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Jazz in south Los Angeles and its connection to the community arts
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Content
JAZZ IN SOUTH LOS ANGELES
AND ITS CONNECTION TO THE COMMUNITY ARTS
by
Atiyyah Khan
_____________________________________________________________________
A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM: THE ARTS)
December 2011
Copyright 2011 Atiyyah Khan
ii
TABLE OF CONTENTS
ABSTRACT iii
INTRODUCTION 1
FIRST WAVE: CENTRAL AVENUE 1920 - 1950 3
Post-Central and the Legacy of Horace Tapscott 6
UGMAA : A Black Community Perspective 10
THE SECOND WAVE : LEIMERT PARK 1989 - 2001 12
Politics and the Magic of Leimert 13
The World Stage in Leimert Park 15
LEIMERT PARK DECLINE AND THE POSSIBILITY OF A THIRD WAVE 17
CONCLUSION 22
BIBLIOGRAPHY 24
iii
ABSTRACT
From its early origins in New Orleans, jazz has always been considered a predominantly
black art form. These roots run deep in the history of Los Angeles, however currently
there is little pulse felt for the music in the city. This paper seeks to explore that rich
history of jazz by examining the African American communities in South Los Angeles.
Central Avenue and Leimert Park form the core focus of this research and unveil a strong
community arts tradition. The racial and economic politics that divide L.A. contribute to
the various waves where jazz has thrived in these black communities. This thesis
questions whether there is a possibility of a re-strengthening of the bonds in the black
communities of South L.A. which could result in yet another jazz era.
1
INTRODUCTION
When improvisation happens in jazz, there is an inexplicable chemistry that explodes at
live performances. The smiles exchanged between band members and the call and
response with an audience are manifest of a conversation that requires no words. Once
witnessed, there will be a continuous hunger for that energy.
In South Africa I had experienced a small but energetic jazz atmosphere with a healthy
circuit. Upon moving to Los Angeles, I was startled by the fact that amidst the variety of
music on offer in the city, there was very little jazz available. I struggled to find that raw
energy. Every other type of music form flourished but neither a sense of togetherness in
the jazz community, nor a pulse for the music was something that could be found.
The major geographic sprawl of L.A. provided a huge challenge in getting a sense of
what was going on in the city. The Angel City Jazz Festival, a festival advertised with a
more avant-garde slant towards jazz, took place in October last year and I was shocked
to learn from the organiser that it was the only one of its kind in the city. Young people I
met weren't interested in going to watch live jazz performances. Even jazz historian
Steven Isoardi, seemed to be asking himself similar questions. Perched
2
on his couch in his Pasadena apartment, he said after thinking for some time, "Kamau
Daood and I were just commiserating the other day, where do you go to hear the
sounds?"
1
.
This void of jazz culture ignited my curiosity in wanting to find out what happened to
jazz in Los Angeles. After some time however, that search led me back to where it all
started; South Los Angeles and the rich histories of jazz in the black communities that
lived there.
1
Steven Isoardi. Interview by author. Los Angeles, CA, April 26, 2011.
3
FIRST WA VE: CENTRAL A VENUE 1920 - 1950
Pressure creates Diamonds -McCoy Tyner
2
After a few hours of talking to Isoardi, pieces of the history of jazz in the black
communities of L.A. began to arrange themselves into two major waves. The story of
Central Avenue is at once cinematic and tragic. Today the empty parking lots and closed
down buildings that were once thriving music venues on Central Avenue carry rich
histories about the music from L.A. Often these stories have been lost or buried with
those who lived in these areas.
