John Handy with Joe Brazil in 1978
Black Academy of Music Workshops
The Black Academy of Music presented many workshops with name musicians:
1972 McCoy Tyner, Eddie Harris, Archie Shepp, Herbie Hancock
04/09/74 Donald
Byrd
06/15/74 Gary
Bartz
06/21/74 Stanley
07/22/74 Stanley
07/27/74 Cannonball
Adderley
08/24/74 Elvin
Jones
10/12/74 Dizzy
Gillespie
1972 McCoy Tyner, Eddie Harris, Archie Shepp, Herbie Hancock
Black Academy of Music Funding
My research turned up a list of grant funding in support of the Black Academy of Music:
Pacific Northwest Bell $500
1973 SMCP $22,000
1974 SMCP $44,000
1975 NEA $12,500
1975Seattle
1976 NEA $17,500 (Instruction), $4,000 (Jazz)
1976 Block Grant $25,000 over 2 years
1977 NEA $17,500
1980 NEA $17,500 (Brazil
Academy
1973 Seattle
1973 1973 SMCP $22,000
1974 SMCP $44,000
1975 NEA $12,500
1975
1976 NEA $17,500 (Instruction), $4,000 (Jazz)
1976 Block Grant $25,000 over 2 years
1977 NEA $17,500
1980 NEA $17,500 (
Black Panther Aaron Dixon on Gary Hammon
"It seemed that everybody who could play an instrument was in a band, and it wasn't long before Elmer [Aaron's brother] had his own group. They were called the Regents, with Biggy Lewis on guitar and Dennis Blackmon on keyboards, Gary Hammon on tenor sax, and Ralph Brooks on drums. These cats were one hell of a band. Most would go on to make names for themselves. As a matter of fact, the Central District was loaded with great musicians. There must have been eight or ten bands in the area, each with its own unique sound. I sometimes traveled with Elmer's band on their gigs and developed a close relationship with the sax player, Gary Hammon. He went out and got a soprano sax and started teaching me how to play. Sometimes we would go to a dusty, funky little jazz club, both of us carrying our saxes. While Gary played a few numbers, I wished for the day that I would get good enough to sit in."
Jack Straw Asked to Help With Oral Histories and Digital Archive
Summary
The Jack Straw Residency would
support oral history recording, preservation of historic recordings through
analog to digital transfer and production of audio excerpts for a blog and
biography about the life and impact of American jazz saxophonist and educator
Joe Brazil.
Background
Joe Brazil (1927-2008) grew up
in Detroit Seattle Garfield High
School University
of Washington
My research to date includes
more than 400 documents and 20 photographs from the University of Washington Brazil CUNY Leon
Levy Center Brazil University
of California Press
I am collecting oral histories
from people who lived, performed, worked, studied or allied with Joe Brazil. My
list of 70 sources continues to grow but key oral histories will come from
Larry Gossett, Gary Hammon and Wadie Ervin in Seattle, Jeffrey Winston and
Mikal Majeed in Los Angeles, Barry Harris, Curtis Fuller, Roy Ayers, Rufus Reid
and Yusef Lateef in New York and Byron Pope in Switzerland. Audio recordings of
these voices would capture the immediately recognizable gratitude and respect
when they speak about Brazil
To find new sources and
information, I post documents, photos, sources and data to
joebrazilproject.blogspot.com. Excerpts from oral histories and audio archives might
attract more material about Brazil Berlin
The Jack Straw Residency would provide
facilities and expertise to record oral histories, or instruction to facilitate
my field recording at source locations. The Artist Support Program would also
help transfer Brazil
Addendum
Some readers misunderstand that this post says I have audio tapes from Joe Brazil. I do not. This was a proposal to further my research. I am trying to facilitate the preservation and distribution of tapes that are owned and possessed by others. When I first wrote this post, I had met with Frances Brazil. She shared photographs and an 8mm home movie, but she did not show me any tapes. I copied the photos and film and returned all the material. At the time I believed that she was Joe's only living beneficiary and envisioned working with her as she wished. She indicated that there were more of Joe's things in a bench under her television, but that she did not want to move it at the time. I left her house with the impression that there were tapes in her possession. About a year later I met Joe's second wife, who was with him for the last years of his life. She showed me a collection of audio tapes that Joe had made. I have been helping her organize the material and seek funding for preservation.
