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Author: Jason Toynbee Publisher: Routledge ISBN: 131717397X Category : Music Languages : en Pages : 290
Book Description
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.
Author: Jason Toynbee Publisher: Routledge ISBN: 131717397X Category : Music Languages : en Pages : 290
Book Description
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.
Author: Jason Toynbee Publisher: Routledge ISBN: 1317173988 Category : Music Languages : en Pages : 244
Book Description
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.
Author: Michael Brocken Publisher: Rowman & Littlefield ISBN: 1498574475 Category : Music Languages : en Pages : 353
Book Description
This extensively researched text concerning the life and career of Liverpool-born Black jazz musician Gordon Stretton not only contributes to the important debate concerning the transoceanic pathways of jazz during the 20th century, but also suggests to the jazz fan and scholar alike that such pathways, reaching as they also did across the Atlantic from Europe, are actually part of a largely ignored therefore partially-hidden history of 20th century jazz performance, industry and influence. The work also exists to contribute to a more complete picture of the significance of diaspora studies across the spectrum of popular music performance, and to award to those Liverpool musicians who were not contributors to the city’s musical visage post-rock ‘n’ roll, a place in popular music history. Gordon Stretton was a jazz pioneer in several senses: he emerged from a poverty-stricken, racially marginalized upbringing in Liverpool to develop a popular music career emblematic of Black diasporan experience. He was a child dancer and singer in the Lancashire Lads (the troupe which was also part of a young Charlie Chaplin’s development), a well-respected solo touring artist in the UK as ‘The Natural Artistic Coon’, a chorister and musical director with the Jamaican Choral Union and, having encountered syncopated music, a jazz percussionist, multi-instrumentalist and vocalist (not to mention a ground-breaking bandleader). All of these musical experiences took place through time on his own terms as he learnt his craft ‘on the hoof’ via many different encounters with musical genres from Liverpool to London, Paris, Brussels, Rio, and Buenos Aires. Gordon Stretton was truly a transoceanic jazz pioneer.
Author: Jon Stratton Publisher: Routledge ISBN: 1317173880 Category : Music Languages : en Pages : 284
Book Description
Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies.
Author: Hilary Moore Publisher: Routledge ISBN: 1351562746 Category : Music Languages : en Pages : 259
Book Description
Inside British Jazz explores specific historical moments in British jazz history and places special emphasis upon issues of race, nation and class. Topics covered include the reception of jazz in Britain in the 1910s and 1920s, the British New Orleans jazz revival of the 1950s, the free jazz innovations of the Joe Harriott Quintet in the early 1960s, and the formation of the all-black jazz band, the Jazz Warriors, in 1985. Using both historical and ethnographical approaches, Hilary Moore examines the ways in which jazz, an African-American music form, has been absorbed and translated within Britain's social, political and musical landscapes. Moore considers particularly the ways in which music has created a space of expression for British musicians, allowing them to re-imagine their place within Britain's social fabric, to participate in transcontinental communities, and to negotiate a position of belonging within jazz narratives of race, nation and class. The book also champions the importance of studying jazz beyond the borders of the United States and contributes to a growing body of literature that will enrich mainstream jazz scholarship.
Author: Catherine Tackley (nee Parsonage) Publisher: Routledge ISBN: 1351544756 Category : Music Languages : en Pages : 322
Book Description
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 (nParsonage) 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.
Author: Clark Tracey Publisher: Equinox Publishing (UK) ISBN: 9781781793534 Category : Jazz musicians Languages : en Pages : 0
Book Description
This is the first book about the life of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawn largely from his personal diaries and some of his many interviews, his son Clark Tracey pieces together what made the late Stan Tracey a unique character in jazz music. Stan's wit and wisdom also come shining through in abundance in this long overdue account of one of the UK's most important jazz musicians. In a career that spanned 70 years, Stan Tracey recalls his earliest memories in war torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show and for the next three years played at more venues than many musicians do in a lifetime. Once demobbed, Stan befriends pianist Eddie Thomson, vibist and drummer Victor Feldman and clarinettist Vic Ash and begins his career in music. He toured with Kenny Baker's band and the Kirchin Band before joining the Ted Heath Orchestra, then began recording under his own name. He was asked by Ronnie Scott to be the house pianist at Scott's new club, where Stan's legendary status grew for the next six years. He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best selling work. Stan left Ronnie's club following a drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business as an A&R from previous years and began presenting concerts to keep Stan afloat, as he formed new musical friendships in the free/improvised idiom at that time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and Stan's writing skills found an outlet again through the formation of his various groups that were to last for nearly 30 years. Stan's achievements and awards are ample and in many cases unique. Recipient of an OBE and a CBE, Stan also received several lifetime achievement awards and in his last year became the first recipient of the Ivor Novello Jazz Award. The book includes a complete discography of all commercial recordings featuring Stan Tracey, compiled by Stephen Didymus.
