Christmas-Rutledge 15
political and cultural revolution that had put the black freedom struggle at the center of American
and international politics, the prominence of African American jazz artists was critical to the
music’s potential as a Cold War weapon. In the high-profile tours by Gillespie, Louis Armstrong,
Duke Ellington, and many others, U.S. officials pursued a self-conscious campaign against
worldwide criticism of U. s. racism, striving to build cordial relations with new African and
Asian states” (3-4).
Adam Clayton Powel Jr. also played an important role in getting these tours
started. In 1955, he was quoted in the New York Times saying, “it would go along with his
proposal to send fewer ballets and symphonies abroad and put more emphasis on what he called
real Americana” (Von Eschen, 6). He also felt that the conflict would come down to new,
“nonaligned and newly independent emerging nations of the Middle East, Asia and Africa” (Von
Eschen 7) Thus the goodwill tours followed routes throughout these countries.
In 1956 Dizzy Gillespie and his integrated band went on the first government-
sponsored jazz tour of the Middle East. Soon after the State Department sponsored tours for
Louis Armstrong, David Brubeck, and Benny Goodman. In fact a New York Times headline
boasted, “United States Has Secret Sonic Weapon- Jazz,” with the sub-title “Europe Falls captive
as Crowds Riot to Hear Dixieland.”
Jazz ambassadors were even able to cross the Iron Curtain. Luis Armstrong’s bassist recounts:
“We opened in East Berlin, and after a couple of nights there was nothing to do. When
we got off, the streets were dark. No restaurants- we were lucky to get a roll and coffee.
West Berlin was swinging, and Louis said: “Let’s go to West Berlin.” Can’t do that with
papers from Russians in East Berlin and from the U.S. Louis said, “Let’s go anyway.” So
we got on the bus- checkpoint Charlie- to go through the Berlin Wall. We got to the East
German side and the Russian soldiers and East German police had their guns out. One of
the guards looked at us and said. “Louis Armstrong.” He called out all the guards, got
Louis’s autograph and waved us all on. And when we got to the American side, a six-
foot-seven sergeant from Texas- oh, he was fierce! - said, “How’d you get through her?
Where are your papers?” And he got out handcuffs. Sergeant looks and says’ “Satchmo-