Addendum
Some readers misunderstand that this post says I have audio tapes from Joe Brazil. I do not. This was a proposal to further my research. I am trying to facilitate the preservation and distribution of tapes that are owned and possessed by others. When I first wrote this post, I had met with Frances Brazil. She shared photographs and an 8mm home movie, but she did not show me any tapes. I copied the photos and film and returned all the material. At the time I believed that she was Joe's only living beneficiary and envisioned working with her as she wished. She indicated that there were more of Joe's things in a bench under her television, but that she did not want to move it at the time. I left her house with the impression that there were tapes in her possession. About a year later I met Joe's second wife, who was with him for the last years of his life. She showed me a collection of audio tapes that Joe had made. I have been helping her organize the material and seek funding for preservation.
Byron Pope Lives
4Culture Grant Supports Joe Brazil Project
Joe Brazil article published
Eddie Harris endorses Brazil
Dear Black Academy of Music,
Wardo Enterprises, the manufacturers of music Books and Musical Supplies and Instruments are in full support of the Black Academy of Music in Seattle Washington and do think it would help The Academy a great deal if more professional Black Musicians would take an interest in this Academy as this would truly give inspiration to the future Black Musicians of tommorrow. I am proud to say that this Academy has a very Promising future ahead of itself due to the fact that it is under the leardership of a Brilliant President, Mr. Joe Brazil who is a fine person and excellent musician.
Yours sincerely,
Eddie Harris
Wardo Enterprises
Coltrane burns Brazil's piano
Interview with Elvin Jones
Joe Brazil introduced Elvin Jones by stating that Elvin had changed the whole concept of modern drumming. The dialogue of the Workshop which followed was centered around the technical aspects of drumming and percussion. Here are highlights from that Workshop:
Q. What size bass drum do you use?
A. I had a 24" when I first started out. I now use an 18" drum; it is compact and easy to carry. I don't have a valet so I have to carry my equipment myself and hauling these drums from city to city gets to be a very heavy job. I can get the same effect on the smaller drum as I can on the larger one.
At the Checkmate with Rufus Reid
Black Student Union Demands Hiring Brazil
Marc Robinson's article on the Black Student Union for the Seattle Civil Rights and Labor History Project mentions Joe's role in the struggle at the University of Washington. Click here to read the article.
Joe mentioned in Down Beat
"A $25,000 program for teaching jazz, rock and folk music in the Seattle ghetto has been set up by the Seattle Public Schools for this summmer. Bassist Chuck Metcalf is coordinator and has hired teachers ranging from 18-year-old John Hatfield, leader of the Blues Feedback, to 40-year-old tenor saxist Joe Brazil."
Photo with McCoy Tyner
Resume in 1967
September 28, 1967
Dr. Howard L. Blood
Assistant Director
Applied Physics Laboratory
University of Washington
1013 N.E. 40th
Seattle, Washington 98105
Re: Resume of Joseph Brazil
In application for computer programmer position.
Dear Doctor Blood:
Enclosed please find my Resume for your consideration in connection with an opening for a computer programmer. My objective in applying for the computer programmer position is to advance to a more challenging position, which I feel is more consistent with my academic studies for the past several years. I feel confident that the computer programmer position presents an ideal situation for me to utilize my academic training to the enhancement of the physics laboratory. I intend to continue studying at the University of Washington towards a Bachelors Degree in Mathematics.
Thank you for your consideration.
Very truly yours,
JOSEPH BRAZIL
RESUME
EDUCATION
In 1964 I completed an eight week course in Fortran Progamming at the University of Washington. During the summer of 1967, I completed introductory programming at the University of Washington. I am enrolling at the University of Washington for the Fall Quarter of 1967, in Mathmatics 374, which encompasses the principals of digital computers and copying.
I have completed several classes which were presented at Boeing Company, including true positional dimensioning and modern mathmatics. I have also taken several mathmatics, English and Spanish classes at Edison Technical School. I have also studied Gas Welding and Electronics at Edison Technical School.
My entire education has been focused around technical training, since my graduation from Cass Technical High School in mechanical arts, (Detroit Michigan) in 1946. Since moving to Seattle, Washington in September of 1961, I have studied at the University of Washington from 1963 to the present time. My major emphasis has been mathmatics. I have completed all mathmatic classes through math analysis 224, which includes three semesters of Calculus. I have also taken philosophy, engineering statistics, religion, and other liberal art subjects at the University of Washington.
