Joseph Jarman

One Final Note publishes a very timely article on Joseph Jarman, its title striking a nostalgic note: All The Voices Are There Again.

Jarman brings a nice conclusion (in 1977) to the racial authenticity debates that have plagued jazz throughout its history:

I wanted to know how we, an assemblage of CMS participants that was nearly all white (trumpeter Hugh Ragin was at that session and perhaps one or two other black musicians whom I no longer remember) could find a place, or meet with a means of expression, in the context of 'Great Black Music, Ancient to the Future'. The answer was quite simple in Joseph's mind, and the rest of the Ensemble seemed to be in concurrence. 'Great Black Music, Ancient to the Future' refers to a tradition and a vision of music that was, is, and will be universal. The Art Ensemble of Chicago, being a group of African American musicians, would only naturally look to those forms and elements of music-making that come out of their heritage. The music doesn't know if you're black or white, Joseph explained. The forms and the elements of Great Black Music bespeak a universality that allows anyone to choose to express himself or herself within their contexts.