{"id":6254,"date":"2017-01-23T19:54:00","date_gmt":"2017-01-23T19:54:00","guid":{"rendered":"http:\/\/blogs.artinfo.com\/blunotes\/?p=6254"},"modified":"2017-01-23T19:54:00","modified_gmt":"2017-01-23T19:54:00","slug":"radicalized-part-3-remembering-nat-hentoff-the-itinerant-subversive","status":"publish","type":"post","link":"http:\/\/larryblumenfeld.com\/index.php\/2017\/01\/23\/radicalized-part-3-remembering-nat-hentoff-the-itinerant-subversive\/","title":{"rendered":"Radicalized, Part 3: Remembering Nat Hentoff, The Itinerant Subversive"},"content":{"rendered":"

\"PHOTO:<\/a>
PHOTO: NANCY KASZERMAN\/ZUMA PRESS<\/figcaption><\/figure>
\nWith each passing day, I keep thinking of Nat Hentoff, who died two weeks ago.
\nI keep thinking Nat would know what to write…<\/em>
\nOnstage the a few nights ago at Symphony Space, emceeing a “Musicians Against Fascism” concert, I invoked Nat’s legacy and felt his presence through a sense of purpose that linked ideas, action and music.
\nHere’s how I began my own remembrance of Nat<\/a> at The Daily Beast:<\/p>\n
\n

The death of Nat Hentoff at 91 on Jan. 7 was, to me, one final act of defiance.<\/p><\/blockquote>\n<\/div>\n

\n
\nAccording to his son Nicholas, Hentoff left us in the company of that which he loved dearly\u2014surrounded by family, listening to\u00a0Billie Holiday<\/a>\u00a0recordings.\n<\/div>\n
\nAnd I suppose that Hentoff, who wrote with as much passion and insight about the Constitution as he did about Holiday\u2019s music, simply refused to stick around to see\u00a0Donald Trump<\/a>\u00a0take the presidential oath of office.\n<\/div>\n
\nI imagined Hentoff whispering something like: \u201cI fought against the Vietnam War. I spoke out during the Reagan administration, against George W. Bush\u2019s Iraq invasion, and in defense of true liberalism and the Bill of Rights. This fight is yours.\u201d\n<\/div>\n<\/blockquote>\n
\n

As an author, journalist, jazz critic, and civil libertarian, Hentoff\u2019s intensity was matched by his productivity and range. He inspired me early on through his voluminous essays and books. And I was lucky. I got to know the man, who, by then, had a weathered face bordered by greying hair and beard, his piercing eyes softened only by his easy smile.<\/p><\/blockquote>\n<\/div>\n

And here’s a 2004 interview I did with Nat for Wax Poetics:
\nHere’s the pull-quote I’d use now:
\n\u201cI was an itinerant subversive from the start.”
\nSome of the references are dated but Nat’s messages\u2014about music, cultural identity, fundamentalism, and the Supreme Court\u2014are timely as ever.
\n
\nSo Free You Can Taste It<\/strong>
\nAn Interview with Nat Hentoff
\nBy Larry Blumenfeld
\nA salami sandwich \u2014 that was Nat Hentoff\u2019s defining moment, if you believe his early memoir, Boston Boy. In that book \u2014 one of many he\u2019s written in a long and storied career \u2014 Hentoff recalls growing up in a Jewish household and experiencing rebellion for the very first time: He sat on his family\u2019s porch on Yom Kippur \u2014 a holy day of fasting and atonement \u2014 and ate a huge salami sandwich. It was not so much \u201cthat awful sandwich,\u201d he wrote, as the act itself that mattered to Hentoff, the knowledge of \u201chow it felt to be an outcast.\u201d
\n\u201cI was an itinerant subversive from the start,\u201d Hentoff says. And he was.
\nBorn in Boston in 1925, Hentoff grew up in the then predominantly Jewish neighborhood of Roxbury within an otherwise largely anti-Semitic city. He developed a strong sense of social justice while still very young. He also developed an early love and appreciation for jazz \u2014 a music he would come to write about as a \u201clife force.\u201d And in the jazz community, Hentoff would find fellow itinerant subversives, including Duke Ellington, Lester Young, Jo Jones, and Paul Desmond.