My work experience has included a four-year apprenticeship for tool maker at the Chrysler Corporation from 1945 to 1950. I also completed a one-year course in electronics at Radio Electronics and Television School in 1960. From 1950 to 1961, I was employed as a tool maker and tool inspector for the Chrysler Corporation. From 1961 to 1963 I was employed as a tool maker for the Boeing Company in Seattle, Washington. I subsequently worked as a precision machinist at the Continental Can Company in Seattle, Washington from 1963 to 1965. I am presently employed as a mechanical technician at the University of Washington, where I have been employed since April of 1965.
I served honorably in the United States Army from February of 1946 through March of 1947.
Respectfully submitted,
JOSEPH BRAZIL
Dr. Howard L. Blood
Assistant Director
Applied Physics Laboratory
University of Washington
1013 N.E. 40th
Seattle, Washington 98105
Re: Resume of Joseph Brazil
In application for computer programmer position.
Dear Doctor Blood:
Enclosed please find my Resume for your consideration in connection with an opening for a computer programmer. My objective in applying for the computer programmer position is to advance to a more challenging position, which I feel is more consistent with my academic studies for the past several years. I feel confident that the computer programmer position presents an ideal situation for me to utilize my academic training to the enhancement of the physics laboratory. I intend to continue studying at the University of Washington towards a Bachelors Degree in Mathematics.
Thank you for your consideration.
Very truly yours,
JOSEPH BRAZIL
RESUME
EDUCATION
In 1964 I completed an eight week course in Fortran Progamming at the University of Washington. During the summer of 1967, I completed introductory programming at the University of Washington. I am enrolling at the University of Washington for the Fall Quarter of 1967, in Mathmatics 374, which encompasses the principals of digital computers and copying.
I have completed several classes which were presented at Boeing Company, including true positional dimensioning and modern mathmatics. I have also taken several mathmatics, English and Spanish classes at Edison Technical School. I have also studied Gas Welding and Electronics at Edison Technical School.
My entire education has been focused around technical training, since my graduation from Cass Technical High School in mechanical arts, (Detroit Michigan) in 1946. Since moving to Seattle, Washington in September of 1961, I have studied at the University of Washington from 1963 to the present time. My major emphasis has been mathmatics. I have completed all mathmatic classes through math analysis 224, which includes three semesters of Calculus. I have also taken philosophy, engineering statistics, religion, and other liberal art subjects at the University of Washington.
My work experience has included a four-year apprenticeship for tool maker at the Chrysler Corporation from 1945 to 1950. I also completed a one-year course in electronics at Radio Electronics and Television School in 1960. From 1950 to 1961, I was employed as a tool maker and tool inspector for the Chrysler Corporation. From 1961 to 1963 I was employed as a tool maker for the Boeing Company in Seattle, Washington. I subsequently worked as a precision machinist at the Continental Can Company in Seattle, Washington from 1963 to 1965. I am presently employed as a mechanical technician at the University of Washington, where I have been employed since April of 1965.
I served honorably in the United States Army from February of 1946 through March of 1947.
Respectfully submitted,
JOSEPH BRAZIL
New Wikipedia Entry
I summarized all the mentions of Joe Brazil in books on a Wikipedia page at http://en.wikipedia.org/wiki/Joe_Brazil. I will add more as I discover more information.
Not the way to teach jazz?
From the Seattle Times 6/3/76:
Yesterday's discussion centered on an October 28, 1974 letter from Prof. John T. Moore, director of the School of Music, to Dr. George Beckmann, dean of the College of Arts and Sciences. Moore said Brazil's history-of-jazz course "makes a travesty of classroom teaching."
The director cited the playing of many recordings, discussions that were largely "anecdotal" and lectures often being readings from a book by LeRoi Jones.
Yesterday's discussion centered on an October 28, 1974 letter from Prof. John T. Moore, director of the School of Music, to Dr. George Beckmann, dean of the College of Arts and Sciences. Moore said Brazil's history-of-jazz course "makes a travesty of classroom teaching."
The director cited the playing of many recordings, discussions that were largely "anecdotal" and lectures often being readings from a book by LeRoi Jones.
More problems
April 25, 1974
Dean George M. Beckmann
College of Arts and Sciences
Padelford Hall
Dear Dean Beckmann:
This letter is to bring to your attention incidents in my department, which are making it difficult for me to successfully perform my duties.