Due to racial and political segregation in the 1900s in Los Angeles, the heaviest
concentration of black people was centred along Central Avenue down to Slauson
Avenue. Racially restrictive covenants coupled with white exodus meant that many
African Americans were forced to locate to Central Avenue. But as the Tyner quote
suggests, the closeness of this community resulted in the creation of musical gems. From
1920 until the early 1950s, Central Avenue, extending from downtown through Watts
became a thriving social and economic black community. Many musicians relocated
there from New Orleans resulting in a booming jazz scene. The 'Avenue' as locals called
it, became home to numerous music venues and businesses, grocery stores, cafes, banks,
2
Steven Isoardi, The Dark Tree: Jazz and the Community Arts in Los Angeles. (California: University of California
Press, 2006), 18
4
restaurants, nightclubs and salons. "By 1940, approximately 70 percent of the black
population of Los Angeles was confined to the Central Avenue corridor and relied upon
the Avenue to meet all of its social needs."
3
During the day the Avenue was bustling
with people at its various businesses and in the evening people dressed up and flocked for
the nightlife on offer, making the area one of the most racially integrated in L.A.
A black union was formed called the Local 767 in 1920 that contracted work to black
musicians. This union was instrumental in the surge of jobs created for musicians during
this first wave. The list of legendary musicians that grew up and performed in Central
Avenue include Eric Dolphy, Don Cherry, Charles Mingus, Buddy Collette, Lionel
Hampton, Lester Young, Charlie Parker and Nat King Cole. Central Avenue became
known as the West Coasts' version of 52nd Street in New York. Jazz could be heard on
the street throughout the day and in jam sessions throughout the night. Artists like Gerald
Wilson were influential in mentoring people like Eric Dolphy. The rise of the motion
picture industry was also the reason many musicians flocked to Los Angeles post-World
War 1 as black artists were employed to work on soundtracks.
Little existed in the mainstream media about Central Avenue at the time and much of its
physical evidence was destroyed by the fires in the 1965 Watts Upheaval. Today, there is
no sign left of this community. One of these venues that is now a ghost of its past-self is
the Dunbar Hotel. Originally called the Somerville Hotel, it was built in 1928 by John
3
Ibid., 19
5
Somerville, who was the first black graduate at USC. The Somerville was the first hotel
in L.A. to welcome black visitors. The hotel became a central meeting place for black
people in L.A. but also attracted major Hollywood stars. W.E.B.Du Bois was one of the
first guests welcomed at the hotel. The Los Angeles Herald-Examiner describes the
Dunbar,
It was once the most glorious place on 'the Avenue.' At the Dunbar Hotel, you
could dance to the sounds of Cab Calloway, laugh till your stomach hurt with
Redd Foxx and maybe, just maybe, get a room near Billie Holiday or Duke
Ellington.
4
The Dunbar stands empty today and due to non-payment of taxes, the building is likely to
be foreclosed into City of Los Angeles ownership.
By the early 50's, Central Avenue started declining for various reasons, mostly economic.
The black community became much more spread out due to racially restrictive covenants
being lifted resulting in many people moving west. Many musicians relocated to New
York leaving the black community artistically poor and all of these factors weakened the
bonds created in the jazz community of Central Avenue.
Stories about Central Avenue would be lost if it wasn't for Isoardi's work in Central
Avenue Sounds, an effort funded by the UCLA Centre for Oral History Research. The
book offers glimpses into jazz from Central Avenue, politics in the black community and
the role black artists played in Hollywood. Isoardi claims to have fallen into researching
4
"Historic black hotel gets new lease on life", Los Angeles Herald-Examiner. April 24, 1987.
6
Central Avenue by accident but says, "There would be no detailed work on Central
Avenue if we didn't have the memories of these people."
5
The result is an invaluable
collection of first-hand experiences about the Central Avenue era, told by musicians that
lived and performed there.
Post-Central and the Legacy of Horace Tapscott
It is not surprising to attend a concert now in South L.A. and hear whispers in the crowd
that say, "Things haven't been the same since Horace died." My search for a sense of jazz
spirit within the black community lead me continuously back to Horace Tapscott. It
would be impossible to tell this story without mentioning him. All the people I
encountered on my search had in some way been touched by the brilliance of his
influence and my curiosity was piqued. Tapscott, I discovered, was the essential link
between the two waves of jazz that exploded in L.A. Isoardi himself admits, "I've never
met anyone with the kind of charisma that Horace had."