\n\u201cThese were my teachers,\u201d Hentoff says, \u201cpeople who took risks every single night.\u201d While a student at Boston Latin High School, Hentoff spent most of his free time at jazz clubs like the Savoy Caf\u00e9. He befriended Ellington and others, including, later on, Thelonious Monk and John Coltrane.
\nIn the decades since his nights at the foot of the Savoy\u2019s stage, Hentoff has become a mighty force, nurturing and documenting the \u201clife force\u201d he found as a boy. He was an editor at Down Beat magazine in the 1950s. In 1957, with critic Whitney Balliett, he created \u201cThe Sound of Jazz,\u201d perhaps jazz\u2019s most notable appearance on television. His 1955 book, Hear Me Talkin\u2019 To Ya (written with Nat Shapiro), let musicians tell their own stories in order to illuminate the artistry behind the music and to defuse popular myths.
\nHentoff wrote liner notes for some of the most groundbreaking recordings in jazz history, including John Coltrane\u2019s Expressions and Miles Davis\u2019s Sketches of Spain. In 1960, he produced the Maw Roach classic, We Insist! Freedom Now Suite, probably the clearest intersection between Hentoff\u2019s civil rights activism and his love of jazz.
\nIndeed, Hentoff is among this country\u2019s most forceful and influential writers on politics and civil rights He was written regularly for The Village Voice for more than four decades. His \u201cSweet Land of Liberty\u201d column for the Washington Post is syndicated in 250 newspapers. Among the many diverse honors Hentoff has achieved \u2014 from the Guggenheim Foundation, The American Bar Association, the National Press Association, and the American Library Association \u2014 is his latest award from the National Endowment for the Arts: The title of Jazz Master, the first ever named for a non-musician.
\nThese aren\u2019t easy times for jazz, nor for First Amendment rights. But Hentoff\u2019s passion remains unabated. When he says, \u201cThe essence of freedom is jazz; it is constitutional democracy when it works,\u201d I\u2019m inclined to believe him \u2014 about both sides of the equation.
\nNo one will ever silence Nat Hentoff, no one would dare even try. That said, he\u2019s a tough man to get on the phone, even for a longtime acquaintance like me. Still, he found some time and I rolled tape.
\nHaving attended Harvard as a graduate student and having studied at the Sorbonne in Paris on a Fulbright Fellowship, what inspired you to delve so deeply into writing about music, professionally?<\/strong>
\nI started getting hooked on music \u2013 especially jazz and then folk music and country music when I was 11. I got into radio in Boston when I was 19, and they gave me a jazz program because they couldn\u2019t fill that time. And then I got a folk music program too.
\nEventually, we did remotes from the jazz clubs \u2014 particularly the Savoy and George Wein\u2019s Storyville, and I got to know a lot of musicians. I interviewed a lot of them on the radio show. So I\u2019ve been immersed in the music since about 11 years old. And while I did a radio show, I was also a stringer for Down Beat. So I\u2019ve been writing about music since age 20 or 21.
\nAs Merle Haggard told me a long time ago, \u201cMan there are times when you get down so low that only music will pick you up.\u201d And I\u2019ve appreciated that all through my life.
\nWhen you came of age thinking and writing about music, musical worlds were not as separate as they are today \u2013 say, the way that jazz and pop and rock don\u2019t really intermingle today \u2014 were they?<\/strong>
\nFirst of all, I\u2019m of an age where rock didn\u2019t exist to start with. But there were always divisions. Alan Lomax, who was an extraordinary collector of blues and folk, didn\u2019t know anything about jazz.
\nThe problem is \u2014 and it\u2019s true all through journalism \u2014 that some people connect the dots and some people don\u2019t. It\u2019s a matter of the contexts being fluid. If you can perceive them, the connections are there. And I\u2019m lucky enough to always have had that ability.