In my opinion I am continually faced with apathy, lack of support and what seems like out and out conspiracy from my department director, John T. Moore. There have been many instances in the past five years since I have been associated with this department, each having some dysfunctional reaction and psychological effect upon me. The University Black Action Committee met with Professor Moore as recent as March 11, 1974 to discuss some of the previous problems. Dr. Chandler can give details of the committee's findings.
The last incident occurred today, April 23, and I feel that I should inform you of it since the problems are not being resolved.
On April 16, 1974 at about 9:00 a.m. I submitted a course outline for a class to be added to the Music Department to secretary Deanna Rio for retyping. I stressed how important it was that it be retyped and put in Professor Sokol's mailbox (Education and Policy Committee Chairperson) before 12:00 noon that day so that the committtee could act on it. She agreed to do this. I had called Mr. Sokol earlier and he was expecting the outline. If the course was accepted I expected to begin teaching in in Autumn 1974.
Today I was passing the office and Deanna called to me stating that she had not retyped the outline (about half of a page) because Professor Moore had told her that the add course form must be filled out first. Shortly afterward I was discussing the procedure for adding a class with Professor Moore. He said that only the outline is required at this point and that he did not instruct the secretary to detain the outline. On questioning the secretary in my presence she changed her entire story and said that I told her the form was needed along with the outline. At this point Professor Moore stated that it was not the secretary's responsibility to do any typing or handling of departmental correspondence from me. It was an obvious effort to support his secretary under any circumstances. I became very upset that she could change her story in just a few minutes and be so well supported.
This may appear to be a small incident, but with the accumulation of so many similar and more serious ones it has caused me to finally make this appeal to you.
I would like an appointment with you at your earliest convenience to discuss the situation further.
Sincerely,
Joseph Brazil
Assistant Professor
School of Music
cc: Professor John T. Moore
Dr. Trevor L. Chandler
Mr. Carver Gayton
Dr. John Hogness
Dr. Samuel Kelly
Professor Oliver Osborne
Professor Claude Steele
Ms. Annie Hall
Dean George M. Beckmann
College of Arts and Sciences
Padelford Hall
Dear Dean Beckmann:
This letter is to bring to your attention incidents in my department, which are making it difficult for me to successfully perform my duties.
In my opinion I am continually faced with apathy, lack of support and what seems like out and out conspiracy from my department director, John T. Moore. There have been many instances in the past five years since I have been associated with this department, each having some dysfunctional reaction and psychological effect upon me. The University Black Action Committee met with Professor Moore as recent as March 11, 1974 to discuss some of the previous problems. Dr. Chandler can give details of the committee's findings.
The last incident occurred today, April 23, and I feel that I should inform you of it since the problems are not being resolved.
On April 16, 1974 at about 9:00 a.m. I submitted a course outline for a class to be added to the Music Department to secretary Deanna Rio for retyping. I stressed how important it was that it be retyped and put in Professor Sokol's mailbox (Education and Policy Committee Chairperson) before 12:00 noon that day so that the committtee could act on it. She agreed to do this. I had called Mr. Sokol earlier and he was expecting the outline. If the course was accepted I expected to begin teaching in in Autumn 1974.
Today I was passing the office and Deanna called to me stating that she had not retyped the outline (about half of a page) because Professor Moore had told her that the add course form must be filled out first. Shortly afterward I was discussing the procedure for adding a class with Professor Moore. He said that only the outline is required at this point and that he did not instruct the secretary to detain the outline. On questioning the secretary in my presence she changed her entire story and said that I told her the form was needed along with the outline. At this point Professor Moore stated that it was not the secretary's responsibility to do any typing or handling of departmental correspondence from me. It was an obvious effort to support his secretary under any circumstances. I became very upset that she could change her story in just a few minutes and be so well supported.
This may appear to be a small incident, but with the accumulation of so many similar and more serious ones it has caused me to finally make this appeal to you.
I would like an appointment with you at your earliest convenience to discuss the situation further.
Sincerely,
Joseph Brazil
Assistant Professor
School of Music
cc: Professor John T. Moore
Dr. Trevor L. Chandler
Mr. Carver Gayton
Dr. John Hogness
Dr. Samuel Kelly
Professor Oliver Osborne
Professor Claude Steele
Ms. Annie Hall
Joe Requests an Investigation
December 17, 1971
Mr. Carver C. Gayton
Director
Equal Opportunities for Minorities
422 Administration
Dear Mr. Gayton:
Since having accepted an appointment in the School of Music in the fall of 1969, a number of incidents have occured that I feel are completely out of character with regard to me as a professor at the University of Washington.
