The following is s short excerpt from The African Diaspora: A Musical Perspective [335-7], by Ingrid Tolia Monson. Monson’s book provides some further insight on the nature of the relation and attraction that Islam held for Blackamerican jazz musicians as well as Blackamericans as a whole who embraced Islam.
Art Blakey’s African Travels
It is clear that its members of the New York jazz community of the 1940’s demonstrated awareness of both the anticolonialist internationalism of Robeson and Du Bois, as well as the more cultuml and spiritual pan-Africanism and pan-Asianism of Islam. Art Blakey emerged in the New York modern jazz scene through his work with the Billy Eckstine band from 1944 — 1947 (Charlie Parker and Dizzy Gillespie were his bandmates in 1944) and his recordings with Thelonious Monk in 1947. He had come to New York from Pittsburgh with Mary Lou Williams in 1938 and worked with the Fletcher Henderson orchestra from 1939 — 1941. Blakey’s first recordings as a leader were four sides for Blue Note in December 1947 with the 17 Messengers, a band conceived as a training band for young musicians. Its members included Sahib Shihab and Musa Kaleem (Orlando Wright). Blakey, whose Muslim name was Abdullah ibn Buhaina, dated his conversion to Islam at about this time. Blakey never publicly explained his path to conversion to the Ahmadiyya movement, but Dizzy Gillespie reports that a Muslim missionary named Kahlil Ahmed Nasir convened many New York musicians to the faith (Gillespie 1979).
ship. Although Blakey later remembered going to Africa for two years beginning in 1947, he likely spent only one year in Africa.
Blakey consistently denied that he ever played music while in West Africa. In one of the most detailed accounts of his African sojourn, Blakey told two French interviewers in 1963: “For two years, I immersed myself solely in philosophers, religion, and Hebrew and Arab languages. I do not remember havin
Blakey’s choice of the name Messengers for his short-lived group of 1947 and for the more enduring group from 1954 onward signifies in several directions. From an Islamic perspective, the word invokes the Islamic belief in Muhammad as the messenger of Allah; from a more broadly African American cultural context, the word implies the common cultural belief that African American music has a message, that it “says something” of deeper cultural significance. Since the Ahmadiyya movement believed in a continuous prophetic tradition (i.e., that there were prophets after Muhammad), the name of the later group, the Jazz Messengers, implies a prophetic view of the music itself. After the failure of the 17 Messengers in 1947, Blakey was unable to secure regular work and decided to travel to Africa, to pursue religious studies by working his way over on a g played an instrument even one time during that entire period” (Clouzet and Delorme 1963). Blakey’s denials later became even more emphatic: “I didn’t go to Africa to study drums — somebody wrote that — I went to Africa because there wasn’t anything else for me to do. I couldn’t get any gigs, and I had to work my way over on a boat. I went over there to study religion and philosophy. I didn’t bother with the drums, I wasn’t, after that. I went over there to see what I could do about religion” (Nolan 1979: 19).
Implying that his religious quest was somehow incompatible with music (a remarkable assertion when considering religion in West Africa), Blakey always stressed that his main inertest in Africa was religion.
Although Orthodox Islam disapproves of music, particularly instrumental music, Islam in West Africa has long blended the celebration of Islamic festivals and beliefs with traditional animist worship practices that are deeply musical. In West Africa Blakey is likely to have encountered Muslim groups who made considerable use of drumming. He is also likely to have encountered Akan, Ewe, and Yoruba religious ideas, practices, and music, as well as secular urban popular music in his travels. In 1963 Blakey explained African American interest in Islam to his French interviewers: “Islam brought the black man what he was looking for, an escape like some found in drugs or drinking: a way of living and thinking he could choose freely. This is the reason we adopted this new religion in such numbers. It was for us, above all, a way of rebelling” (Clouzet and Delorme 1963: 38).