6
As Central Avenue started changing, the black community shifted towards Western
Avenue and Crenshaw in the beginning of the 1960's. However Isoardi says,
"Even Western at its height did not have the kind of force and closeness that
Central Avenue had, so there was a kind of decline. During that time the
5
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
6
Ibid.
7
community spread out dramatically towards what become known as South Central
L.A."
7
This period is significant because it gave rise to groundbreaking movements like the Pan
Afrikan Peoples Arkestra and the work of Horace Tapscott.
Tapscott had emerged out of the vibrant Central Avenue scene and had been mentored for
a brief period by Gerald Wilson. For most of his life, Tapscott remained an invisible
orchestrator of jazz events in South L.A. In 1961, when faced with the decision of going
on tour as a musician with Lionel Hampton's orchestra, Tapscott instead chose to return
back to South L.A with a new purpose: that of creating a sense of community arts arising
out of an unjust system for musicians and racial segregation.
Perhaps it was his initial mentoring by musicians in his own community in Central
Avenue that led Tapscott to dedicate his life to being a community artist.
Based on principles of communal arts drawn from West African tradition, Tapscott
formed the Union of God's Musicians and Artists Ascension (UGMAA) and the Pan-
Afrikan Peoples Arkestra in 1961, a collection of musicians who performed for over forty
years. This year marks the 50th anniversary of the UGMAA and the Arkestra. Tapscott's
central philosophy was playing music and sharing knowledge across the arts, that is,
music, visual art and poetry with a firm responsibility to serve the needs of the black
community. Often UGMAA concerts were performed for free. The story of UGMAA and
the Arkestra is told in great detail by Isoardi in The Darktree:Jazz and the Community
7
Ibid.
8
Arts in Los Angeles. In addition to this, Isoardi also edited lengthy oral histories he
conducted with Tapscott into a biography, Songs of the Unsung that explores his
alternative ethos.
While digging deeper into learning about Tapscotts' commitment to the black
community, I was introduced to saxophonist Fuasi Abdul Khaliq with the help of Isoardi.
Khaliq grew up in Watts but relocated to Berlin in order to sustain a career as a full-time
musician during the 90's. He lived with Tapscott for a brief period of time and got most
of his musical schooling from the Arkestra. He described growing up in Watts during the
50's as a time of incredible music in the black community as every kid in the
neighbourhood played some kind of instrument.
In 1972, Abdul Khaliq connected with a friend named Jesse Sharps, already performing
in the Arkestra. He recalls,
"He said, 'I want you to meet Horace Tapscott.' I'd never really heard about him.
Jesse was playing with the band and it was growing as a community band. I went
over to the concert and I thought I was going to sit and watch the band play. I was
sitting in the front seat and Horace comes over to me and was like, "You got your
horn? Get over there!".The first time I met him was the first time I played with
him."
8
Abdul Khaliq joined the Arkestra that day and remains a member till today. Some of the
musicians in the Arkestra at the time were Azar Lawrence, Arthur Bryce and David
8
Fuasi Abdul Khaliq. Interview by author, Los Angeles, CA, May 20, 2011.
9
Bryant. For years he performed with the Arkestra in their free concerts on the last Sunday
of the month. He says,
"Horace was so influential towards me as a person and with the kind of
knowledge he was passing on, I didn't want to go anywhere. I was at his house
every day just off Crenshaw. It was that kind of time. There were a lot of
figureheads. People who came out of the struggle were figures. Now it's not like
that. Horace had that kind of charisma and he was just a musician. Everybody
knew him."
9
For three years Abdul Khaliq spent an intense time with Tapscott and the Arkestra
learning arrangement and composition. The basic principle of the UGMAA was a
foundation of sharing and studying of knowledge and creative energy. In order to get a
clearer sense of that time, Abdul Khaliq explains,
"We were trying to play true music.We preserved black music by performing it
and talking about it. My whole life was about the Arkestra. We had what we
called "The Great House" where we all lived together in a commune. We played
twenty-four hours a day. There was always music. That's the thing with Horace,
he was like, 'Just play, find it within yourself, create with what you have to tell a
story and don't worry about technical stuff because that would all come later.'