Author: Kevin Le Gendre Publisher: Peepal Tree Press ISBN: 9781845233617 Category : Black people Languages : en Pages : 0
Book Description
Don?t Stop The Carnival" is the story of Black music in Britain from Tudor times to the mid-1960s. It is a story framed by slavery, empire, colonialism and the flow of music around the Black Atlantic of Africa, the Caribbean, the USA and Great Britain. It is about the passage of temporary but influential visitors such as The Fisk Jubilee Singers, The Southern Syncopated Orchestra and Paul Robeson; about the post-1945 migration of people from the colonial empire to Britain; about the new energies released by independence in the ex-colonies that created new musical forms such as ska, rocksteady and West African highlife.00It is the story of a struggle against racism, but also of institutions like the military that provided spaces for black musicians from the middle ages to the mid-20th century. It is the story of individuals such as the trumpeter John Blanke in the court of Henry VIII, Ignatius Sancho writing minuets in the 18th century, Billy Waters scraping the catgut on the streets, the violinist George Bridgewater and his falling out with Beethoven, the composer Samuel Coleridge-Taylor whose music is still played today, and popular 1930s entertainers such as?Hutch? and Ken?Snakehips? Johnson. Above all, it is the story of those who changed the face of British music in the postwar period in ways that continue to evolve in the present.00?It is the story of actual Windrush arrivals such as calypsonian Lord Kitchener, and singer Mona Baptiste; of Edric Connor, Cy Grant and Winifred Atwell who made inroads into the BBC and British hearts; of those who brought calypso and steel band to Britain?s streets; of Caribbean jazz musicians such as Leslie Thompson, Joe Harriott, Dizzy Reece and Andy Hamilton; of great West African highlifers such as Ambrose Campbell and Ginger Johnson; of escapees from apartheid South Africa, such as Louis Moholo-Moholo who brought the sounds of Soweto to British jazz.
Author: Danny Barker Publisher: Springer ISBN: 1349099368 Category : Music Languages : en Pages : 247
Book Description
As a musician who grew up in New Orleans, and later worked in New York with the major swing orchestras of Lucky Millinder and Cab Calloway, Barker is uniquely placed to give an authoritative but personal view of jazz history. In this book he discusses his life in music, from the children's 'spasm' bands of the seventh ward of New Orleans, through the experience of brass bands and jazz funerals involving his grandfather, Isidore Barbarin, to his early days on the road with the blues singer Little Brother Montgomery. Later he goes on to discuss New York, and the jazz scene he found there in 1930. His work with Jelly Roll Morton, as well as the lesser-known bands of Fess Williams and Albert Nicholas, is covered before a full account of his years with Millinder, Benny Carter and Calloway, including a description of Dizzy Gillespie's impact on jazz, is given. The final chapters discuss Barker's career from the late 1940s. Starting with the New York dixieland scene at Ryan's and Condon's he talks of his work with Wilbur de Paris, James P. Johnson and This is Jazz, before discussing his return to New Orleans and New Orleans Jazz Museum. A collection of Barker's photographs,
Author: Duncan Heining Publisher: Equinox Publishing (UK) ISBN: 9781845534059 Category : Jazz Languages : en Pages : 0
Book Description
Nominated for the 2012 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research. A musical companion CD, Trad Dads, Dirty Boppers and Free Fusioneers: British Jazz 1961-1975 (RR026), including ten rare recordings, is available from independent Canadian record label Reel Recordings. Proceeds to the Musicians Benevolent Fund UK. The 1960s was a decade of major transformation in British jazz and in British popular music in general. The British jazz scene had been, arguably, the first outside America to assert its independence. At first slowly but with gathering speed, it began to define an identity that drew increasingly on sources from within its own culture, as well as those from African-American jazz, and from its shared European cultural heritage. This process would in itself prove highly influential, as French, Italian, German and Scandinavian scenes began to follow suit. The nature of jazz, its scope and potential were re-examined and reformulated in this period with important implications for its musicians and its audience. The external forces acting upon the British jazz scene were both global and local in origin. Jazz was not immune from the economic, social and cultural changes that occurred following the Second World War and which continued apace in the 1960s. Its development was both affected by and reflected those changes and the new ways of thinking and acting that arose from them. And yet wider global economic and political changes, in particular in America, would continue to have a major impact on British jazz. For these reasons, any history of British jazz in the 1960s must explain these trends and describe which were global and which were local in origin. It must show how forces outside the music acted upon it and both created and limited its potential for development. But it must also define the personalities, as well as the context in which they functioned. Jazz is made by its musicians and is ultimately changed by them. What were the records that they made which defined the era? From where did their inspiration arise? And how did their audience respond? Trad Dads, Dirty Boppers and Free Fusioneers follows a number of themes - class, education, drugs and addictions, relationships with rock and blues, race and immigration, gender issues, the arts, politics and that sixties buzzword: 'freedom'. In doing so, the book challenges many conventional understandings of British jazz and its scene. This is the definitive history of British jazz in the 1960s. Praise for this Volume: 'His primary information sources are 70 (yes, really ) of his own first hand interviews with musicians and associates. The fact that Heining is dealing largely with his musicianly peer group brings with it a sense of involvement in a text which, though densely-packed, is compellingly articulate. Substantive and scholarly, TDDB&FF is also an enjoyable and rewarding read. ' Roger Thomas, Jazz UK 103, November 2012 'Heining deserves much credit for this epic tome exploring British jazz in one of its most exciting, if exasperating, eras. He] has undertaken very thorough research: he has interviewed countless musicians, while his own spry style keeps you charmed. Trad Dads is a special contribution to jazz writing.' Jazzwise 'The text is erudite, well-researched and politically charged. It would be no exaggeration to suggest that this book is simply essential for anyone even remotely interested in British jazz.' Roger Farbey, iancarrsnucleus.net
Author: Jason Toynbee
Author: Jason Toynbee
Author: Jason Toynbee
Author: Michael Brocken
Author: Jon Stratton
Author: Hilary Moore
Author: Catherine Tackley (nee Parsonage)
Author: Clark Tracey
Author: Kevin Le Gendre
Author: Danny Barker
Author: Duncan Heining