\nBut what I\u2019m suggesting is that maybe there was more of a sense of culture surrounding music back then, of music as more than just another consumable\u2026<\/strong>
\nWell, now I\u2019m afraid might sound like Bill Clinton here: It depends upon how you define \u201cmusic.\u201d
\nHip-hop culture is more than music, if you call that music in the first place. Music has always been a central way that people express themselves. I don\u2019t know what the cavemen did, but I\u2019m sure that there was some kind of tone, what we would have called music.
\nOne of the worst things now is that, when budget cuts mean that they cut something out of schools, they almost always take music out among the first thing that they omit.
\nI don\u2019t know if it\u2019s still going on, but the Sarasota Florida jazz club and a woman there, arranged for all the 5th grade students from public schools who were learning American history to learn the subject intertwined with the history of the music. Because these players \u2014 Ellington, Jo Jones, Clark Terry \u2014 they have a lot to do with American history. And you could say the same thing for Charles Ives and Samuel Barber, etc. So music is inextricably part of all sorts of culture, and of history.
\nWas writing about jazz decades ago a much different experience than writing about jazz today?<\/strong>
\nWell, writing about jazz has always been something that you do almost like a jazz musician: You either wait for the phone to ring or you call people. Very few people have made it a steady way of making a living. Leonard Feather did, but he had other things he could do too. I don\u2019t think many people now are full-time jazz writers. I don\u2019t see that that\u2019s changed much.
\nBut, clearly, you were writing about more than just recordings and gigs, weren\u2019t you?<\/strong>
\nThere\u2019s something to that question. At Down Beat \u2014 and I wasn\u2019t the first to do this \u2014 I got very much into the economies surrounding the music. The ripoffs from record companies and clubs. And I didn\u2019t see too many people getting into that. Most of the time \u2014 for good or bad \u2014 it was music appreciation. Which was fine. It got people excited and interested in the music. But as you say, there\u2019s more to music than simply recording and personalities.
\nOne thing that Ken Burns was correct in highlighting in his much-discussed documentary was the analogy between the jazz aesthetic and the United States Constitution. Since both are subjects that you have deep expertise in, does that correlation hold up for you?<\/strong>
\nWell, for one thing, John Marhsall \u2014 who was the first, and in some ways, the most powerful Supreme Court justice in the beginning of the 19th Century \u2014 said that the constitution is a living document. And unlike Scalia, who keeps an 18th century dictionary to find out what the framers had in mind, jazz is the same. Sidney Bechet, in that very good memoir of his, said, \u201cYou can\u2019t hold the music back.\u201d And that means that you can\u2019t categorize of fix anything in the music in terms of saying, \u201cOnly this is jazz, and this isn\u2019t jazz.\u201d And the same thing goes for the evolving Bill of Rights. You can\u2019t talk about the 4th Amendment right to privacy only in terms of what the framers said. They didn\u2019t know about wiretaps, let along telephones.
\nWhat was the inspiration behind the book Hear Me Talkin\u2019 To Ya in 1955?<\/strong>
\nThe reason Nat Shapiro and I did that was that, at the time, there was a widely held belief \u2014really a myth \u2014 that jazz musicians are inarticulate by and large, except on their horns. And the movie \u201cYoung Man with a Horn\u201d fed into that. There was a sense among a number of the listeners \u2013 not the writers- that all you have to do is pick up your horn, and you blow. And we had the idea that you could have a book where the musicians told their stories, in part to show that they could tell their stories. And that led later on to Martin Williams and others putting together The Jazz Review, which was written almost entirely by jazz musicians.
\nIn jazz circles, there\u2019s always a devotion to the history of recorded music. The recordings are really the sacred texts, the historical record of what has happened, right?<\/strong>
\nOne of the great holes in our understanding of classical music is that Beethoven didn\u2019t record. I\u2019ve always had the sense when I was writing, especially when I was doing liner notes \u2014 of: What can I say that will be off use to someone in another generation? When I do liner notes, I interview the musicians. When I did notes for Coltrane, we\u2019d always go through the same ritual. I\u2019d call up and I\u2019d say that the record company just gave me this. And he\u2019d say, \u201cI wish you wouldn\u2019t write the notes because if the music doesn\u2019t speak for itself, what\u2019s the point?\u201d And John was a very kind man, so I\u2019d say, \u201cJohn, it\u2019s a gig.\u201d So then we went on.
