Culture Magazine

A White Blackman @ 3QD

By Bbenzon @bbenzon
Nothing is more deeply American that white folks listening to, absorbing, learning, and then performing black music. I've published a bit of my own enactment of that story in 3 Quarks Daily. Here's the first three paragraphs:
The first time I heard the phrase – “white black man” – Zola Kobas was talking about me. He paid me that compliment after hearing me play the trumpet at a July 4th party hosted by a mutual friend, Ade Knowles. When, three-quarters of a life ago, I had originally become interested in jazz, I was simply pursuing music which moved me. That Zola, a political fugitive from South African apartheid, should see me as a white black man affirmed the African spirit, the joy, the freedom and dignity, I cultivated in the heart of jazz.
When I was a young boy learning to play the trumpet I looked for musical heroes. Rafael Mendez, a Mexican-American who made his living playing in Hollywood studios, was my first. I admired his virtuosity and expressiveness. I was particularly attracted by the Hispanic part of his repertoire, with its tone colors and rhythms which sounded so exotic, and sensual. Then I discovered jazz.
My first jazz record was A Rare Batch of Satch, which I had urged my parents to get through their record club. I had heard that this Louis Armstrong was an important trumpet player and thought I should check him out. At first I didn't quite understand why this man was so important. For one thing, this was an old recording and the sound quality was thin. I had to hear through that. For another, I’d never heard anything quite like it.
[Portrait of Louis Armstrong, Carnegie Hall, New York, N.Y., ca. Apr. 1947] (LOC) By William Gottlieb, Carnegie Hall, New York, NY, April 1947.

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