Andy Kirk's Clouds of Joy came from Kansas City to find nationwide
fame in the later 1930s. The many records they made between 1929
and 1949 came to exemplify the Kansas City style of jazz, but they
were also criticized for their populism and inauthenticity. In The
Recordings of Andy Kirk' and his Clouds of Joy, George Burrows
considers these records as representing negotiations over
racialized styles between black jazz musicians and the racist music
industry during a vital period of popularity and change for
American jazz. The book explores the way that these reformative
negotiations shaped and can be heard in the recorded music. By
comparing the band's appropriation of musical styles to the
manipulation of masks in black forms of blackface performance-both
signifying and subverting racist conceptions of black
authenticity-it reveals how the dynamic between black musicians,
their audiences and critics impacted upon jazz as a practice and
conception.
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