For info of what this in reference to please click here »
*From here on out the word ‘Jazz’ will be referred to as ‘J***’.
I have started up a BAM FAQ. So far I have 8 questions and answers. This will of course expand immensely and be edited over time. Your comments and contributions are greatly encouraged and appreciated. If you have a question that you feel should be added to the FAQ please start it with ‘Q:’. If you have an answer that you feel should be added start it with ‘A:’ and let me know to which question you are answering. Check it…
- Q: Why do Nicholas Payton’s words bother me, even though they shouldn’t?
- A: The alarm on an alarm clock sounds abrasive so that it can wake us up. He has been saying the same thing in “normal” ways for a long time, but no one really listened until now. over 100,000 views and growing. Click here ». Step one: get their attention – achieved! BAM!
- Q: We have come to embrace the word J*** positively, why do we have to go through the trouble of changing the name?
- A: The problem is that as long as Black American’s brand of music (BAM) is labeled J*** it is severely clouded and muddled with other music that does not contain sonic elements that are essential to our brand. By calling our brand BAM we create much needed clarity of what our brand is, and playing BAM at J*** venues is not a problem at all. So, labeling our brand of music BAM would be the main solution to this problem. Changing the name would not only command acknowledgment of our musicʼs creators, but also make a more distinctive label that notes the difference between BAM and other variants of it. Thus, creating a much more acute marketing strategy for everyone who sells and buys BAM. BAM!
- Q: European harmony has been admittedly used in the creation of J***, why not acknowledge that in the title of BAM?
- A: By acknowledging our music as BAM we do not deny the use of any other cultures’ findings as ingredients. However we are simply acknowledging that without our rhythm, our own harmonies (which is frequently overlooked), cleverness, creativity and built-in emotions of our culture European harmonies would never sound the way they do in BAM if it were not for the existence of Blacks such as Jelly Roll Morton, Louis Armstrong, Duke Ellington, Charlie Parker, Thelonius Monk, etc… Please note that the Kalimba is the predecessor of the piano, and made by Africans. The tomato plant originates from South America, yet it is greatly used in Italian Cuisine. I do not dare ask Italians to change their label of cuisine because no one makes their cuisine as good as them. Furthermore, no one used the ingredients like the Italians before they started making their cuisine… One more thing, sound frequencies existed before man. In a V-I harmonic progression it is the relationship between certain sound frequencies that makes harmony progress – these relations existed before man too. All man has done is label harmonic progressions and use them as tools to make music. Europeans did not invent harmony, however they have made some of the most extensive studies and documentation of harmony! BAM!
- Q: If we acknowledge the music as BAM, wouldnʼt we have to change the names of J*** venues on a large scale all at once? How do we go about that?
- A: R&B, Funk, Hip-Hop, Soul, etc… are all billed at J*** Festivals across the world and furthermore they are all billed as headliners. Anybody who seriously questioned the hypocrisy of that has received the answer ʻ$$ʼ. Why canʼt BAM be played at J*** venues across the world? How does this relate to ʻ$$ʼ? With a more acute label for the music BAM will capitalize more because the audience has a greater sense of what they are spending their ʻ$$ʼ on. This is actually the same answer that J*** supporters use to validate the need for their label of the music. If BAMers feel the need, we could pursue legislation to change venuesʼ use of the word J***. But that wouldnʼt really be necessary, the many variations of J*** can fit quite comfortably under the title J*** – just donʼt call our music J***. One other thing: R&B, Funk, Hip-Hop, Soul, etc… are all sub genres of BAM. BAM!
- Q: Why is it important for BAM to be cool?
- A: The youth represent the part of our world that is most acceptable of and likely to change. The very existence of BAM and its vitality is based on its relation to the youth. What makes BAM cool to the youth? Things that are radical are most considered to be cool. Why? Because the radical option is an option to the constraints of hierarchy. It gives each new generation purpose through a task. That task is to find a new way to think and act about issues that concern them the most. R&B, Soul, Hip-Hop, Funk, etc… have maintained their radical edge, but the sub genre of BAM that is currently labeled J*** has not been significantly radical for a long time. This mainly has to do with the significant acceptance of its label J***, and all the political, social and economic contraints that come along with it. That is why there is an ever-growing gap between J*** and the youth. Being cool (radical) is important, and lucrative. BAM!
- Q: Is this really about black and white?
- A: Actually this whole matter is about Blacks exercising the right to name the music their ancestors have created. It is the right of any human to name something they have created – legislation such as trademarks and copyrights enforce this right. BAM!
- Q: Is the disapproval of the word J*** the idealism of one man?
- A: The great Duke Ellington himself has notably disapproved of the word J***. He wanted to call our music “Negro Music”, which itself contains an outdated word. In addition Miles Davis, Max Roach click here », Charlie Mingus, and Gary Bartz are also vital musicians who did/do not approve of the word J***. The disapproval of the word J*** is the idealism of many vital Black American musicians. To check out an interesting article from Ebony Magazine (Aug 1969) concerning this issue click here » BAM!
- Q: Weren’t some of the earliest J*** musicians Creoles? Does their white ancestry have no part in the creation of J*** in its earliest forms? Or are the Black or Afro-American/Afro-Caribbean roots the only ones that apply here?
- A: Creoles are a mixture just like Brazilians are a mixture. Brazilian Music is not called “Brazilian/Portuguese/African Music”, it’s simply called Brazilian Music. J*** came from the Blues, and the Blues came out of the Black American experience in America. The emotions from that experience were expressed through a brand of harmony labeled ‘Blue Notes’. Many other elements such as syncopated rhythms, call and response, etc… came from the Black American experience as well. Blacks, whether creole, 90% African, 10% African, etc… were all considered and treated like sub-humans prior to the Civil Rights movement – we are all products of that experience. Creoles are Black Americans, and Black Americans created J***. BAM!