There were no boundaries."
10
It was this experimental approach that rooted the work of Tapscott in the avant-garde
even though this is never the mainstream narrative told when recalling jazz history in Los
Angeles. Throughout his lifetime, Tapscott was referred to as "The Phantom" as he made
himself an invisible presence of the community arts. He was responsible for bringing
more than three hundred artists together in UGMAA and the Arkestra, and often for little
or no money.
9
Ibid.
10
Ibid.
10
UGMAA : A Black Community Perspective
During the 70's, the UGMAA thrived with Tapscott continually attracting new members
from the black community. As Isoardi asserts, "The Arkestra arose to meet the needs of
African American artists and their community and their focus was and has always been
African American."
11
Race politics cannot be ignored and in a segregated Los Angeles
very few white musicians performed with Tapscott during this time.
Avant-garde jazz drummer, Alex Cline elaborated more on what the atmosphere was like
in the 70's. In his studio where we do the interview, the room is dominated by a
customized drum kit that consists of over 100 small percussive instruments surrounded
by several massive gongs. Cline started performing during the 70's and even though the
majority of his performances as a drummer were on the West side of L.A, the name
Horace Tapscott came up early in our conversation.
Cline explained how the geography of L.A. back in the 70's meant often it was hard to
grasp what was really happening in terms of jazz,
"One of the reason you don't feel the pulse here is because the city is so spread
out. It has no real centre. If there was a lot going on in South L.A, it was hard to
know what was going on if you were on the West side. Also because of the racial
segregation in the city, it's less now, but it's still quite segregated. So one of the
keys to unlocking what was going on was learning who Horace Tapscott was.
That was a name that came up. He was already somewhat of a local legend
then."
12
11
Isoardi, Darktree, 285
12
Alex Cline. Interview by author, Los Angeles, CA, May 19, 2011.
11
Cline learnt about Tapscott considerably a while after he had been around, and was one
of the few white avant-garde musicians that travelled to South L.A during the 70's to
immerse himself in the Arkestra. He did not play with UGMAA but had several times
played with Tapscott in a few bands at the time, though confessing his nervousness at the
time about being a shaggy blonde-haired twenty-something, playing with such a
professional. He claims to have been highly influenced in his work both by Tapscott and
the philosophy of the UGMAA. Cline is currently responsible for putting on a monthly
avant-garde jazz event in L.A. at the Eagle Rock Centre for the Arts.
12
THE SECOND WA VE : LEIMERT PARK 1989 - 2001
In looking at reasons behind the lack of social cohesion in the black community in the
decades following Central Avenue, it is important to take into consideration the major
turning points which occurred between the late 70's and early 80's when the community
was left economically devastated by the decline of the American industrial economy.
Many black people had relied upon jobs in factories and industries in the greater L.A.
area and they were let go.
In 1982, crack entered the black community in a huge way bringing with it a rise in gang
and drug-related violence. Isoardi says, "It literally came in like a tsunami. Crack had
been around before but nothing like this."
13
Crack fuelled the rise of gangs like The Crips
empowering them throughout the 80's, which then resulted in major gang activity. These
were some contributing factors behind the sudden decline of many businesses in South
Central including music venues. There were also major cutbacks in art and music
programs in schools.
Isoardi completes the image,
"What all this meant is that the community arts movement had no place to go.
There was a contraction of public space. People didn't hang out in parks anymore
nor perform in public places because it became dangerous. Then there was the
13
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
13
emergence of hip-hop ; a response to post-industrial decay in America. In a sense,
jazz then really became much more marginalised because of all that."
14
However, with the sounds of Central Avenue engraved in the memories of those who
experienced it, a second wave of major activity for jazz occurred in Leimert Park for a
new generation between 1989 and 2000. There was a sudden resurgence of the black
community arts in South L.A. that shifted to Degnan Blvd in the Leimert Park Village in
the late-80s. During this period, the village of Leimert Park was bustling day and night
with music, art and poetry produced by artists in the black community. The documentary,
Leimert Park by Jeanette Lindsay captures accurately the spirit of what this period was
like.
