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Black British musicians have been making jazz since around 1920
when the genre first arrived in Britain. This groundbreaking book
reveals their hidden history and major contribution to the
development of jazz in the UK. More than this, though, the chapters
show the importance of black British jazz in terms of musical
hybridity and the cultural significance of race. Decades before
Steel Pulse, Soul II Soul, or Dizzee Rascal pushed their way into
the mainstream, black British musicians were playing jazz in venues
up and down the country from dance halls to tiny clubs. In an
important sense, then, black British jazz demonstrates the crucial
importance of musical migration in the musical history of the
nation, and the links between popular and avant-garde forms. But
the volume also provides a case study in how music of the African
diaspora reverberates around the world, beyond the shores of the
USA - the engine-house of global black music. As such it will
engage scholars of music and cultural studies not only in Britain,
but across the world.
As a popular music, the evolution of jazz is tied to the
contemporary sociological situation. Jazz was brought from America
into a very different environment in Britain and resulted in the
establishment of parallel worlds of jazz by the end of the 1920s:
within the realms of institutionalized culture and within the
subversive underworld. Tackley (nee Parsonage) demonstrates the
importance of image and racial stereotyping in shaping perceptions
of jazz, and leads to the significant conclusion that the evolution
of jazz in Britain was so much more than merely an extension or
reflection of that in America. The book examines the cultural and
musical antecedents of the genre, including minstrel shows and
black musical theatre, within the context of musical life in
Britain in the late nineteenth and early twentieth centuries.
Tackley is particularly concerned with the public perception of
jazz in Britain and provides close analysis of the early European
critical writing on the subject. The processes through which an
evolution took place are considered by looking at the methods of
introducing jazz in Britain, through imported revue shows, sheet
music, and visits by American musicians. Subsequent developments
are analysed through the consideration of modernism and the Jazz
Age as theoretical constructs and through the detailed study of
dance music on the BBC and jazz in the underworld of London. The
book concludes in the 1930s by which time the availability of
records enabled the spread of 'hot' music, affecting the live
repertoire in Britain. Tackley therefore sheds entirely new light
on the development of jazz in Britain, and provides a deep social
and cultural understanding of the early history of the genre.
As a popular music, the evolution of jazz is tied to the
contemporary sociological situation. Jazz was brought from America
into a very different environment in Britain and resulted in the
establishment of parallel worlds of jazz by the end of the 1920s:
within the realms of institutionalized culture and within the
subversive underworld. Tackley (nee Parsonage) demonstrates the
importance of image and racial stereotyping in shaping perceptions
of jazz, and leads to the significant conclusion that the evolution
of jazz in Britain was so much more than merely an extension or
reflection of that in America. The book examines the cultural and
musical antecedents of the genre, including minstrel shows and
black musical theatre, within the context of musical life in
Britain in the late nineteenth and early twentieth centuries.
Tackley is particularly concerned with the public perception of
jazz in Britain and provides close analysis of the early European
critical writing on the subject. The processes through which an
evolution took place are considered by looking at the methods of
introducing jazz in Britain, through imported revue shows, sheet
music, and visits by American musicians. Subsequent developments
are analysed through the consideration of modernism and the Jazz
Age as theoretical constructs and through the detailed study of
dance music on the BBC and jazz in the underworld of London. The
book concludes in the 1930s by which time the availability of
records enabled the spread of 'hot' music, affecting the live
repertoire in Britain. Tackley therefore sheds entirely new light
on the development of jazz in Britain, and provides a deep social
and cultural understanding of the early history of the genre.
On January 16, 1938 Benny Goodman brought his swing orchestra to
America's venerated home of European classical music, Carnegie
Hall. The resulting concert - widely considered one of the most
significant events in American music history - helped to usher jazz
and swing music into the American cultural mainstream. This
reputation has been perpetuated by Columbia Records' 1950 release
of the concert on LP. Now, in Benny Goodman's Famous 1938 Carnegie
Hall Jazz Concert, jazz scholar and musician Catherine Tackley
provides the first in depth, scholarly study of this seminal
concert and recording. Combining rigorous documentary and archival
research with close analysis of the recording, Tackley strips back
the accumulated layers of interpretation and meaning to assess the
performance in its original context, and explore what the material
has come to represent in its recorded form. Taking a complete view
of the concert, she examines the rich cultural setting in which it
took place, and analyzes the compositions, arrangements and
performances themselves, before discussing the immediate reception,
and lasting legacy and impact of this storied event and album. As
the definitive study of one of the most important recordings of the
twentieth-century, Benny Goodman's Famous 1938 Carnegie Hall Jazz
Concert is a must-read for all serious jazz fans, musicians and
scholars.
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