\nIn terms of recordings, are there any you\u2019d pick out above others as music every American should hear and appreciate?<\/strong>
\nOh, that\u2019s so hard to do. It goes all over the spectrum. If you want real kicks that will last, it\u2019s Beethoven\u2019s Ninth, and the Beethoven last quartets, Bach\u2019s Brandenburg Concerto, which shows that he could swing as well as anyone else. By the way, the best Wynton Marsalis I\u2019ve ever heard was on classical trumpet, playing the Brandenburg Concerto. He really got into it.
\nIt\u2019s Billie Holiday, Duke Ellington, Basie. I love that new Sony\/Legacy set of Basie, going back to the \u201930s.
\nNow, let\u2019s say you had the opportunity to enlighten George W. Bush or John Ashcroft by slapping headphones on them. What would you play for them?<\/strong>
\nFirst, before the headphones, I would want them to read the Bill of Rights and the history of what it took to get those rights way back in England. And the history of the Constitution, and what it took to get and keep those rights here.
\nThen, it\u2019s hard to tell. You can\u2019t just tell someone who has no interest in music, \u201cHey listen to this.\u201d
\nAshcroft used to sing in a barbershop quartet with some of the Senators, so he must have some sense of music. I guess I would start him with \u2014 since he\u2019s religious, you know \u2014 black spirituals. And then I\u2019d move to Ray Charles, and then maybe Ellington\u2019s Sacred Music, and see where it went from there.
\nBush, I would think, might have sense of country music, having been in Texas so long. So I\u2019d start him off with Bob Wills, who was part jazz and part country (as is Merle Haggard, by the way).
\nYou know, there\u2019s been so much talk during the past decade or so about jazz as \u201cAmerica\u2019s classical music\u201d or \u201cAmerica\u2019s indigenous music.\u201d It sometimes makes me uncomfortable. How do you feel about those banner-like statements?<\/strong>
\nI agree with them! Max Roach used to say that. I didn\u2019t agree with him entirely but he used to say, \u201cJazz is our classical music.\u201d Well, there\u2019s also Charles Ives, who, by the way, had heard a lot of jazz. But there\u2019s no question in my mind that, of all the things we\u2019ve contributed culturally \u2013 and there\u2019s been a lot; Mark Twain leaps to mind \u2013 and at least in terms of music, this is the most important gift we\u2019ve ever given to the world. So I have no objection to all that. Why do you?
\nIt\u2019s not so much an objection. But don\u2019t you think such sentiments run the risk of trivializing or simplifying some complex stories?<\/strong>
\nThe answer to that is you listen to the blues, you listen to Freedom Now Suite, and it does tell a lot about America \u2014 including some of the very bad parts of our history.
\nAnd don\u2019t you think that jazz is more about working out what is truly American than announcing it?<\/strong>
\nOh, yeah. That\u2019s what I meant before about saying that you can\u2019t hold the music back, that you can\u2019t categorize it. Ellington used to tell me that he hated the term modern jazz. He sued to say, \u201cI heard some of those things in the \u201920s.\u201d
\nAny attempt to put labels on it so that the labels are the truth is ridiculous and totally against the history and the spirit of the music.
\nThese days, writing as you do about politics and the First Amendment in particularly dynamic and confusing times, do you feel at times awash in a sea of Orwellian logic?<\/strong>
\nThat\u2019s what I write about all the time. Ashcroft has said on public radio, \u201cWe\u2019re not weakening the Bill of Rights, we\u2019re strengthening the bill of Rights.\u201d Those ironies and dangers are always the case with government, but it happens to be more so now because what they\u2019re doing is more dangerous.
