PROS AND CONS
Do Americans Have The Right To Monopolize Jazz And Entertainment? By Dr. Evelyne Gambier, Belgium
As a student, teacher and historian in
Europe, and for over 20 years now, I have been following the development of
Jazz, its ramifications and impact on world music, particularly the European
scene. It appears that Jazz has dominated the global entertainment domain. Even,
South America now has its Latin Jazz. And most recently, Cuba absorbed
Afro-Cuban Jazz. All this is fine as long as Jazz remains the expression of the
free spirited artist regardless of ethnicity, gender and as long as Jazz resists
the geographical and socio-political domination. But unfortunately, this is not
the case. The proof came in the form of the publication of a series of scholarly
researched tomes on Jazz and entertainment, baptized under the title of WORLD
WHO’S WHO IN JAZZ CABARET MUSIC AND ENTERTAINMENT. Although, this large and
solid published work shed light on the historical background of Jazz artists and
origin of showbiz throughout the ages, it remains –regretfully- heavily
pro-American. Jazz was originated in the United States. That is a fact. But
today, Jazz has become a universal musical expression embraced by Jazz singers
and musicians who belong to several nations, not only the United States of
America. Australia has produced serious female Jazz singers. In 2005, the United
Kingdom released more than 500 new Jazz albums. In 2006, Germany, Sweden and
Poland distributed over 500,000 Jazz titles. So my question is: Do Americans
have the right to monopolize Jazz and entertainment? The WORLD WHO’S WHO IN
JAZZ, CABARET, MUSIC AND ENTERTAINMENT, published by the FEDERATION OF AMERICAN
MUSICIANS, SINGERS AND PERFORMING ARTISTS ascertains this troubling reality.
WHY ONLY AMERICANS ARE WORTHY OF A BOOK COVER?
This troubling reality is shockingly apparent on the covers of
all the volumes of the WORLD WHO’S WHO IN JAZZ, CABARET, MUSIC AND
ENTERTAINMENT. I think they are five published volumes now. Each volume has on
its cover (EXCLUSIVELY) singers, songwriters and musicians from the United
States. I am wondering why the author and/or the publisher did not include
European Jazz singers, songwriters and musicians on the cover of any volume? Do
they really think that only Americans can sing and play Jazz? And if so, they
should not call their books WORLD WHO’S WHO. American Who’s Who would be more
appropriate. I am not criticizing the quality of the books. In fact, I bought 3
volumes so far, and I will continue to do so for academic reasons. I could use
the Who’s Who in my classroom. The books are well researched and extremely
useful. But I am chagrined by the American monopolizing attitude. It seems that
everything American is labeled World, and this extends to the Baseball World
Series, even though, only American teams compete in this event. Same things
applies to the World Football Superbowl Championship in America. They call it
world championship, yet only American football teams from the United States take
part in this event.
WHY IS IT SO DIFFICULT TO BE INCLUDED IN THE WORLD WHO'S WHO?
The WORLD WHO’S WHO IN JAZZ, CABARET, MUSIC AND ENTERTAINMENT is
a global and serious publication on world entertainment and Jazz. However, why
FAMSPA does not open the doors to non American artists? Why FAMSPA does not
include European Jazz performers? I do admit the author did write extensively
about international entertainers. But by comparing the number of written-up
foreign entertainers with the number of gloriously written-up American
counterparts in the books, the attention given to European artists is
negligible. I am also concerned about rumours spread in the entertainment
circles leading me to believe that only Ivy League Jazz singers and musicians
are eligible for inclusion, leaving out hard working artists and serious
entertainers because they lack name recognition and public visibility. Once
again, my intention is not to criticize the formidable quality of the Who’s Who.
On the contrary, I do convey my admiration for this upstanding accomplishment.
But I am honestly concerned and troubled because an influential publication like
this World Who’s Who could in a biased manner, influence the public opinion and
reinforce the American Jazz monopoly attitude. Not to forget, the tendency of
the author and the publishers to make it so difficult for a great number of hard
working artists to be included in the World Who’s Who of Jazz, Cabaret, Music,
etc., etc, etc.
