On a rainy September morning in 1950, jazz pianist Hazel Scott stood in front of the House Un-American Activities Committee hoping to clear her name.
The publication “Red Channels” had accused Scott — along with
150 other cultural figures — of communist sympathies. Failure to respond
would be seen as an admission of guilt. But her appearance at HUAC had a
greater purpose than personal exoneration. She believed she had a
responsibility to stem the tide of paranoia that gained momentum by the
day.
She told the committee’s members, “Mudslinging and unverified
charges are just the wrong ways to handle this problem.” With the same
poise she brought to the stage as a musician, she testified that “what
happens to me happens to others and it is part of a pattern which could
spread and really damage our national morale and security.”
Chin up, shoulders back, she warned against “profiteers in
patriotism who seek easy money and notoriety at the expense of the
nation’s security and peace of mind,” and that continuing down this road
would transform America’s artists from a “loyal troupe of patriotic,
energetic citizens ready to give their all for America” into a “wronged
group whose creative value has been destroyed.”
Speaking with a voice that simultaneously conveyed clarity and
nuance, strength and warmth, she knew what she was doing. She had been
rehearsing for this moment her entire life.
* * *
Born in Trinidad, Scott was raised on music. As Karen Chilton recounts in her biography, Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Cafe Society to Hollywood to HUAC,
Scott’s whole family played and her mother, Alma, an aspiring concert
pianist, taught music to help make ends meet. Unbeknownst to her family,
Hazel Scott absorbed everything she heard until one day she woke her
grandmother from a nap by playing a familiar hymn on the piano,
two-handed and with perfect pitch. Her grandmother woke thinking, not
wrongly, that she was witnessing a miracle.
Scott’s arc was fixed in the stars from that moment on. At three
years old, Chilton writes, Scott played parties, churches, and
gatherings. But economic opportunity was hard to come by, and when her
parents’ marriage fell apart in 1923, her mother decided she and Scott
would emigrate to New York City.
Scott grocery shopped, prepared meals, and handled the
household’s money. When word got around that, in her house, a child paid
the bills, a gang of white teenagers broke in and demanded money. Scott
refused to give them any. They beat her black and blue, and Scott still
refused to turn over the cash. Finally, as police sirens grew nearer,
the boys ran off with her blood on their hands.
Another time, Scott was playing near the trench being dug for
the subway line that would become the A train. A white girl from the
neighborhood who she had been playing with told her to “Turn around so
that I can brush you off and send you to school,” as Scott recounted in
her journal, which is featured in Chilton’s book. When she did, the girl
pushed her into the trench.
The workmen who rescued Scott had the unmistakable look of “fear
and guilt” in their eyes. “They, too, were white,” Scott wrote in her
journal “They had witnessed the horrible act. They were involved and
they resented it and me.”
Scott resolved never to be so naïve again — nor did she allow the incident to dictate her life.
She kept playing piano, kept stunning audiences, and impressed
one person in particular. The story sounds more like legend than fact,
but several sources, including Scott’s journal and the accounts of the
parties involved, confirm it.
German-born, wearing a meticulous goatee and a pocket watch, and
steeped in the traditions of European classical music, Juilliard
founder Frank Damrosch was the very model of high culture in New York
City. As such, his blood began to boil when he heard someone in the
audition room improvising over Rachmaninoff’s “Prelude in C Sharp
Major.” Marching down the hall to confront the blasphemer brash enough
to attempt such a thing, he heard the ninths being substituted with the
sixths. It was sacrilege, he thought, until he saw who was playing.
Since eight-year-old Scott’s hands couldn’t reach the piece’s
intervals, she played the sixths to make it sound the way she
intuitively knew it should. No one taught her how to do this. In the
journal that Chilton quotes, Scott wrote: “I was only reaching for the
closest thing that sounded like it, not even knowing what a sixth was at
that age.”
When she finished, the auditions director whispered, “I am in
the presence of a genius.” Damrosch agreed and Scott was admitted to
Juilliard. But her real education wasn’t in the classroom. It was in her
living room.
In New York, as Chilton writes, Alma quickly became a successful
jazz musician and befriended some of the Harlem Renaissance’s brightest
stars in the process. In turn, they shone on young Hazel. She sat
beside ragtime legend Fats Waller — whom she called “Uncle” — at the
piano, while his hands strode syncopated rhythms across the keys. Piano
legend Art Tatum became a close family friend and mentor to Hazel,
advising her to dive deep into the blues.
Meanwhile Hazel’s mother, Alma, bought a brownstone on West
118th Street, opened a Chinese restaurant on the ground floor, and
taught herself to play tenor sax. Her circle widened. Lester Young and
Billie Holiday came over after hours. Young and Alma traded turns
playing sax in the living room when she and Holiday weren’t gossiping in
the kitchen. Holiday became like a big sister to Hazel, taking her
under her wing as Hazel ventured out into the life of a working
musician. In an article she wrote for Ebony, Hazel Scott
recalled how, once, when “wondering where I was going and what I was
doing, I began to cry.” Holiday then “stopped, gripped my arm and
dragged me to a back room.” She told Scott, “Never let them see you cry”
— a piece of advice Scott followed forever.