\nAnd in the context of your long history of writing about these subjects, is what\u2019s going on now scarier than what has happened in the past?<\/strong>
\nWell, Jonathan Turner, the law professor at American University made a very good point a few years ago that never before in our history has an administration had this capacity to survey people \u2014 to know what we\u2019re thinking and doing. That\u2019s all part and parcel of the Patriot Act. You know, Orwell presaged that but even Orwell couldn\u2019t have imagined what Total Information Awareness System is \u2014 which they killed. But they now have something called Matrix, that private organization in Florida that sells information to the states. It\u2019s financed by Homeland Security and the Defense Department. So they can really find out, in a very short period of time, stuff about you that you wouldn\u2019t even know is there. That company was founded and until recently owned by a big-time drug smuggler. He had to resign when that came out.
\nSome people may perceive your new book, The War on the Bill of Rights and the Gathering Resistance, as just more of the polemical works that have begun to dominate the bestseller list. But it\u2019s intended more as information you need to know, right?<\/strong>
\nWell, that\u2019s why I wrote the book. And that\u2019s why I am very encouraged that right now, around the country, there are more than 218 towns an cities and three state legislatures \u2014 Alaska, Hawaii , and Vermont \u2014 that have passed Bill of Rights defense resolutions calling their members of Congress to look again at the Patriot Act and to roll back some of it. And it\u2019s happening \u2014 there are now five bipartisan bills with very right-wing but libertarian members of Congress in alliance with Democrats. There\u2019s never been a coalition like this in American history: You\u2019ve got the ACLU, the American Conservative Union, Phyllis Schafly\u2019s [CK spelling] forum, People for the American Way [CK affiliation], all working in concert. People are waking up.
\nYou lived through the strong, visceral reactions to John Coltrane\u2019s music and to Ornette Coleman\u2019s music. And we both know the history of the upheaval caused by Stravinsky\u2019s music. Can a musician\u2019s work inspire such reaction today?<\/strong>
\nIt depends on what they do. You never know what\u2019s going to happen until someone comes along Like \u2018Trane or Charlie Parker. If it\u2019s that far away from what people expect, and if there\u2019s a lot of passion behind it, sure \u2014 it could happen again.
\nBut could it happen around an instrumental work? Or are we now illiterate and uncaring when it comes to anything but lyrics?<\/strong>
\nWell, that\u2019s part of the problem, what you\u2019d call \u2013 and Stanley Crouch writes well about this \u2014 the \u201cdumbing down\u201d of culture, especially with rap music. There\u2019s a paradox there, because it\u2019s so difficult to hear the words. But that\u2019s what they focus on.
\nExcept for what they now call \u201cold country.\u201d I mean in the real country music, the words are important but you can\u2019t divide the word and music. That\u2019s why Charlie Parker was such a fan of country music. He used to say, \u201cListen to the stories.\u201d
\nAnd the jazz community \u2014 people who listen to the music, care about ht music they hear \u2014the instrumentals do matter. But maybe the people writing about music should get more into that. It\u2019s a good point you make.
\nAre there any young jazz musicians whose work is inspiring to you right now?<\/strong>
\nWell, I\u2019m trying to think. Certainly, what Jason Moran is doing is inspiring. Also that vibist, Stefon Harris, and his Grand Unification Theory. It\u2019s wonderful.
\nI give Bruce Lundvall at Blue Note a lot of credit. Sure, he has to make the bottom line work, but he takes chances and that\u2019s laudable.
\nJason appears to exist out of time, with an agenda all his own\u2026
\nThat\u2019s what I respect about him. He can hear back and know what he wants to do. And when he goes back to the kind of roots he\u2019s interested in, he can absorb it. But he has his own signature sound, his own way of doing things.
\nWycliffe Gordon is a perfect example of that too. You can hear the whole history of the trombone in Wycliffe Gordon, and yet you know it\u2019s Wycliffe Gordon when he plays.