Politics and the Magic of Leimert
Many attribute this surge in community arts as a response to the political atmosphere of
the time. In 1991, tensions rose in South Central following the Rodney King beating by
police officers. In 1992, the verdict surrounding the case resulted in six days of rioting
around South Central. Part of the reasoning for the riots was in response to the King case,
but other factors such as high levels of poverty and unemployment in the black
community were central to the frustrations that ensued. The riots created a media frenzy
that highlighted the economic disparity evident in South L.A.
14
Ibid.
14
An article in the Los Angeles Times states,
In 1992, the Los Angeles riots again point toward a great and worsening divide in
a city moving toward two societies, one rich and predominantly white, one poor
and predominantly Latino and African American- still separate and increasingly
unequal.
15
Recall once more the Tyner quote from above; instead of separating the black community
of Leimert Park, the 1992 riots provided an overdue jolt of electricity that many pin down
as the reason behind the re-strengthened bonds that brought the community closer. Those
that remember the bustling days of Leimert Park speak about it with a sense of magic in
the air. Isoardi comments excitedly,
"That was when things really exploded. After Rodney King, the upheaval and the
riots, people just gravitated to Leimert Park. There was a period of about ten years
when it sparkled down there. I remember some nights at the Village. In one
evening Dwight Trible would be performing at one place, Horace Tapscott at
another and Azar Lawrence was at another place. Project Blowed and the Kaos
Network around the corner was the main alternative hip-hop spot. They had open
mics every Thursday nights producing artists like Jurassic 5, Busdriver,
Aceyalone and Medusa. And right next to them is a great blues club Babes and
Ricky's Inn. And all of these were going off at one time and the streets were
always full of people."
16
Two days before the L.A riots broke out, Richard Fulton opened 5th Street Dicks Coffee
Company in the Leimert Park village. The venue is remembered by all who recount the
story of Leimert Park's boom. Chairs and tables were placed on the sidewalk so that
15
"Tale of Two Cities: Rich and Poor, Separate and Unequal : Hooliganism wasn't the only driving force in the recent
riots", The L.A. Times, May 6, 1992, http://articles.latimes.com/1992-05-06/local/me-1050_1_los-angeles-riots.
16
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
15
people from all over the world played chess till four in the morning. It was a place people
could gather and hold forums, listen to jazz at all hours and drink coffee. It is important
to note the rise of hip-hop in Leimert Park as Project Blowed was held right next door to
5th Street Dicks and the intersection of old and new black culture happened here. In the
documentary Leimert Park, the early 1990s shows an atmosphere where elderly jazz-
heads playing chess on the sidewalk late at night are seen mixing alongside youthful hip-
hop fanatics.
The World Stage in Leimert Park
As far as jazz is concerned, The World Stage is an essential part of how that culture
thrived in Leimert Park. In 1989, the World Stage Performance Galley was co-founded
by drummer Billy Higgins and poet Kamau Daaood. Though Higgins was by then a
world renowned musician gaining a reputation as the most recorded drummer in jazz
history, he made time available to serve his community. He offered lessons in
improvisation and technique and every Monday night taught drum workshops to young
children at the venue. In addition to this, Tapscott had a visible presence at the World
Stage and several Arkestra workshops were held there.
There are members of the Leimert Park community that lament both waves of jazz.
Archivist and historian Jeffrey Winston tells a great story of digging in his grandfather's
attic and stumbling upon a key from a room in the original Dunbar Hotel, a priceless
16
piece memorabilia for any jazz head. In his experience of Higgins and the Leimert Park
boom he says,
"Billy was a wonderful drummer but above and beyond that, he just loved people
and particularly the youth. He wanted us to restore the legacy to carry on
traditions. Because of his involvement in Bluenote Records and his stature as an
international icon, Billy would bring everyone down to the World Stage- McCoy
Tyner, Pharoah Sanders and Max Roach, They would all just come because of
their love for Billy. Then, Leimert Park was really thriving."