While still a child, Hazel Scott played piano for dance classes
and churches. At 13 she joined her mother’s jazz band, Alma Long Scott’s
American Creolians. When she outgrew the gig, her mother secured her a
spot playing piano after the Count Basie Orchestra at the posh Roseland
Ballroom. Scott recounted in her journal that while watching Basie bring
the house down, she turned to Alma and said, “You expect me to follow
this?” Stage fright or no, she played what would become her signature
boogie-woogie style. The crowd adored her. From there, she took flight.
* * *
At the time,
the majority of jazz clubs were segregated. Even the famed Cotton Club
in Harlem, where Duke Ellington and Cab Calloway headlined, had a
“colored” section. Blacks and whites almost never shared the stage. But
in 1938, a shoe clerk from Trenton, New Jersey, opened a different kind
of club.
Cafe Society was “the wrong place for the Right people”
according to founder Barney Josephson. As Josephson recounted in his
autobiography, Café Society: The Right Place for The Wrong People, “I
wanted a club where blacks and whites worked together behind the
footlights and sat together out front.” It was there that Holiday
performed “Strange Fruit” for the first time and became a legend, and it
was there that Holiday got Scott her first steady engagement.
When Holiday canceled a standing engagement three weeks early,
she insisted Scott take her place. By the end of the run, Scott was Cafe
Society’s new headliner. Only 19 years old, she inherited the bench
previously occupied by piano greats like Meade Lux Lewis, Albert Ammons,
and Pete Johnson. But as The New York Amsterdam News reported, “Hazel more than holds her own, and demonstrates a style all her own.”
As it turned out, not only was Scott a brilliant pianist, she
also had a hell of a voice: deep and sonorous, comforting yet
provocative — the sort of singing style that makes you want to embrace
the sublime melancholy that is love and life and whiskey on a
midwinter’s night.
And, she was beautiful. She wore floor-length ball gowns on
stage and gazed out into the audience with almond-shaped eyes that
seemed to communicate a deep knowledge of everyone they fixed upon. Like
watching a painter paint or a sculptor sculpt, when Scott sang, you saw
the song traveling through her, taking shape before emerging from her
lips. And when she played her boogie-woogie, she grinned ear to ear,
looking like self-possessed joy manifested. She was, in a word,
irresistible.
Audiences flocked to see her. Fan mail flooded in. As the Chicago Defender
reported, Josephson decided to open a second Cafe Society location,
uptown for a swankier audience, with Scott as the marquee performer. New
York’s finest showed up in droves, including First Lady Eleanor
Roosevelt, who dropped in one evening for “some entertainment and
relaxation,” as one reporter wrote in the Pittsburgh Courier.
After the show, Mrs. Roosevelt asked Scott to join her for a late
supper. Because she had already changed from her evening wear to
streetwear, Scott begged off the invitation.
“I’m inviting you,” said Mrs. Roosevelt, “not your clothes.”
How could Scott refuse?
She was the reigning queen of jazz, a friend to some of the most
famous names in the country, and all at just 22 years old.
Hazel Scott had conquered New York. Hollywood was next. But in a
motion picture industry where people of color were usually restricted
to playing maids, cannibals, or buffoons, was there room for Hazel
Scott?
* * *
Nine black soldiers
march down a hill to the sound of piano and drum. They are upright,
dignified, ready to fight and die. Their sweethearts line the road,
waving handkerchiefs and bidding their fellows goodbye. It’s 1943, and
the question on the backlot is, “What should these women wear?”
The scene is from “The Heat’s On,” a patriotic 1943 musical.
Scott is performing a rah-rah number called “The Caissons Go Rolling
Along.” In conceptualizing the scene, the director intended to dress the
women in what Hollywood assumed all black women would wear: dirty
aprons.
Scott wasn’t having it, as she recounted in her journal. Her
contract always included final script and wardrobe approval, ensuring
she’d never play or look the fool. She told the choreographer she wanted
that protection extended to the extras who shared her stage.
“What do you care?” said the choreographer. “You’re beautifully dressed.”
“The next thing I knew,” wrote Scott in her journal, “we were
screaming at each other and all work had stopped. … I insisted that no
scene in which I was involved would display Black women wearing dirty
aprons to send their men to die for their country.”
Neither side relented, so Scott went on strike. For three days,
the studio begged and pleaded for her to return to set. But Scott would
not be moved. The more the clock ticked, the more money it cost, a fact
of which Scott was well aware. Finally, the studio caved to Scott’s
demands, and the women appear in the film wearing particularly fetching
floral dresses.
Though she won the battle, Columbia Pictures was far from
conceding the war. In the minds of producers who were used to dictating
to African-Americans — particularly to African-American women — Scott’s
public victory was more than they could stand. In the next two years,
she was given small parts in two more second-rate movies. After that,
she was finished with motion pictures.
