The Pat Moran Quartet - Come Rain Or Come Shine

The very institutional acceptance that many musicians sought in the mid to late 20th century has hitched jazz to a broken and still segregated education system. Partly as a result, the music has become inaccessible to, and disconnected from, many of the very people who created it, young Black Americans, poorer people and others at the societal margins.

Of the more than 500 students who graduate from American universities with jazz degrees each year, less than 10 percent are Black, according to Department of Education statistics compiled by DataUSA. In 2017, the last year with data available, precisely 1 percent of jazz degree grads were Black women.

The education is the anchor... We should be questioning our education system. Is it working? Is there a pipeline into the university for indigenous Black Americans to play their music, and learn their music? I don’t think that exists.

Source: Jazz Has Always Been Protest Music. Can It Meet This Moment? by Giovanni Russonello

The Pat Moran Quartet - Come Rain Or Come Shine

Vocals by: Pat Moran, John Whited, and Beverly Kelly
Released by: 1957
Written by: Harold Arlen, Johnny Mercer

"The Pat Moran Quartet consists of Moran on piano, John Doling on bass, John Whited on drums and Beverly Kelly, all singing four part harmony while they played."

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