First, I would like to give you some background on my relationship to the University of Washington.
I have actively been attempting to improve the School of Music by introducing the concepts of Black Music since 1967.
There have been several meetings with Dr. William Bergsma, then the director, and others, where I outlined a proposal to incorporate studies in Black Music along with Mr. Byron Pope. After a number of meetings and much discussion ONE position was made available. I felt there should have been at least six since the School of Music, at that time had 68 faculty members teaching European art Music. The only art form that American has produced, that is recognized internationally, was derived from Black Music. How could one professor satisfy the needs of an entire curriculum of Black Music?
I sent Dr. Bergsma a letter explaining my position and I refused to compete for the position we had worked on together to create. Mr. Pope accepted the position.
In Sept. 1969, Mr. Pope suddenly left the Universtiy on the first day of school. Dr. John T. Moore called me that day in that desperate situation,, asking if I would like to assume the position of Lecturer. At that time I was an Engineering Assistant at the Applied Physics Laboratory, specializing in Computer Programming. I was receiving regular promotions and liberal salary increases. Having a deep interest in music I decided to accept the position in the School of Music with a cut in annual salary. I assumed there would be advances in the not too distant future, as there had been at APL. Nothing could be further from the truth. I have remained at virutally the same salary to date.
I came into class without a ready teaching plan. I quickly gained the confidence of the students, and subsequently created a unique teaching method and now enjoy the largest and most popular class in the School of Music.
I have brought many of the world's most famous artists to class to perform, for example, Earl Fatha Hines, Ahmad Jamal, Paul Butterfield's Blues Band, Herbie Hancock, McCoy Tyner and others, all at minimal cost. I am positive they would not have appeared without my influence. I was also instrumental in developing the first Jazz Series under Lectures and Concerts during winter quarter 1969. It was dicontinued spring quarter of the same year.
The History of Jazz and the Afro-American Music class could not be taken for credit by music majors until I brought this to the attention of the music faculty. It was accepted in the summer of 1970.
I felt there should be Jazz musicians in residence as well as classical musicians. As a result a proposal was written by Dr. Bergsma. After many meetings with the BSU, the Jazz committee, Dr. Bergsma and myself, the proposal was presented to the Rockefeller Foundation. They granted $100,000, but Dr. Bergsma decided this amount was insufficient and returned the money. The proposal will be resubmitted in the future, after it can be shown that the Black community has an effective input. I am attempting to develop community input with a non-profit organization called the Black Academy of Music (BAM).
Since becoming a Lecturer, I have not been permitted to make a single long distance phone call. There has been occasions when I needed to call Dr. Donald Byrd, Director of Music at Howard University, David Baker at the University of Indiana, and Quincy Jones in Los Angeles regarding matters of music. It is required that I ask the director's permission to make a call. On every occasion I have been told there was no money for this and told to write a letter instead.
When an artist is appearing in class, almost free, I have requested video taping the performance so that future students can learn from it. I have suffered embarrassment from secretaries Mrs. Ringer and Mrs. Pratt, Directors Dr. Bergsma and R. Moore in their remarks and attitudes in handling this request. I have only been successful in taping three performances. The most recent refusal came in November, when MCoy Tyner appeared on Nov. 23rd at Roethke Auditorium. Dr. Moore refused to grant $50.00 out of the Jazz fund, so that a video tape could be made of the performance.
December 6, 1971, I had prepared a list of questions to be used in the final examination December 8, 1971. Typing and preparing these is quite time consuming. I asked Mrs. Pratt to have five sheets copied on the office copier so that the typing could be started and I would have a set for class review. She refuesed saying, "they could not stop the business of the office every time someone wanted something copied." So I had to use the orginal sheets, and bring them back four hours laters. I have never been permitted to copy anything on the office copier. The examinations were not completed until minutes before the final was to start. I had no time to check them for mistakes.
December 9, 1971 Dr. Moore, the director, asked me to teach the '72 summer class for HALF SALARY. I explained that the History of Jazz class would likely have over 100 people in it, but the director said the salary was determined by the number of credit hours one teaches not the number of students. For example, one teaching two five credit classes with five students each would receive full salary. My teaching two classes, one with ten students for one credit and the other with 125 stuents, for three credits would receive only half salary. I refused. The past two summers I taught with a 20% reduction in salary, which I thought was bad enough.
