Mary Lou Williams and the Sanctification of Jazz
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text (tirectly from the orignal or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 "ANYTHING YOU ARE SHOWS UP IN YOUR MUSIC;" MARY LOU WILLIAMS AND THE SANCTIFICATION OF JAZZ DISSERTATION Presented in Partial FuUfiUment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Tammy L. Kemodle, B.M., MA. ***** The Ohio State University 1997 Dissertation Committee: Dr. Charles Atkinson, Advisor Dr. Lora Dobos or Dr. Daniel Avorgbedor School of Music UMI Number: 9731653 Copyright 1997 by Kemodle, Tammy Lynn All rights reserved. UMI Microform 9731653 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 copyrighted by Tammy L. Kemodle 1997 ABSTRACT From the 1920s until her death in 1981, Mary Lou Williams was one of the premiere jazz pianists. She is perhaps best known for her recordings with Andy Kirk and the Twelve Clouds of Joy, her arrangements for Benny Goodman and Duke Ellington, and her extensive body of solo compositions. While many people are aware of these contributions, however there is one area of Mary Lou's work that is not well known, even to jazz connoisseurs-namely, her religious compositions. In 1954, during a stressful tour of Europe, Mary Lou Williams walked off the stage of a Paris nightclub, and was not heard again for three years. During that period she underwent a process of conversion to the Catholic faith. Her return to jazz in 1957 was followed by her first religious composition in 1962. She went on to compose over a hundred works on religious themes, of which six form the primary focus of the present dissertation. From the post-Civil War years until present, jazz has been deemed, in many sectors of society, the "devil's music. " Rejection of the music during these early years was based primarily on the places the music was performed than the actual music. These negative notions regarding jazz, included crime, violence, and promiscuity, and continued as blacks began migrating to urban centers in the North. This work examines the separation of sacred and secular music in the black community and how the church, and the Harlem Renaissance influenced public opinion. Through discussion of the life and selected sacred works of Mary Lou Williams, this document will show how the composer changed notions about jazz through the use of sacred text Through analysis of original manuscripts coupled with personal commentaries, this work traces Mary Lou's use of jazz related forms in a sacred context and the reception to such compositions. The primary function of this document is to bring awareness to this genre of works and indicate how notions of music is formed not by analysis of those works but by public opinion. ui Dedicated to my sister circle and The memory of John Williams IV ACKNOWLEDGMENTS This work would hardly have been possible without support from several resources. Among them I would first like to thank my advisor, Dr. Charles Atkinson, for his intellectual support, encouragement, and enthusiasm. My sincere thanks also goes to the other members of my dissertation committee, Drs. Daniel Avorgbedor and Lora Dobos, and to Dr. Burdette Green for "pinch hitting in the bottom of the ninth" for Dr. Dobos, whose baby arrived the day before my defense. I should also like to express my gratitude to the stafiF of the Institute of Jazz Studies, Rutgers University in Newark, and Father Peter O'Brien for providing numerous scores and recordings of Mary Lou's works.. A special word of thanks goes to the late John Williams, who opened his heart and house to me. (May he rest in peace.) Gratitude and much love is expressed to Carren Moham, my sister in the struggle. You go Girl!!!!!! Thanks to Dr. Guthrie Ramsey for his insight and brotherly advice. I am grateful to the PEG Society who not only fimded my research monetarily hut also gave me emotional support. Mrs. Rachel Archelus and family for taking me into her home and encouraging me. My family members who have supported me throughout my educational journey. And most of all to my Lord and Savior Jesus Christ, who teaches me everyday that "no weapon formed against me shall prosper." (Psalm 27:3) VITA September 30,1969 Æom - Danville, Virginia 1991 ..................................................................... B. M. in Music Education, Virginia State University, Petersburg, Virginia 1993 MA. in Music History, The Ohio State University, Columbus, Ohio 1991-1993 ............................................................ Teaching Assistant, School of Music, The Ohio State University, Columbus, Ohio 1993-present ..................................................... Graduate Administrative Associate, Minority Advising Program, University College, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music History VI TABLE OF CONTENTS Page A bstract...................................................................................................................j i Dedication. ............................................................................................................... iv Acknowledgments ..................................................................................................... v Vita............................................................................................................................vi List ofExamples ....................................................................................................... ix ListofTables ........................................................................................................... xix Chapters: 1. Introduction .................................................................................................... 1 2. Jazz and theBlackChurch................................................................. 9 3. TheEarlyYears ....................................................................... 26 3.2 MusicalBeginnings ................................................................. 30 3.3 T.O.BAYears......................................................................... 34 3.4 Life withJohn Williams .......................................................... 40 3.5 Years in Oklahoma and Tulsa (1928-1929) .......................... 45 3.6 Kansas City,Missouri ............................................................ 48 3.7 TheFirstRecordings ............................................................... 53 3.8 Years with Andy Kirk (1931-1942) ........................................ 58 4. TheSoloYears ............................................................................................... 65 Vll 5. The Hazards of the Business .......................................................................73 5.2 Europe(1950-1954) ................................................................ 81 6. Spirituality versus Jazz ...............................................................................86 7. The Second Vatican Council and the Beginning of the SanctificationProcess ................................................................................103 7.2 The Hymn in Honor o fSt. Martin De Porres .....................109 7.3 TheDevil and Amina Christi ............................................. 127 8. TheM asses ..................................................................................................151 9. Mass (Also known as The Pittsburgh Mass)............................................. 159 10. Mass for Lenten Season ..............................................................................2(X) 11. Mass for Peace............................................................................................ 234 12. Mary Lou's Mass ........................................................................................ 262 13. Conclusion. ..................................................................................................316 Bibliography. .........................................................................................................327 VllI