Citations and Further Readings
An excerpt from To Be or Not to Bop, Beboppers… The Cult [pp. 291-3]
Number seven: that “beboppers” expressed a preference for religions other than Christianity may be considered only a half-truth, because most black musicians, including those from the bebop era, received their initial exposure and influence in music through the black church. And it remained with them throughout their lives. For social and religious reasons, a large number of modern jazz musicians did begin to turn toward Islam during the forties, a movement completely in line with the idea of freedom of religion.
Rudy Powell, from Edgar Hayes’s band, became one of the first jazz musicians I knew to accept Islam; he became an Ahmidyah Muslim. Other musicians followed, it seemed to me, for social rather than religious reasons, if you can separate the two.
“Man, if you join the Muslim faith, you ain’t colored no more, you’ll be white,” they’d say. “You get a new name and you don’t have to be a nigger no more.” So everybody started joining because they considered it a big advantage not to be black during the time of segregation. I thought of joining, but it occurred to me that a lot of them spooks were simply trying to be anything other than a spook at that time. They had no idea of black consciousness; all they were trying to do was escape the stigma of being “colored.” When these cats found out that Idrees Sulieman, who joined the Muslim faith about that time, could go into these white restaurants and bring out sandwiches to the other guys because he wasn’t colored — and he looked like the inside of the chimney — they started enrolling in droves. (more…)
The following is a short paper that I wrote on the relation between Islam and Blackness and the draw between the two back in the early part of the 20th Century. I hope to have the time to post a few more ruminations, but at the moment, enjoy this small piece.
Much like the 1940’s, modern day America is taking a closer look at the religion of Islam, how America relates to it, and how Islam fits into the tapestry of the dominant culture. As it is today, so was it some seventy years ago that Islam was seen as a foreign and possibly even hostile entity. And yet, for Blackamericans, Islam not only held a mystique that called to them but also eventually offered an alternative modality of being both black and American. For many, this switch of religious identity was cemented in the social issues of the day, namely the racism that was prevalent in American society at the time towards Blackamericans. As we shall see, jazz, and more specifically, bebop, would play a major role in tying together disparate narratives into a holy protest against white supremacy.
The article I have chosen to discuss is a passage from Dizzy Gillespie’s memoir, To Be or Not to Bop. From the selected passed, Gillespie, as one of bebop’s founding fathers, illustrates a unique crossroads of black consciousness: religion, music and social justice that for many Blackamerican jazz musicians came in the form of Islam, bebop and intellectual/anti-establishment mindset that saw to either confront or subvert the laws and practices of a Jim Crow legacy.
In recent years there has been a tremendous amount of research conducted on Islam, including the phenomenon of Islam amongst Blackamericans. And while there has been enlightening findings that have shed more light on the nature of Africans and their decedents in antebellum American, it still stands that the chain that linked modern Blacks and those of their African ancestors that were Muslim, is a broken one. Instead, as Gillespie relates for us, the rise of Islam in the interest and imagination amongst many Blackamerican jazz musicians had primarily to do with the social/racial climate that these musicians found themselves in. As “colored” or “Negro”, such musicians were barred from playing and performing in jazz clubs, which were white-owned. Even the task of acquiring lodging for these traveling musicians was made near to impossible due to the color of their skin. But in what would be a puzzling discovery, Blackamerican musicians that changed their public identity to Muslim, would find they could pass under the radar of Jim Crow.
The turn of the 20th Century saw few improvements for Blackamericans. Indeed, one could say that things were worsening, with the state-condoned violence that was unleashed on many Blacks in America. And by the mid- and especially late-Forties, when Black service men were returning to America after having served in a war that was supposed to be about racism, they saw their social context in complete opposition to the values supposedly expressed by the dominant culture. It is here the seeds of discord would be sown and out of this collective discontent would rise a new sense of intellectual ownership over themselves, as yet unseen before in the history of the United States. For many Blackamericans who chose to adopt Islam as their faith, Islam represented something completely outside the jurisdiction of white authority. This sentiment would be proved even by the racist elements of white-American society that would permit access to services to Blackamerican Muslim converts, who were presumed to be of a non-American black origin. Gillespie relates one such occasion:
“He [Oliver Mesheux] went into this restaurant, and they said they didn’t serve colored in there. So he said, ‘I don’t blame you. But I don’t have to go under the rules of colored because my name is Mustafa Dalil.’”
