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Jazz: Universal Language or Community Divider?
Jazz: Universal Language or Community Divider? Noelle / Staff Illustrator
Welcome back to
The Ear, Spectator’s podcast dedicated to documenting, excavating, and investigating Columbia’s past and present.
In this week’s episode, reporters Noah Sheidlower and Sam Hyman capture the voices and issues surrounding jazz at Columbia. How has the community’s perception and involvement in jazz progressed over the years? What are the concerns about the lack of racial and gender diversity in our jazz program? Considering how Harlem is rife with musical history and significance, how has Columbia threatened or connected with the neighborhood’s iconic jazz scene? Listen to find out!
Our Language (1924-1928)
Louis Armstrong arrives in New York from Chicago where, during a brief stay with the Fletcher Henderson band, he amazes his fellow musicians and teaches the city to swing. A blues craze, spearheaded by Bessie Smith, takes the nation by storm. Cornetist Bix Beiderbecke, the first great white jazz artist, eventually plays for bandleader Paul Whiteman, whose blending of classical and jazz traditions comes to epitomize jazz for many Americans. This episode also traces the childhood of Benny Goodman, whose musicianship catapults him out of the slums of Chicago; and Goodman s eventual rival, clarinetist Artie Shaw, who also escapes ghetto life though jazz. Clarinetist Sidney Bechet takes his fiery music to Europe, and singer Ethel Waters brings a new kind of artistry to American popular song. Jelly Roll Morton advances the art of jazz composition, and Duke Ellington begins his incomparable career as the pre-eminent composer in jazz history. The episode ends with L