and talented piano player. He had heard Teddy Wilson being broadcast one mid 30's evening over clear channel radio station WMAQ in Chicago.
The strategy of employing a role model, a certain kind of "respectable" Black to effect social and economic change is not new. Hammond found that he had what he wanted. It was the beginning of what is today mass marketing some parts of African people's culture to the world.

The Only Major Recording Label African People in America Controlled Was Black Swan (1920s) There Would Be No Others On This Scale Until Detroit’s Motown 45 Years Later
This Texas born artist, Theodore Shaw Wilson had a fluid way of conveying the gutsy "trumpet" piano signature of Earl "Fatha" Hines, a top rank keyboardist. Teddy was trained. He was refined in his performances and had come through Tuskegee Institute, a segregated US South school known for its upper class Blacks who strove to not upset White society. Other influences were the virtuoso out of Toledo, Ohio, Art Tatum. "Teddy" and Art had been radio hosts in Toledo, the Great Lakes city in the early thirties. Teddy Wilson was suave enough to gig professionally with the greats in Chicago, including "Dippermouth", Louis Armstrong, at one point.
Why Hammond chose Teddy Wilson may be that "Fatha" Hines was musically too advanced, even wild, for America. Art Tatum was also decades beyond what Whites could grasp-a savant, it can be said. He was blind.
And so, in 1935, John Hammond convinced Benny Goodman, a widely promoted Jewish clarinet player, to finally accept African so called American Teddy Wilson in his band. Goodman had resisted Hammond's request for several years, complaining that he would lose money if he hired African so called Americans. Finally, he hired mild mannered Teddy Wilson, the brilliant pianist.
It is true that the group faced hatred all across the US.
But John Hammond, who became famous for sponsoring and recording selected artists delivering African culture to the US recording industry (Columbia) and who vainly tried to define what many artists were expressing, went on to become rich.
By 1936, Teddy Wilson appeared in a trio with Chicago's Gene Krupa on drums, Goodman on clarinet and they became famous. Then came the vibe player/drummer Lionel Hampton, forming a quartet of two Africans and two Euro Americans.
Although US propaganda would announce to the world that the racial barriers were then dissolving in US society, (Jesse Owens winning Olympic medals in Nazi Germany) the background of this music group had a much deeper foundation than is generally known.
Krupa died in 1973. Goodman became very rich and is erroneously known as the King of Swing, a title which should have gone to Teddy Wilson or Fletcher Henderson, who Benny Goodman idolized and replicated a good many of his charts from. He passed on in 1986. Teddy Wilson was respected by peers such as Lester Young, Billie Holiday and others, but played internationally until age 72, passing on in 1986. Lionel Hampton also toured until his last years. He left this plane in 2002, age 94.
The shifting, volatile climate in the US society of the 1930s forced social changes.
Financial rebuilding of the capitalist system demanded that new markets were opened.
By the decade after the second imperialist war's expansion of industries, a watered down version of African cultural forms was being branded Rock & Roll and was played by Whites.
It was not the goodwill of Whites or an American government that created change. America remains in the 21st century a society catering to an economically and politically dominant White population.
The roots of the Black men and women emerging onto music stages with Whites came about methodically.


The Hatred/Desire For Cultural Mastery Of African Culture In America Is Deep Rooted: Bus Depot, 1940s And 21st Century ‘Jazz Star’ Diana Krall
There must be context when it is noted that Norah Jones or Diana Krall is considered a top jazz vocalist in 2006, piling up earnings for themselves and giant music corporations like British based EMI.
Even 70 years later, the realities are not as simple as they may seem.
30 May 2006
From Exile,
Bankole
New Website Coming!
See Related Articles:
The Flight Of Eric Dolphy (Exile 2007)
http://exiledun.livejournal.com/3316.html
Max Roach, Legacy VI (Exile 2008)
http://exiledun.livejournal.com/29693.html
Cooks And Pioneers (Exile 2009)
http://exiledun.livejournal.com/63793.html