17
Across the street from the World Stage on Degnan Boulevard is Eso Won Bookstore, one
of the only black focused bookstores in L.A. During this cultural boom, they hosted many
influential speakers such as Amiri Baraka. Tapscott himself spoke there upon the release
of Central Avenue Sounds. At the time, everything was done for the promotion of
uplifting and educating the black community as much as possible.
17
Jeffrey Winston. Interview by Author, Los Angeles, CA, May 12, 2011
17
LEIMERT PARK DECLINE AND THE POSSIBILITY OF A
THIRD WA VE
There are trees in Leimert Park,
under which old men do divination,
with the bones of dominos,
Degnan, a river, a nu Nile, on whose banks
young poets, sharpen their hearts
on the polyrhythm's of Billy Higgins' smile
on the world stage where Tapscott fingers
massage your collective memory.
18
Like its predecessor, the atmosphere in Leimert Park and this second wave of jazz and art
started declining around 2002. Isoardi attributes this to the major loss of leadership of
three figures who were irreplaceable and held the black community together. A heavy
blow to the community was the death of Tapscott in 1999. A year later Richard Fulton
died and in 2001, Billy Higgins died. All three were major influences in promoting the
spirit of community arts in Leimert Park and thereby promoting jazz as a means for that.
The second major problem Isoardi points to is that of gentrification. The Leimert Park
area started attracting developers and investors who bought properties and resulted in
residents and artists having to pay double the rent for venues. Many artists moved out
because they could not afford high rents.
18
Kamau Daaood, The Language of Saxophones (San Francisco : City Light Books, 2005), 67
18
Isoardi says,
"The black community had been expanding for a while, but now it's in decline.
People started moving to Riverside, San Bernardino and many moved back to the
South. It was a combination of the real-estate market, the collapse of the economy
in South Central and the increasing of gangs that drove people out. And if you
don't have the community to sustain something, it's going to close."
19
Sadly the legendary blues club Babes and Ricky's Inn that Isoardi refers to above, which
had been open for nearly 50 years, was recently closed down. The club originally opened
in 1964 on Central Avenue where people like John Lee Hooker played, before relocating
to Leimert Park.
With a lack of leadership and gentrification at large, support for music in general
declined. The World Stage suffered greatly. For several years, Winston served as
president of the board for the World Stage. In 2004, he started a series of events at the
venue to collect oral histories called "World Stage Stories". The series documented the
evolution of jazz by chronicling the careers of those musicians influential in the
movement. This consisted of 72 interviews done over a five year span, including among
them Al McKibbon, Herman Riley, Gerald Wilson and Fayard Nicholas. From
2005-2009 he co-produced the World Stage Jazz Festival. However both the oral history
series and the festival had to be stopped due to budget cuts and lack of funding.
19
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
19
When I visited Leimert Park for the first time, Winston gave me a tour of the area with a
kind of nostalgia, recalling stories saying, "That's when the village was in its heyday.
Now it's only a shell of what it used to be."
20
Later, I experienced a similar feeling from
Abdul Khaliq,
"Leimert Park was the centre of the community. When it was bumping
everybody was coming there. All the poets, all the writers. Plus there was 5th
street Dicks with chessboards and the beautiful brother who ran it. Everything
was there, museums, galleries, bookstores. When I go there now it's very sad.
21
He continues,
"There isn't a sense of community now. When I was growing up jazz was
everywhere- all over the radio, now you don't hear that anymore. There is no
dialogue, no influence from the media, and no sense of learning now about jazz.
That's why the kids don't know anything about it."
22
However, up until now, it can be observed that these booms of culture happen in waves
and there is a possibility that Leimert Park can be restored to its former self. Isoardi says,
"Leimert is still hanging on. Right now, nobody knows which ways it's going to go. It
can't compare to what it was ten years ago."
23
Though there is hope for the area. There are still many community artists working in the
area, among them major figureheads like Kamau Daaood. Venues like The World Stage
20
Jeffrey Winston. Interview by Author, Los Angeles, CA, May 12, 2011
21
Fuasi Abdul Khaliq. Interview by author, Los Angeles, CA, May 20, 2011.
