I'd say this is an expressive and impassioned piece of writing, not a structured persuasive essay for a music history class or a book on the subject. I obviously don't know Nick Payton's intentions for sure, since I am not in his head, but it seems to me like something meant to challenge and, in doing so, provoke discussion of and engagement with these questions about music, history, and the cultural context in which it exists. Not to say that he didn't mean every word he said.
I think it is fairly easy to place this in the broader context of Nick Payton's writing and music, as well. Given that this is one blog post among many, not a standalone book, I'd say it's reasonable to want it in that broader context.
I won't say I've read every single thing he's posted (or even most of it), but I used to follow him on social media and have spent some time reading his essays because I think he is a good player and an insightful thinker with a great breadth of knowledge backing up strong opinions. Whether I agree with any given point he is making or not, I have always found his perspectives and writing (and playing!) to be worth my time to consider and evaluate. I have definitely reconsidered some of my own views on music thanks to ideas put forth in his writing.
Since the concept of ever acknowledging a change in one's viewpoint has become such a conversational third rail in recent years, let me emphasize that I'm not talking about a wholesale replacement of my viewpoints with his, but more an opportunity to reflect, rethink and reframe with the added context of his perspective. Can't believe I feel the need to clarify that, but here we are.
His writing that has stuck most with me looks at the premise that labels play a major role in defining the cultural context in which our actions and, often, our selves, exist. In a musical context, terms like "jazz" that are often used to define a style can end up drawing boundaries and imposing values more than giving a helpful cultural reference point. My interpretation is that, in the case of jazz, this can sometimes manifest as a separation of history and present. This piece expresses that, to me, but in a way meant to express the experience of living as an artist feeling bound by a label, not to debate the merits of feeling that way.
In reading some of his other pieces I really like his concept of looking not at the limited view of "jazz", but rather at the organic development of the Black American musical tradition. He suggests the more stylistically inclusive term Black American Music (BAM) throughout his writing and I really like that. I think it puts the focus on the origins without limiting the future possibilities.
What I read in his writing is an impassioned idea that we can hold within ourselves a deep appreciation of and respect for Black American Music and its diasporic roots, its multitude of branches and the huge variety of roles it plays in our lives while putting our artistic focus not on fitting into predefined boundaries, but on continuing and maintaining the spirit of a unique and powerful tradition.
And, to preempt the argument I've seen put forward that the "Black" part of "Black American Music" makes it non-inclusive, this is what he had to say about that (and I agree):
Nicholas Payton said:
I'm Not Black, Where Do I Fit In Black American Music?
You should feel no more disconnected from Black American music than non-Cubans feel about playing Cuban music or non-Brazilians about Brazilian music. The term Black American Music just acknowledges the culture from which it sprung forth. You don't have to be Black to appreciate and play it anymore than you have to be Chinese to cook and eat noodles.
I know I have certainly seen him give props to a number of artists, Black and non-Black, American and non-American in the context of his #BAM hashtag and it seems always intended as (and received as) a term of respect and appreciation.
also:
Nicholas Payton said:
The Black American Music Movement doesn't seek to take Jazz away from you. It's your choice. There are certainly artists and musics that deserve the JAZZ title, but there is a growing number of artists who wish to shake the stigma of cultural colonialism.
Quotes taken from
this blog post.
Please note that the above is my attempt to synthesize what I remember of reading a number of his blog posts, social media posts, etc. over the years and is
my interpretation, not gospel truth. The source material is all there if you want to read it and form your own opinions.
Overall, though, I'd say this piece is an expression of what he was feeling, not intended as a fully-annotated argument in a larger debate. He's done that elsewhere.
Also check out his albums, since he's a dope player.