This process, something as simple as changing one’s name to something that sounded Middle-Eastern, offered some Blackamerican musicians a expeditious means of overcoming Jim Crow racism. Though beyond the scope of this article, it would be this sentiment that would inform many other Blackamericans and their choice to embrace Islam.
To gain a more encompassing perspective of this phenomenon, we must also analyze the broader social context into which it came into, namely the liberalization of the American society. One must remember that though Blackamericans were indeed suffering at the hands of their white counterparts, they still saw themselves as American in one sense or another. And along with that traditional sense of American was a strong attachment of Blackamericans to Christianity. As we will see in the Civil Rights Movement, Black Christianity would play a key role in organizing and shaming the dominant culture in American into submission. To be certain, there were some amongst the black intelligentsia that were aware of the legacy of non-Christian religious traditions in their heritage, but by and large, Christianity remained the predominant if not exclusive religion of Blackamericans pre-1900’s. This would all change with the coming of alternative black intellectual endeavors (such figures as Garvey and DuBois were sympathetic to Islam, though certainly not practitioners of it) that saw to root themselves outside of the white-dominated constituency of American society.
With the relaxing of society’s grip on religious intolerance, an increasing (though still a minority to be sure) number of Blackamericans sought solace in the haven that Islam promised. Less rooted in religious or philosophical reasons than purely existential ones, Islam opened up to Blackamericans, of which the ripples of this are still seen to this very day. In short, a black man, for example, in the 1940’s could convert to Islam in what would amount a sort of racial swapping, if not apostasy. And like modern times, this did not escape the attention of the dominant culture, who were curious or even concerned that Islam amongst Blackamericans might be some sort of “anti-Christianity” movement. Gillespie himself, though not a Muslim, was at one point put to the question if he “planned to quit and forsake Christianity”. In a sense, what is being articulated here, is an invisible link that binds “blackness” and “Christianity”. Islam was a foreign enterprise and for many, represented a hostile (though not in the same meaning as hostile would mean today) threat, for this conversion was seen as linked to movements and ideologies that sought to circumvent the status quo of Jim Crow law and sentiment.
I believe that the movement and attraction of Islam within this minority of Blackamerican musicians is both intriguing and erudite to some of the similar issues we’re looking at today. It also sheds light on why Islam would be appealing to a minority group that simply looking for a method of living out a dignified existence in a social landscape that offered few choices and little room for improvement. Throughout its history and even up until today, Islam amongst Blackamericans cannot be separated from its history as a social commentary and vehicle of upliftment and expiation for Blackamericans. Indeed, as we would soon see from the likes of Malcolm X, Islam was a vehicle to combat the hostilities from their environment in a manner and method that differed quite distinctly from black Christians. It also allowed Blackamericans to re-created themselves with a new sense of autonomy not formerly allowed to them in the stifling social climate that they lived in. And yet, unlike Malcolm X, the black bebop jazz musicians that would embrace Islam sought to do so in a non-violent fashion. Contented to be social commentators and critics through their music, most simply just wanted to be able to play their music to a broader audience without discrimination. I find this again, strikingly similar to the times we live in today, where there is a very small number of Muslims who advocate violent resistance to perceived oppressions (valid or otherwise is besides the point here), and yet the vast majority of Muslims simply wish for the right to live with dignity and practice their religion with their humanity intact, and not called into question, as was the case for black folks living at the beginning of the 20th Century America. Perhaps here in history there’s a lesson for us all to learn (again).