“I had antagonized the head of Columbia Pictures,” wrote Scott in her journal. “In short, committed suicide!”
She packed her bags and headed back east — where love was about to sweep her off her feet.
* * *
Scott was once again wowing
crowds at Cafe Society, when she caught the eye of a young politician.
Josephson wrote in his autobiography that Adam Clayton Powell, Jr., soon
to become New York’s first African-American congressman, pulled
Josephson aside, and asked for an introduction.
“Are you really interested in Hazel,” said Josephson, who
considered Scott a daughter, “or are you just screwing around?”
Powell assured him of his sincerity, Josephson made the
introduction, and their romance caught fire — despite the fact that
Powell had been married to nightclub singer Isabel Washington since
1933. For the next year, Scott and Powell pursued their love with
reckless abandon, damned be the consequences. In 1945, he married Scott
11 short days after his divorce was finalized.
Her career in Hollywood dead, Scott started touring, winning
rave reviews at concerts across the country and fighting discrimination
throughout. In November 1948, the Washington Post reported that
she refused to play a sold-out show at the University of Texas because
the audience was segregated, despite the anti-Jim Crow clause in her
contract, which allowed her to cancel the booking without forfeiting her
pay. And in February 1949, she sued a restaurant in the tiny town of
Pasco, Washington, after she and a companion were refused service
because, as the proprietor put it, “We don’t serve coloreds.” Scott won
$250 in the suit, and donated the proceeds to the NAACP.
Scott was making around $75,000 a year during this time, according to Life
magazine — making her one of the most successful musicians in the
country, black or white. After five years’ continued success, Hollywood
could ignore her no longer. In 1950, she came to break the color barrier
on the small screen.
* * *
Scott sits at the keys
of a grand piano in an elegant white gown. With a backdrop of Manhattan
behind her, she looks like the urban empress she had become.
“Hello,” she coos, “I’m Hazel Scott.”
Broadcast on the DuMont Network, The Hazel Scott Show
was the first television program to have an African-American woman as
its solo host. Three nights a week, Scott played her signature mix of
boogie-woogie, classics, and jazz standards in living rooms across
America. It was a landmark moment. As a passionate civil and women’s
rights activist, the show symbolized a triumphant accomplishment. As a
career musician, her program took her to professional heights known by
few, assuring her place in the pantheon of America’s greatest
performers. To be sure, Scott had arrived at the success she had sought
since playing that first simple tune in Trinidad as a three-year-old.
And then, just like that, it all came tumbling down. “Red Channels.” HUAC. Another star tainted by a whiff of Communism.
When she stood in front of HUAC, it only made sense to speak
truth to power, to stand up for what she believed in. She believed
herself the embodiment of the American dream, and she spoke in its
defense. In an unwavering voice she told the committee, “the
entertainment profession has done its part for America, in war and
peace, and it must not be dragged through the mud of hysterical
name-calling at a moment when we need to enrich and project the American
way of life to the world. There is no better, more effective, more
easily understood medium for telling and selling the American way of
life than our entertainers, creative artists, and performers, for they
are the real voice of America.”
But they did not hear her, did not believe her. And she in turn
underestimated the power of fear, never having bent to it herself.
One week after her testimony, DuMont canceled The Hazel Scott Show. Concert appearances became few and far between. Even nightclub gigs were hard to come by.
Exhausted and unraveled, Scott went to Paris on what was to be a
three-week vacation. Her sojourn extended to three years. To her, Paris
became “the magic of looking up the Champs-Élysées from the Place de la
Concorde and being warmed by the merry madness of the lights,” she
wrote in Ebony. It was also “a much needed rest, not from work, but from racial tension.”
She played across Europe and in North Africa and the Middle
East. Crowds still loved her, still swooned over her swinging classics.
But it was not the same. Her spotlight had dimmed, and would never again
shine on her the way it had in her halcyon days.
Eventually, Scott returned to America and slipped further into
obscurity. In 1981 she passed away at 61 from cancer. Her albums are
hard to come by now and her name never appears where it should, beside
Ella Fitzgerald, Billie Holiday, Louis Armstrong, and others who we
think of when we think of jazz. But for a while, she led them all, until
a country twisted by fear pushed her past the point from which even
she, the force of nature that she was, could return.
Author, curator and nomad Lorissa Rinehart
is
currently wandering the streets of Los Angeles. Her work has appeared in
Narratively, Hyperallergic, and Lacuna Magazine. She has
organized art exhibitions at institutions including the Silent Barn and
the Queens Museum, and throughout her life she’s gotten hopelessly and
happily lost everywhere from Ramallah to Rosarito.
As noted within the piece, sources for this story include the books Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Cafe Society to Hollywood to HUAC, by Karen Chilton and Café Society: The Right Place for The Wrong People, by Barney Josephson.
This article was originally published on August
1, 2018, by Narratively, and is republished here with permission.
No comments:
Post a Comment