I bring this to your attention because I feel that this kind of treatment is not in the spirit of what the Universtiy of Washington stands for.
Being the only Black professor in the School of Music, I feel it is out and out racism.
I could state other incidents but I am sure you can see the picture. I am being paid, perhaps, the smallest salary in the department, $8,730.00, related to student load. I teach the History of Jazz, which has an average of 250 students per quarter, the Jazz Ensemble, which averages 18 students, and private saxophone students, about 10 a quarter. I get numerous requests from students on nearly all instruments for lessons and advice. Since joining the faculty in 1969, the Jazz classes have doubled.
I am finding it increasingly difficult to function effectively in this kind of atmosphere.
I am requesting a full investigation of the hiring practices, promotions, salaries and preferences in the School of Music.
Sincerely,
Joseph Brazil
Lecturer
School of Music
cc: Dr. Charles Odegaard, President
Dr. Philip Cartwritght, Executive Vice President
John T. Moore, Director, School of Music
George Beckman, Dean of Arts and Sciences
Samuel Kelly, Vice President, Monority Affairs
David Llorens, Direcotr, Black Studies Program
John Gilmore, President, B.S.U.
Trever Chandler, Chairman, Black Faculty Committee
J.B. Gillingham, Ombudsman
Cornelius Peck, Chairman, Advisory Committee for Equal Opportunity
President, Board of Regents
Mr. Carver C. Gayton
Director
Equal Opportunities for Minorities
422 Administration
Dear Mr. Gayton:
Since having accepted an appointment in the School of Music in the fall of 1969, a number of incidents have occured that I feel are completely out of character with regard to me as a professor at the University of Washington.
First, I would like to give you some background on my relationship to the University of Washington.
I have actively been attempting to improve the School of Music by introducing the concepts of Black Music since 1967.
There have been several meetings with Dr. William Bergsma, then the director, and others, where I outlined a proposal to incorporate studies in Black Music along with Mr. Byron Pope. After a number of meetings and much discussion ONE position was made available. I felt there should have been at least six since the School of Music, at that time had 68 faculty members teaching European art Music. The only art form that American has produced, that is recognized internationally, was derived from Black Music. How could one professor satisfy the needs of an entire curriculum of Black Music?
I sent Dr. Bergsma a letter explaining my position and I refused to compete for the position we had worked on together to create. Mr. Pope accepted the position.
In Sept. 1969, Mr. Pope suddenly left the Universtiy on the first day of school. Dr. John T. Moore called me that day in that desperate situation,, asking if I would like to assume the position of Lecturer. At that time I was an Engineering Assistant at the Applied Physics Laboratory, specializing in Computer Programming. I was receiving regular promotions and liberal salary increases. Having a deep interest in music I decided to accept the position in the School of Music with a cut in annual salary. I assumed there would be advances in the not too distant future, as there had been at APL. Nothing could be further from the truth. I have remained at virutally the same salary to date.
I came into class without a ready teaching plan. I quickly gained the confidence of the students, and subsequently created a unique teaching method and now enjoy the largest and most popular class in the School of Music.
I have brought many of the world's most famous artists to class to perform, for example, Earl Fatha Hines, Ahmad Jamal, Paul Butterfield's Blues Band, Herbie Hancock, McCoy Tyner and others, all at minimal cost. I am positive they would not have appeared without my influence. I was also instrumental in developing the first Jazz Series under Lectures and Concerts during winter quarter 1969. It was dicontinued spring quarter of the same year.
The History of Jazz and the Afro-American Music class could not be taken for credit by music majors until I brought this to the attention of the music faculty. It was accepted in the summer of 1970.
I felt there should be Jazz musicians in residence as well as classical musicians. As a result a proposal was written by Dr. Bergsma. After many meetings with the BSU, the Jazz committee, Dr. Bergsma and myself, the proposal was presented to the Rockefeller Foundation. They granted $100,000, but Dr. Bergsma decided this amount was insufficient and returned the money. The proposal will be resubmitted in the future, after it can be shown that the Black community has an effective input. I am attempting to develop community input with a non-profit organization called the Black Academy of Music (BAM).
