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Today, jazz is considered high art, America’s national music, and the catalog of its recordings—its discography—is often taken for granted. But behind jazz discography is a fraught and highly colorful history of research, fanaticism, and the intense desire to know who played what, where, and when. This history gets its first full-length treatment in Bruce D. Epperson’s More Important Than the Music. Following the dedicated few who sought to keep jazz’s legacy organized, Epperson tells a fascinating story of archival pursuit in the face of negligence and deception, a tale that saw curses and threats regularly employed, with fisticuffs and lawsuits only slightly rarer. Epperson examines the documentation of recorded jazz from its casual origins as a novelty in the 1920s and ’30s, through the overwhelming deluge of 12-inch vinyl records in the middle of the twentieth century, to the use of computers by today’s discographers. Though he focuses much of his attention on comprehensive discographies, he also examines the development of a variety of related listings, such as buyer’s guides and library catalogs, and he closes with a look toward discography’s future. From the little black book to the full-featured online database, More Important Than the Music offers a history not just of jazz discography but of the profoundly human desire to preserve history itself.
"The first book to trace the recording careers of the great entertainers: singers, comics, actors and actresses, vocal groups, show-business personalities."--Book jacket.
Guide van Rijn presents a fascinating and exhaustive account of the gospel and blues music of the immediate postwar period, shedding much light on the civil rights situation of the time and the experience of segregation as well as events such as the Atom Bomb, the Cold War, Korea and of course the Republican victory in 1956. He concentrates on songs that comment on contemporary political events and issues during this crucial time in the shaping of black consciousness in America. In doing so, he uncovers a hidden black history on the eve of the emergence of the civil rights movement--a deep insight into the lives and opinions of people who had few other outlets of expression. Also available, from the author's own website, is a CD containing recordings of the songs discussed in the text, such as Jesus Hits Like the Atom Bomb, I'm a Democrat Man, and The Alabama Bus.
Starting in 1945 and continuing for the next twenty years, dozens of African American rhythm and blues artists made records that incorporated West Indian calypso. Some of these recordings were remakes or adaptations of existing calypsos, but many were original compositions. Several, such as “Stone Cold Dead in de Market” by Ella Fitzgerald and Louis Jordan or “If You Wanna Be Happy” by Jimmy Soul, became major hits in both the rhythm and blues and pop music charts. While most remained obscurities, the fact that over 170 such recordings were made during this time period suggests that there was sustained interest in calypso among rhythm and blues artists and record companies during this era. Rhythm and Blues Goes Calypso explores this phenomenon starting with a brief history of calypso music as it developed in its land of origin, Trinidad and Tobago, the music’s arrival in the United States, a brief history of the development of rhythm and blues, and a detailed description and analysis of the adaptation of calypso by African American R&B artists between 1945 and 1965. This book also makes musical and cultural connections between the West Indian immigrant community and the broader African American community that produced this musical hybrid. While the number of such recordings was small compared to the total number of rhythm and blues recordings, calypso was a persistent and sometimes major component of early rhythm and blues for at least two decades and deserves recognition as part of the history of African American popular music.
"A road-weary show veteran, Lowery landed a spot in the Ringling Brothers Sideshow Band at the height of the golden age of circuses. At a time when the nation slammed the doors on African American travel and opportunity, his work with the Ringling Brothers changed the music scene. By 1910, as a result of his performances, there were fourteen circus acts that employed African American bands."--Jacket
Kim Deitch made his name as an “underground” cartoonist — a contemporary of Spiegelman, Crumb, et. al. — but over the last three decades has simply been one of the most vital graphic novelists the medium has to offer, including acknowledged classics such as The Boulevard of Broken Dreams, Alias the Cat, and The Search for Smilin’ Ed. His new graphic novel, Reincarnation Stories, feels like the apotheosis of his career, an ambitiously sprawling tour de force exploring the concept of reincarnation. When Deitch was four years old, he began having memories of a time when he wore glasses. The problem was, he had never actually worn glasses. Then, one day, young Deitch is sitting outside his apartment building when an elderly man approaches him, excited. “Is it possible? Sid! SID PINCUS! Good God, man! You’ve changed. You’re smaller! And where are your glasses?” From here, Deitch weaves a dizzying path of reincarnation stories that spans the past, present, and future of human history, with appearances by Frank Sinatra, monkey gods, a forgotten cowboy star of the silver screen, a tribe of Native Americans that successfully resettled on the moon, and a parallel reality where Deitch himself is the megasuccessful creator of a series of kids books about a superhero called Young Avatar, who helps marginalized souls lead better lives and in his secret identity works as a carpenter. Did we mention Deitch’s spiritual nemesis (an incarnation of Judas Iscariot), Waldo the Cat? Deitch’s storytelling mastery has never been more fully on display that this rich tapestry of a graphic novel, certain to be a staple on 2019 “Best of ” year-end lists.