This document discusses the history of racial segregation and its impact on jazz musicians in the United States from the late 19th century to the 1950s. It describes how after the Civil War and Reconstruction era, racial segregation became law and the 1896 Supreme Court case Plessy v. Ferguson established the "separate but equal" doctrine. Many jazz musicians faced discrimination when traveling throughout the country. The document then highlights several jazz musicians who challenged segregation through their music, such as Louis Armstrong, Benny Goodman, Duke Ellington, and Billie Holiday. It also discusses the 1957 integration crisis in Little Rock, Arkansas and Charles Mingus' composition "Fables of Faubus" which criticized Arkansas governor Orval Faubus

2. BACKGROUND HISTORY
• AMERICAN CIVIL WAR 1861 – 1865
• RECONSTRUCTION PERIOD (AFTER THE CIVIL WAR)
• RACIAL SEGREGATION INTRODUCED IN 1880’S
• PLESSY V’S FERGUSSON (1896) INTRODUCED “SEPARATE BUT EQUAL”(PIC)

3. “SEPARATE BUT EQUAL”

4. BACKGROUND HISTORY
• BROWN V’S BOARD OF EDUCATION (1954) PAVED THE WAY FOR CHANGE TO
RACIAL SEGREGATION.
• AFRICAN-AMERICAN’S AND OTHER MINORITY GROUPS, SUFFERED
TREMENDOUS DISCRIMINATION.
• JAZZ MUSICIANS TRAVELLING THE COUNTRY DIRECTLY SUFFER THIS
DISCRIMINATION.

5. SEGREGATION AND JAZZ
• LOUIS ARMSTRONG RECORDS “WHAT DID I DO TO BE SO) BLACK AND BLUE?”
1929
• BENNY GOODMAN LEADS AN INTEGRATED ENSEMBLE DURING THE 1930’S. ONE
OF THE FIRST HIGH PROFILE MUSICIANS TO DO SO.
• DUKE ELLINGTON WRITES “SYMPHONY IN BLACK: A RHAPSODY OF NEGRO
LIFE” AND “BLACK, BROWN AND BEIGE”.
• BILLIE HOLLIDAY RECORDS “STRANGE FRUIT” 1939

6. “LITTLE ROCK NINE” - 1957

7. AFTER 1959
• 1957 – NINE AFRICAN-AMERICAN STUDENTS ATTEMPT TO ATTEND A
PREVIOUSLY SEGREGATED HIGH SCHOOL IN LITTLE ROCK, ARKANSAS,
CAUSING A NATIONAL FLASHPOINT.
• BILLIE HOLLIDAY DIES 1959.
• CHARLES MINGUS RELEASES “MINGUS AH UM” WHICH INCLUDES THE
COMPOSITION “FABLES OR FAUBUS”

8. “FABLES OR FAUBUS”
• LYRICS:OH,LORD,DON'TLET'EMSHOOTUS!
OH,LORD,DON'TLET'EMSTABUS!
OH,LORD,DON'TLET'EMTARANDFEATHERUS!
OH,LORD,NO MORESWASTIKAS!
OH,LORD,NO MOREKUKLUXKLAN!
• NAMEME SOMEONEWHO'SRIDICULOUS,DANNY.
GOVERNORFAUBUS!
WHYIS HE SOSICKANDRIDICULOUS?
HE WON'TPERMITINTEGRATEDSCHOOLS.
• THENHE'SA FOOL!OHBOO!
BOO!NAZIFASCISTSUPREMACISTS
BOO!KUKLUXKLAN(WITHYOURJIMCROWPLAN)
• NAMEME A HANDFULTHAT'SRIDICULOUS,DANNY.
FAUBUS,NELSONROCKEFELLER,EISENHOWER
WHYARE THEYSO SICKANDRIDICULOUS?
• TWO,FOUR,SIX,EIGHT:
THEYBRAINWASHANDTEACHYOUHATE.
H-E-L-L-O,HELLO

9. CHARLES MINGUS

10. CHARLES MINGUS
• BORN 1922 IN NOGALES, ARIZONA OF MIXED RACE HERITAGE.
• WORKED WITH LOUIS ARMSTRONG IN 1943.
• FOUNDED DEBUT RECORDSWITH MAX ROACH
• RECORDED “LIVE AT MASSEY HALL” WITH CHARLIE PARKER,DIZZY GILLESPIE,
BUD POWELL AND MAX ROACH.

11. CHARLES MINGUS
• DURING THE 1950’S BECOMES A FORMIDABLE FORCE IN THE WORLD OF JAZZ.
• UNCOMPROMISING AND EXPERIMENTAL APPROACH TO COMPOSITION AND
PERFORMANCE.
• ONE OF THE MOST IMPORTANT COMPOSERS, PERHAPS SECOND ONLY AFTER
DUKE ELLINGTON.
• “TRUE JAZZ IS AN ART, AND AS WITH ALL THE ARTS, IS THE INDIVIDUAL’S
MEANS OF EXPRESSING HIS DEEPEST AND INNERMOST FEELINGS AND
EMOTIONS.” (SHIPTON:2010)

12. MAX ROACH

13. MAX ROACH
• 1950-53 ROACH STUDIES CLASSICAL PERCUSSION AT THE MANHATTAN
SCHOOL OF MUSIC.
• 1952 FOUNDED DEBUT RECORDS WITH CHARLES MINGUS.
• 1960 RECORDS “WE INSIST! FREEDOM NOW SUITE”

14. WE INSIST! FREEDOM NOW.

15. ORNETTE COLEMAN

16. ORNETTE COLEMAN

17. FREE JAZZ
• COMPOSITIONS STILL A PRODUCT OF THEIR TIME –
• BE-BOP AND HARD BOP INFLUENCES CAN CLEARLY BE HEARD.
• ALSO BLUES AND EARLIER FIELD HOLLERS AND WORK SONGS.

18. CHANGING TIMES
• - “IT IS IMPOSSIBLE TO COMPREHEND THE FREE JAZZ MOVEMENT OF THESE SAME
YEARS WITHOUT UNDERSTANDING HOW IT FED ON THIS POWERFUL CULTURAL
SHIFT IN AMERICAN SOCIETY. ITS PRACTITIONERS ADVOCATED MUCH MORE
THAN FREEDOM FROM HARMONIC STRUCTURES OR COMPOSITIONAL FORMS –
ALTHOUGH THAT TOO WAS AN ESSENTIAL PART OF THEIR VISION OF JAZZ. MANY
OF THEM SAW THEIR MUSIC AS INHERENTLY POLITICAL. THEY SAW THAT THEY
COULD, INDEED MUST, CHOOSE BETWEEN PARTICIPATING IN THE EXISTING
STRUCTURES – IN SOCIETY, IN THE ENTERTAINMENT INDUSTRY, IN THE JAZZ
WORLD – OR REBELLING AGAINST THEM. THE AESTHETIC COULD NO LONGER BE
ISOLATED FROM THESE CULTURAL CURRENTS.” (GIOIA: 1997)