It’s 1951 Los Angeles, and photographer Bob Willoughby works in his darkroom, listening to the radio. The disc jockey promotes a jazz concert that night at the Olympic arena. The concert starts at midnight. Intrigued, Willoughby packs his camera and heads for the show. What he finds there, and what he captures on film, become iconic images of the power of jazz. Look a little closer to the photos, and another, deeper story unfolds.

Willoughby finds the show in full swing. Hundreds of young fans crowd the stage. They are enraptured. Saxman Big Jay

 McNeely, famous for his infectious energy, has them whipped into a near frenzy. Caught up in the moment, Willoughby jumps on stage and shoots frame after frame. His most famous image is of McNeely, lying on his back at the edge of the stage, drenched in sweat, wailing on the sax while the kids scream.

The energy emanating from that photograph is palpable. But it is also a telling reflection of the times. Look deeper. You’ll notice that all those screaming kids are white. There isn’t a person of color to be seen. And toward the back, a white policemen patrols the crowd. His expression is sober. His eyes are wary of McNeely’s performance and the young people’s reaction.

As one jazz writer commented at the time, “Music may be colorblind, but society in the 1950’s sure wasn’t.”

“Soundtrack to the Struggle” is written and produced by Ron Adkins. Executive Producer is Dennis Green. Hosted by Hollis Monroe.

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Nina Simone’s career in activism began in 1964, when her songs openly addressed racial inequality prevalent in the United States. She recorded the still-controversial “Mississippi Goddam,” her respon

se to the murder of Medgar Evers and the bombing of Birmingham’s 16^th Street Baptist Church. That song, and others like “Old Jim Crow,” she said, were her first civil rights songs. They were a direct challenge to the status quo in race relations and raised her voice in the fight for equality.

Response to her music was, predictably, angry. She was boycotted in many Southern states. One Carolina radio station smashed promotional copies of her singles and sent the pieces back to the re

cord label. Undaunted, the message of equality became Simone’s standard repertoire. Civil rights leaders frequently asked Simone to perform and speak at gatherings, such as the Selma to Montgomery Marches. She was invited to attend the historic meeting with Attorney General Robert Kennedy, along with her friend, playwright Lorraine Hansberry.

Nina Simone’s personality reflected her politics. She was outspoken and possessed an often volcanic temper. She sided closer to Malcolm X’s more militant philosophies than to Martin Luther King’s non-violent approach. She advocated armed revolution, if necessary, and the formation of a separate state. And though her songs, she said, were written “in a rush of fury, hatred, and determination,” she believed that, ultimately, all races were equal and could someday peacefully coexist.

“Soundtrack to the Struggle” is written and produced by Ron Adkins. Executive Producer is Dennis Green. Hosted by Hollis Monroe.

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The work song has existed since the dawn of recorded history. Field hands, boatmen, railroad gangs, and even cowboys used the work song to lift spirits and maintain the pace of labor. During the American era of slavery, the work song evolved into something far greater. It became a powerful means of communication, resistance, and catharsis. Through call-and-response, field workers carried on a dialogue under the noses of their foremen. News was passed. Common complaints were shared. Uprisings were planned.

Improvisation was a common element in these dialogues, as were the field hollers and moans. As slaves converted to Christianity, their songs included appeals for divine deliverance. Over time, the work song included odes to the act of work itself – be it hard physical labor, the tribulations of a love affair, or the tortures of a tyrannical boss. This is the fertile ground where blues, gospel, and jazz took root.

Trumpeter Nat Adderley understood the depth of his musical roots, and in 1960 wrote his own “Work Song.” All the traditional tropes are there – the call-and-response, the bemoaning of labor, the improvisation. Oscar Brown, Jr. added poignant lyrics, making this “Work Song” a testament to the struggles of the past and the labor still to be done.  

“Soundtrack to the Struggle” is written and produced by Ron Adkins. Executive Producer is Dennis Green. Hosted by Hollis Monroe.

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Sometimes the truth is difficult to hear … or dangerous to tell.  Sometimes, you have to serve it up with a helping of irony. And sometimes, you really DO have to use a spoonful of sugar to help the medicine go down. Such is the case with Count Basie’s classic 1940 record, “It’s The Same Old South.”

Debuted in the satirical labor revue “Meet the People,” Jay Gorney penned the music to this infect

ious, swingin’ tune that packed dance floors across the country. While at the same time, Ed Eliscu’s subversive lyrics told a story quite different from the history books. Life as a Black person in American society wasn’t as cheery as it appeared on the surface.   

“It’s The Same Old South” brilliantly depicts our society as a study in contrast. Like the song, the story of the American way can sound sweet and melodic. But listen a little closer, and the lyrics of child labor, tar & feathering, and bloodhounds chasing union organizers declare that the beautiful landscape of the United States wasn’t so lovely after all.

“Soundtrack to the Struggle” is produced by Ron Adkins. “Same Old South” written by Bob Naujoks. Executive Producer Dennis Green. Host: Hollis Monroe.

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January 23, 1943. Carnegie Hall. Duke Ellington and His Orchestra make their debut at the legendary venue. On the program is the premiere of Ellington’s new magnum opus – his three movement jazz symphony, “Black, Brown & Beige.” It is Ellington’s longest and most ambitious composition to date. Admittedly, the piece as a whole is under-rehearsed and rough in spots. But Duke is excited to use this stage-of-all-stages to make a grand statement on the Black condition.

He dubbed it, “a tonal parallel to the history of the Negro in America.” Within each movement, suites reflect components of the African-American experience, from slavery to Harlem to swing. Tympani portray the sounds of hard labor. Muted trumpets echo wails and work songs. There are spirituals and dance numbers. The work is rich and orchestral, but most assuredly jazz. Ellington makes sure his audience knows that jazz is America’s music – created by Black Americans.

Critical response to the Carnegie Hall performance is, at best, mixed. Discouraged by its tepid response, Ellington only performs “Black, Brown and Beige” once more before breaking it into pieces. Yet those pieces, like “Work Song,” and “Come Sunday,” collectively make the most powerful statement of all: We’ve come so far, but still have so far to go.

“Soundtrack to the Struggle” is written and produced by Ron Adkins.  Executive Producer Dennis Green. Host: Hollis Monroe.

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