Since becoming a Lecturer, I have not been permitted to make a single long distance phone call. There has been occasions when I needed to call Dr. Donald Byrd, Director of Music at Howard University, David Baker at the University of Indiana, and Quincy Jones in Los Angeles regarding matters of music. It is required that I ask the director's permission to make a call. On every occasion I have been told there was no money for this and told to write a letter instead.
When an artist is appearing in class, almost free, I have requested video taping the performance so that future students can learn from it. I have suffered embarrassment from secretaries Mrs. Ringer and Mrs. Pratt, Directors Dr. Bergsma and R. Moore in their remarks and attitudes in handling this request. I have only been successful in taping three performances. The most recent refusal came in November, when MCoy Tyner appeared on Nov. 23rd at Roethke Auditorium. Dr. Moore refused to grant $50.00 out of the Jazz fund, so that a video tape could be made of the performance.
December 6, 1971, I had prepared a list of questions to be used in the final examination December 8, 1971. Typing and preparing these is quite time consuming. I asked Mrs. Pratt to have five sheets copied on the office copier so that the typing could be started and I would have a set for class review. She refuesed saying, "they could not stop the business of the office every time someone wanted something copied." So I had to use the orginal sheets, and bring them back four hours laters. I have never been permitted to copy anything on the office copier. The examinations were not completed until minutes before the final was to start. I had no time to check them for mistakes.
December 9, 1971 Dr. Moore, the director, asked me to teach the '72 summer class for HALF SALARY. I explained that the History of Jazz class would likely have over 100 people in it, but the director said the salary was determined by the number of credit hours one teaches not the number of students. For example, one teaching two five credit classes with five students each would receive full salary. My teaching two classes, one with ten students for one credit and the other with 125 stuents, for three credits would receive only half salary. I refused. The past two summers I taught with a 20% reduction in salary, which I thought was bad enough.
I bring this to your attention because I feel that this kind of treatment is not in the spirit of what the Universtiy of Washington stands for.
Being the only Black professor in the School of Music, I feel it is out and out racism.
I could state other incidents but I am sure you can see the picture. I am being paid, perhaps, the smallest salary in the department, $8,730.00, related to student load. I teach the History of Jazz, which has an average of 250 students per quarter, the Jazz Ensemble, which averages 18 students, and private saxophone students, about 10 a quarter. I get numerous requests from students on nearly all instruments for lessons and advice. Since joining the faculty in 1969, the Jazz classes have doubled.
I am finding it increasingly difficult to function effectively in this kind of atmosphere.
I am requesting a full investigation of the hiring practices, promotions, salaries and preferences in the School of Music.
Sincerely,
Joseph Brazil
Lecturer
School of Music
cc: Dr. Charles Odegaard, President
Dr. Philip Cartwritght, Executive Vice President
John T. Moore, Director, School of Music
George Beckman, Dean of Arts and Sciences
Samuel Kelly, Vice President, Monority Affairs
David Llorens, Direcotr, Black Studies Program
John Gilmore, President, B.S.U.
Trever Chandler, Chairman, Black Faculty Committee
J.B. Gillingham, Ombudsman
Cornelius Peck, Chairman, Advisory Committee for Equal Opportunity
President, Board of Regents
Black Music Curriculum Proposal
Mr. William Bergsma
Director, School of Music
University of Washington
May 20, 1968
Dear Mr. Bergsma:
Enclosed you will find a curriculum proposed by myself and Mr. Joe Brazil. We suggest that the student play a vital part in the study and research of the subject, not only learning by books but by actual participation. In this way the student is then able to identify with music, living it and developing his own.
Yours very truly,
Byron Pope
Joseph Brazil
Proposal for Studies to be Added to the School of Music, University of Washington
I. HISTORY OF MUSIC
A. A general outline; research into all facts of black music, touching on the inter-relation of music, the common language of man.
B. History of Black musicians
(a) Origin stemming from Africa
(b) Influence of the classical Western style
(c) Concept of improvisation - its part in modern music
II. INSTRUMENTS
A. History of African instruments
(a) Types, construction, sounds
(b) The voice as an instrument
(c) Instruments as an ethnic fold art form
B. Western instruments
The first contact with western instruments, how they were quickly adopted, utilized.
This part of the course would give the student a good understanding of the similarities and differences between Western and African instruments. The student would participate in the formation of a group playing African folk music with folk instruments, as well as contemporary music.
III. ENSEMBLE
Various groups and instrumentalists in concert, representing all styles of jazz, from the earliest known forms. The guest artists would be encouraged to lecture on their own particular style and invite questions from the students after their performance. Through direct contact, the student would then be able to evaluate these styles and summarize the development of jazz.
