“Though Jamal R. Moore, the Baltimore-born and raised woodwinds player and composer, was meeting up to talk about his recently self-released debut album (his Organix Trio’s “Ancestral Communion”) and his upcoming appearance at this week’s 17th-annual High Zero Festival of Experimental Improvised Music, in conversation it becomes clear that the what and how of what he does cannot be separated from his own formidable knowledge of the art form’s history. “You have to understand how the black American music aesthetic developed, which morphed into the term of ‘jazz,'” he says.
Moore came to this interview straight from teaching a history of jazz class at Coppin State University, and his responses to questions about the class and about being an independent black artist reveal how artists navigate their creative labor today is intimately intertwined with how art is commodified.
“You have to deal with the fact of how it was exploited in its early development stages,” he continues. “So from that point on you’re dealing with capitalism and the exploitation of the music. And I believe that was the cause right there, where musicians began to morph their own path.”“