22
Ibid.
23
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
20
and Kaos Network are still going strong with regular workshops and performances. There
is also the monthly Leimert Park Artwalk now aimed at promoting community arts.
Arkestra performances, though not often, can still be seen.
The historic Vision Theatre, an auditorium that seats about 1100 people is currently being
restored and could be a possible venue for major jazz performances. Winston says,
"The Vision Theatre was owned by Marla Gibbs who invested millions into it but
people didn't support it and she ran into foreclosure. Now, they're fixing up the
building. It's been dormant for seven years. It should be ready in three years time
but I don't know if we have that kind of time. The irony is that about a quarter
mile away, on the hill we have this black middle class in Baldwin Hills, and
they're in million dollar homes and most of them don't even come to the village.
All we would need is just a few benefactors to get the village going again."
24
A positive development is that recently jazz singer Barbara Morrison bought a dance
studio in the village and is implementing a music program with vocal workshops. Isoardi
recalls, "I was there on a Saturday morning and I saw her there sweeping the sidewalk. I
love that image - of an important artist who returned back to the community."
25
He
continues,
"I felt from very early on that what distinguished the African American
community in the 20th century is the strong community arts tradition. It goes back
from Central and gravitates to 103rd street in Watts in the 60's and then to
Leimert Park. And right now everyone is wondering if Leimert is going to
experience another kind of resurgence? It took social upheaval for the
togetherness there before."
26
24
Jeffrey Winston. Interview by Author, Los Angeles, CA, May 12, 2011.
25
Steven Isoardi. Interview by author, Los Angeles, CA, April 26, 2011.
26
Ibid.
21
The recent economic recession in the U.S has not been kind to the black communities of
South L.A. However, even through difficult times people still hang on. My experience of
Leimert Park during my search was meeting figure-heads who firmly remember their
history, their inspirations and their music, and those are important factors in seeing the
community thrive again.
22
CONCLUSION
Before leaving Los Angeles, I visited Eso Won Bookstores in Leimert Park for the last
time. While buying some books, the owner Tom enthused me with all kinds of stories.
He described what it was like to experience a performance by Tapscott and to feel the
warmth from Billy Higgins' smile. I felt that my search was meant to lead me to these
kinds of rich discoveries.
I was also lucky enough to witness Fuasi Abdul Khaliq perform at the World Stage while
visiting L.A. from Berlin. On that night I found the raw energy I had been looking for in
live jazz performances. He channelled the spirit of Tapscott, a hero to the community.
The energy of that history was evident in the room and received with warm applause.
Jazz in Los Angeles started in the black community and it remains there, though it is in
need of some help. After meeting the many characters during my search that made telling
this story possible, in my opinion jazz thriving in L.A. is directly dependant on the kind
of support it receives from a community. During the two waves that I discovered during
my search, the driving inspiration was that black artists were committed to their
community. Both times, music was created out of a period of political and racial tension.
And if the community arts tradition is a form of upliftment, then jazz is an important
manifestation of that. A common thread beats throughout this story- that is one of trying
23
to stay together. It involves a level of synchronicity of minds, which is why, Leimert Park
remains hopeful for a third wave. As a foreigner, I was amazed at the warmth of this
community and the openness with which they received me.
Leimert Park is being challenged now due to economic collapse in the working class yet
it is at a massive crossroads. A new kind of leadership is needed but more importantly, a
new strengthening of the bonds in the black community is needed. This is something that
gentrification poses a major challenge to. If the right kind of energy is put into Leimert
Park, it has a chance to regain its old legacy and ride a third major wave of jazz, carrying
on the philosophies of Higgins and Tapscott.
24
BIBLIOGRAPHY
Abdul Khaliq, Fuasi. Interview by author. Los Angeles, CA, May 20, 2011.
Babes and Ricky's Inn. "The Documentary". http://www.babesandrickysinn.com.
