A drum, deferred

Solomon Ilori in the New York jazz scene, 1958–1964

Authors

  • Ofer Gazit Tel Aviv University

DOI:

https://doi.org/10.1558/jazz.36914

Keywords:

jazz, West African music, migration, pan-Africanism

Abstract

During the 1960s, West African musicians rattled the New York jazz scene, bringing new sounds to late-night jam sessions, recording studios, and jazz festivals. Jazz scholars have interpreted musical imaginations of Africa by American jazz musicians as a sign of pan-African solidarity and cultural affinity among musicians of African and Afrodiasporic ancestry. While these studies have been important in identifying the political implications of such collaborations for African American musicians, they underplay the complex positioning of West African immigrants in these contexts and the social and musical gaps that separate African immigrants from their American counterparts. Drawing on my work with composer and percussionist Solomon Ilori, one of the leading Yoruba musicians in New York and amongst the last living exponents of the African jazz scene of the 1960s, I use the notion of décalage to explore how linguistic, social and historical gaps are articulated in musical recordings and public concerts in the 1960s African jazz scene in New York. Originally coined by Léopold Senghor to describe a sense of discrepancy between Africans and African Americans, décalage allows me to show how different perceptions of time, as well as choice of repertoire, instrumentation, rhythmic patterns and melodic material complicate a notion of musical pan-Africanism. Moreover, it explicates the unique ways in which African immigrants reacted socially and musically to the boundaries they face in the US and its particular formations of national, racial and musical identity.

Author Biography

  • Ofer Gazit, Tel Aviv University

    Ofer Gazit is a lecturer in Ethnomusicology at Buchmann Mehta School of Music, Faculty of Arts, Tel Aviv University. The author would like to thank Yair Hashachar, Valentina Bonifacio and the anonymous reviewers of this journal for their insightful comments and suggestions. He would also like to thank Jason Squinobal for giving permission to use his transcriptions. Finally, the author would like to thank Solomon, Rosalind and David Ilori for welcoming him into their home and sharing their stories and experiences with him.

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Interviews

Ilori, Solomon (2014) Conversation with the author. Richmond, Virginia. 11 November.

Discography

Blakey, Art (1962) The African Beat. Blue Note Records BLP 4097. Compact disc.

Ilori, Solomon (1963) African High Life. Blue Note Records BLP 4136. Compact disc.

Various Artists (2001) Harry Belafonte Presents The Long Road To Freedom. Buddha Records 74465 997562. Compact disc box set.

Warren, Guy (1956) Africa Speaks, America Answers. Brunswick. LAT 8237. Vinyl LP.

Published

2020-02-26

Issue

Section

Articles

How to Cite

Gazit, O. (2020). A drum, deferred: Solomon Ilori in the New York jazz scene, 1958–1964. Jazz Research Journal, 12(2), 171–192. https://doi.org/10.1558/jazz.36914