Frank Kofsky

Mark me words, Janis Joplin is fated to be the next American pop superstar.

If, that is, Janis and her fellow members of Big Brother and the Holding Company decide that stardom is their goal. Right now, they are properly ambivalent about that trip, because they are mindful of the way in which pop fame and fortune can erode the soul. Fearful of losing their own, they teeter on the brink.

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In effect, rock has become the white man’s jazz. Bob Dylan, had he been born black, would surely have found a place somewhere in the jazz revolution; and a white Archie Shepp (the mind boggles!) would feel quite at home in a rock group like the Mothers of Invention (who have, by the way, a composition dedicated to Archie in their book). Not that the two musics are actually merging.

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Talk to almost any parent with “teen aged” children and you can hear the same litany endlessly chanted: rock is tasteless (American society being so notable for its good taste!), rock is loud, the only thing that counts is the beat, why can’t they listen to good music (meaning Montovani), and more, always more, of that.

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When Cecil Taylor spoke at a panel discussion at the University of Pittsburgh prior to his concert there, it apparently came as a shock to his collegiate audience that he and his fellow musicians no longer wish to undergo the demoralizing experience of presenting their music in nightclubs. How could the musicians not want to play in nightclubs? the students wanted to know. What was going to happen to jazz then?

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A few weeks ago the New Yorker’s man in jazz, Whitney Balliett, went out to the Coast to catch the Monterey Festival. While he was there he spoke with some of the “workers’ aristocracy” of jazz, the white musicians who make their living primarily from studio gigs.

Like all aristocracies, this one has worked out a complete ideology which “justifies”—in its own collective mind, at least its privileged class position. Thus Balliett:

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The men who play the new styles in jazz frequently tell me that they don’t like to call their music that—they see nothing desirable in having their art identified with the gin mills, criminal activities, hustling, and ruthless entrepreneurship and exploitation that characterize the jazz scene today. (Or for that matter, yesterday. Haven’t black artists always been forced to create in these circumstances?)

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