IV. COMPOSITION
(a) History of Black composers
(b) A study of spontaneous creation, as in African, Eastern musics, not dependent on documentation
(c) The role of memory in the development of folk music and contemporary improvisation
Instructors needed would be specialists in various histories, instruments, ensemble instructors and instructors in modern composition.
This proposal was created and compiled by Joe Brazil and Byron Pope May 22, 1968.
Director, School of Music
University of Washington
May 20, 1968
Dear Mr. Bergsma:
Enclosed you will find a curriculum proposed by myself and Mr. Joe Brazil. We suggest that the student play a vital part in the study and research of the subject, not only learning by books but by actual participation. In this way the student is then able to identify with music, living it and developing his own.
Yours very truly,
Byron Pope
Joseph Brazil
Proposal for Studies to be Added to the School of Music, University of Washington
I. HISTORY OF MUSIC
A. A general outline; research into all facts of black music, touching on the inter-relation of music, the common language of man.
B. History of Black musicians
(a) Origin stemming from Africa
(b) Influence of the classical Western style
(c) Concept of improvisation - its part in modern music
II. INSTRUMENTS
A. History of African instruments
(a) Types, construction, sounds
(b) The voice as an instrument
(c) Instruments as an ethnic fold art form
B. Western instruments
The first contact with western instruments, how they were quickly adopted, utilized.
This part of the course would give the student a good understanding of the similarities and differences between Western and African instruments. The student would participate in the formation of a group playing African folk music with folk instruments, as well as contemporary music.
III. ENSEMBLE
Various groups and instrumentalists in concert, representing all styles of jazz, from the earliest known forms. The guest artists would be encouraged to lecture on their own particular style and invite questions from the students after their performance. Through direct contact, the student would then be able to evaluate these styles and summarize the development of jazz.
IV. COMPOSITION
(a) History of Black composers
(b) A study of spontaneous creation, as in African, Eastern musics, not dependent on documentation
(c) The role of memory in the development of folk music and contemporary improvisation
Instructors needed would be specialists in various histories, instruments, ensemble instructors and instructors in modern composition.
This proposal was created and compiled by Joe Brazil and Byron Pope May 22, 1968.
Discrimination against Joe at UW
I found this in the UW Archives:
April 17, 1967
Memo to Ernest M. Conrad, Vice President for Business & Finance from David E. Williams, Director of Personnel Services
This is to advise you that the question of the charge of discrimination filed by Mr. Joseph Brazil with the State Board Against Discrimination against the University of Washington has now been resolved. It was the finding of Mr. Wilson and myself that although there was evidence of failure to consistently meet work performance standards, the language used by Mr. Brazil's foreman did, in fact, reveal prejudice.
The attached statement of conciliation was developed jointly by the representative of the State Boards Against Discrimination, Mr. Wilson, Mr. Jack Roberston of the Applied Physics Laboratory, and me. As such it represents agreement among the several parties.
Mr. Brazil will begin work within the Laboratory on Monday, April 17, under the terms of the conciliation agreement.
cc: Dr. Elliot, Mr. Wilson
April 17, 1967
Memo to Ernest M. Conrad, Vice President for Business & Finance from David E. Williams, Director of Personnel Services
This is to advise you that the question of the charge of discrimination filed by Mr. Joseph Brazil with the State Board Against Discrimination against the University of Washington has now been resolved. It was the finding of Mr. Wilson and myself that although there was evidence of failure to consistently meet work performance standards, the language used by Mr. Brazil's foreman did, in fact, reveal prejudice.
The attached statement of conciliation was developed jointly by the representative of the State Boards Against Discrimination, Mr. Wilson, Mr. Jack Roberston of the Applied Physics Laboratory, and me. As such it represents agreement among the several parties.
Mr. Brazil will begin work within the Laboratory on Monday, April 17, under the terms of the conciliation agreement.
cc: Dr. Elliot, Mr. Wilson
Photo at the Mardi Gras
Photographer: Tom Brownell
Image Date: 1961
Image Number: 1986.5.5881.2.1
The Site of Legendary Jams
Black and white photo from the Frances Brazil Collection.
Coltrane was in Detroit that week with the Miles Davis sextet playing at Clarence's Blue Bird Inn.
Article in April Earshot Jazz
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