I welcome you comments and solicit your support. Evelyne Gambier, Belgium,
evelynegambier@yahoo.com
RESPONSE BY DR. ILIL ARBEL
WORLD WHO’S WHO IN JAZZ, CABARET, MUSIC,
AND ENTERTAINMENT
By Ilil Arbel
An interesting article regarding the World Who’s Who in
Jazz, Cabaret, Music and Entertainment, with which I am
associated, was posted on Sunday, May 20 and was brought to my attention. The
erudite article, written by Professor Evelyne Gambier, combines constructive
criticism and inquiry, both of which I would like to answer in the same spirit
of good will presented by Professor Gambier. First, I would like to thank the
professor for her comments about the quality of the work. I am delighted to know
that she already bought several volumes, and plans to continue collecting future
volumes for her valuable classroom work. Nothing could be more pleasing, since
it proves that she has a high opinion of the work. Professor Gambier calls the
books “well researched and extremely useful” and is kind enough to add that “the
World Who’s Who in Jazz, Cabaret, Music and Entertainment
is a global and serious publication on world entertainment and Jazz.” Another
glowing description she writes is “my intention is not to criticize the
formidable quality of the Who’s Who. On the contrary, I do convey my admiration
for the upstanding accomplishment.” We are delighted with her good opinion!
However, the professor expresses some doubts, which I would very much like to
address, and I feel that her letter gives me an opportunity to tell the world of
plans to come. First, Professor Gambier feels that the book is too strong on
American Jazz, and does not give enough space to the world class Jazz that
exists today, something like the way Americans label Baseball and Football
events as world championship, while only Americans compete. Let me stress that
we are an international team. The author, the legendary Maximillian de
Lafayette, is French, to begin with. The rest of us come from Paris, London,
Montreal, and Tel-Aviv, in addition to New York. We more than realize and
respect Jazz from Europe, Australia, South America, Cuba, etc. We see it as a
universal expression and have no intention of favouring Americans at all – as a
matter of fact we have contacted many Europeans – but let’s face it, we are only
working on Volume Five! This work, which will encompass at least twenty volumes,
will cover the entire world. In addition, there is a work in progress of a
mammoth one-volume World Who’s Who that will be made of four thousand pages, and
an international encyclopaedia is also in the works. In addition, we don’t have
only Americans on our covers. On Volume One, we had the Canadian diva, Carol
Welsman. On the cover of Volume Two, we had three stars. Miss Marlene Ver
Planck, who is American, Miss Randa Ghossoub, who is Lebanese, Miss Erica
Luckett, who is a Mexican, Brazilian-born, international singer. On volume Four,
one of our stars is Barb Jungr, who is the first lady of Jazz in England.
Candidates and most favoured for the upcoming Volume Five include a Jamaican
singer, a German saxophonist, and a French Jazz singer. The other concern
Professor Gambier expresses is that this work is for “Ivy League singers and
musicians” only. Not at all. In each volume we had many listings of new and
emerging artists, and one of Mr. de Lafayette’s missions, which he states in
every introduction and many of his articles, is to bring those hard working,
serious artists into the limelight. In addition, we are contacting teachers,
professors, trainers and studios as well, since teaching is as important as
performing. The last concern the professor expresses is the question why FAMSTRA
does not open its doors to non American artists. FAMSTRA is not affiliated with
us, it is an independent organization. Our connection is based only on the fact
that they were interested in publishing our books. I feel that the concern is
valid, though, and I would suggest that any European artist who is interested,
should contact FAMSTRA directly and offer to join. I hope I have addressed all
the issues as clearly as possible, and I would welcome any reader’s comments and
suggestions. Let the conversations begin – the more contact between authors,
publishers, editors, teachers and artists, the better, and yes, let’s keep this
conversation on an international level. What could be more valuable to all of
us?