Bryant, Clora et al. Central Avenue Sounds. Los Angeles: University of California Press,
1998.
Cline, Alex. Interview by author. Los Angeles, CA, May 19, 2011.
Daaood, Kamau. The Language of Saxophones. San Francisco: City Light Books, 2005.
Downbeat. "Jazz in the Modern Era". April 11, 2008.
http://www.downbeast.com/2008/04/jazz_in_the_modern_era.shtml.
Fuasi Abdul Khaliq and Ensemble at the World Stage. Photographed by author. May 28,
2011. http://www.flickr.com/photos/atiyyahkhan/sets/72157626863557972/show/.
"Historic black hotel gets new lease on life", Los Angeles Herald-Examiner. April 24,
1987.
"Horace Tapscott performing at Kabasa in Los Angeles Part 1", Retrieved from Youtube.
Posted August 6, 2009. http://www.youtube.com/watch?v=wZmUZc9QKmQ.
25
Isoardi, Steven. Interview by author. Los Angeles, CA, April 26, 2011.
Isoardi, Steven. The Dark Tree: Jazz and the Community Arts in Los Angeles. California:
University of California Press, 2006.
Leimert Park Movie Website, "About", 2006-2010, http://www.leimertparkmovie.com/.
Lindsay, Jeanette. Leimert Park Movie. DVD. Pasadena, California, 2006.
Morales, Jennifer."Renovation Planned for Leimert Theatre". January 10, 2008.
http://visiontheatre.org/press-releases/.
"Tale of Two Cities: Rich and Poor, Separate and Unequal : Hooliganism wasn't the only
driving force in the recent riots", The L.A. Times, May 6, 1992,
http://articles.latimes.com/1992-05-06/local/me-1050_1_los-angeles-riots.
Tapscott, Horace. Songs of the Unsung. London: Duke University Press, 2001.
Weber, Mark. "The Early LPs of the Free Jazz Scene in Los Angeles", September 2009.
http://metropolis.free-jazz.net/mark-weber-the-early-lps-of-the-los-angeles-free-jazz-
scene/reviews/.
Winston, Jeffrey. Interview by author. Los Angeles, CA, May 12, 2011.
World Stage Jazz Jam at the World Stage. Photographed by author. May 19, 2011,
http://www.flickr.com/photos/atiyyahkhan/sets/72157626738521721/show/.
Abstract (if available)
Abstract
From its early origins in New Orleans, jazz has always been considered a predominantly black art form. These roots run deep in the history of Los Angeles, however currently there is little pulse felt for the music in the city. This paper seeks to explore that rich history of jazz by examining the African American communities in South Los Angeles. Central Avenue and Leimert Park form the core focus of this research and unveil a strong community arts tradition. The racial and economic politics that divide L.A. contribute to the various waves where jazz has thrived in these black communities. This thesis questions whether there is a possibility of a re-strengthening of the bonds in the black communities of South L.A. which could result in yet another jazz era.
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Versus the fans
Asset Metadata
Creator
Khan, Atiyyah
(author)
Core Title
Jazz in south Los Angeles and its connection to the community arts
School
Annenberg School for Communication
Degree
Master of Arts
Degree Program
Specialized Journalism (The Arts)
Degree Conferral Date
2011-12
Publication Date
09/28/2011
Defense Date
09/28/2011
Publisher
Los Angeles, California
(original),
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
African American,Horace Tapscott,Jazz,Leimert Park,Los Angeles,OAI-PMH Harvest,South Central,Steven Isoardi
Format
theses
(aat)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Kun, Joshua (
committee chair
), Anawalt, Sasha M. (
committee member
), Page, Tim (
committee member
)
Creator Email
atiyyahk@usc.edu,atzushka@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-oUC1415417
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UC1415417
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etd-KhanAtiyya-298.pdf (filename)
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etd-KhanAtiyya-298
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656478
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Thesis
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Khan, Atiyyah
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texts
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University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
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The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.
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Repository Location
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Repository Email
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Tags
Horace Tapscott
Steven Isoardi