\nI\u2019ve long envied you exposure and access to one of the musicians whose work inspired Jason Moran most of all \u2014 Thelonious Monk. What can you tell me about Monk, the man?<\/strong>
\nI was lucky I got know him well, to spend time with him in his apartment and all that. Despite he way the press portrayed him at the time once they realized there was a Thelonious Monk, he was a very thoughtful, intelligent guy. Sure, there were times when he wouldn\u2019t speak for quite a while because he was thinking. Or maybe he had no particular reason to speak because no one else was saying anything of consequence. My favorite epiphany of Monk was when Gigi Gryce burst into his apartment one day. Gig was a very, very great a lot player and arranger, and he said excitedly, \u201cHey, I got into Juilliard.\u201d There was a long silence and then Monk said, \u201cWell, I hope you don\u2019t lose it there. \u201c
\nIn The Jazz Life, there\u2019s a long chapter on Monk in which I quote him at length. He was a very articulate guy, and he knew exactly what he was doing. He reminded me of when he and Coltrane were at the Five Spot. One night Coltrane got off the stand and he looked like he had just lost a relative, he was so down. I asked, \u201cWhat\u2019s the matter?\u201d And he said, \u201cYou know, Monk\u2019s music is so intricately connected, and I got lost. And it was like falling down and elevator shaft.\u201d
\nThere has always been talk of Monk being insane or socially underdeveloped. Sometimes I think that such comments about Monk or, say, Ornette Coleman, are just misconceptions stemming from laziness\u2026<\/strong>
\nThe thing about Monk, and the same with Ornette, is that they were very sensitive guys and \u2014 bold as their music was \u00ad\u2014 they were also somewhat shy. They didn\u2019t have the time or the interest in the type of socializing small-talk stuff most people engaged in. So people thought they were strange or different. Toward the end, it seemed to me that Monk had clinical depression or something. During the time I knew him, if he felt you were worth talking to, he would talk to you, and it was really rewarding. The same with Ornette.
\nI\u2019m interested in your thoughts on being named a Jazz Master by the National Endowment, especially since you were the first non-musician to receive that honor. How did that make you feel?<\/strong>
\nMy first reaction was I owe these musicians so much since the age of 11. Jazz has been a central part of my life, and not just professionally, in terms of writing about it. If I go a few days without listening to the music, I feel empty. One of the reasons I write so much about the Jazz Foundation of American is that I figure that\u2019s one way to partially, incrementally, pay it back.
\nThis sounds corny, but I was stunned to get this. I am a failed musician \u2014 I played clarinet and soprano sax. To be in the company of the people who are truly jazz masters, it\u2019s like somebody said to me, \u201cWell, you got the same award the George Orwell or Charles Dickens, who was a great reporter, by the way, before he was a novelist. So I was very pleased and, I hate to use the word \u2014 it sound like Uriah Heep \u2014 but I was humbled.
\nIf we end our interview now, and you turn on CNN to find that Bush or Ashcroft have done something newly disturbing to you, what music would you put in the CD player to help deal with it?<\/strong>
\n(Laughs) Oh, well, I guess if I\u2019m angry then I might put on Freedom Now Suite, which I A-and-R\u2019d\u2014and, frankly, that didn\u2019t mean much, I just sent out for the sandwiches.
\nOtherwise, to make myself feel better: The Lester Young small combo things, you know the Kansas City sessions for Commodore [Lester Young, The Complete Commodore, Signature and Keynote Sessions] Maybe Billie. Maybe Wycliffe\u2026
\nThe music is so vast and so diversified and so continually alive and growing, that you never get enough of it. Dizzy once said to me, \u201cMusic [using the term as generically as possible] has been there since the beginning of time. The best you can hope for is to get a piece of it.\u201d Well, there are a lot of pieces of it in jazz.
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\n <\/p>\n","protected":false},"excerpt":{"rendered":"

With each passing day, I keep thinking of Nat Hentoff, who died two weeks ago. I keep thinking Nat would know what to write… Onstage the a few nights ago at Symphony Space, emceeing a “Musicians Against Fascism” concert, I invoked Nat’s legacy and felt his presence through a sense of purpose that linked ideas, … <\/p>\n

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