By Neil A. Wynn
This precise selection of essays examines the move of African American song and musicians around the Atlantic to Europe from the time of slavery to the 20th century. In a sweeping exam of alternative musical forms--spirituals, blues, jazz, skiffle, and orchestral music--the members reflect on the reception and impact of black tune on a couple of diversified eu audiences, fairly in Britain, but in addition France, Germany, and the Netherlands. The essayists method the topic via diversified old, musicological, and philosophical views. a couple of essays record little-known performances and recordings of African American musicians in Europe. numerous items, together with one via Paul Oliver, concentrate on the charm of the blues to British listeners. while, those concerns frequently exhibit the ambiguous nature of eu responses to black song and in so doing upload to our wisdom of transatlantic race family. Contributions from Christopher G. Bakriges, Sean Creighton, Jeffrey eco-friendly, Leighton Grist, Bob Groom, Rainer E. Lotz, Paul Oliver, Catherine Parsonage, Iris Schmeisser, Roberta Freund Schwartz, Robert Springer, Rupert until eventually, Guido van Rijn, David Webster, Jen Wilson, and Neil A. Wynn Neil A. Wynn is professor of twentieth-century American heritage on the college of Gloucestershire. he's the writer of ancient Dictionary from nice battle to nice melancholy, From Progressivism to Prosperity: American Society and the 1st global warfare, and The Afro-American and the second one global warfare.
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L. a. m? sica desconcierta al an? lisis. Ese arte de los angeles presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, l. a. encarnaci? n de los angeles inmediatez, l. a. expresi?
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Extra resources for Cross the Water Blues: African American Music in Europe
69. Robin D. G. Kelley, “We Are Not What We Seem: Opposition in the Jim Crow South,” Journal of American History, vol. 80, no. 1 (June 1993): 76–77. 70. Ishman Bracey, 1928, quoted in Haralambos, Right On: From Blues to Soul in Black America, 77. 71. Ralph Ellison, Shadow and Act (New York: Signet Books, 1966), 104. 72. Paul Garon, Blues and the Poetic Spirit (San Francisco: City Lights, 1966), 193. 73. B. King: King of the Blues, vol. 2, 1966–69, MCA Records, 1992, originally Bluesway single, 61024.
As the length of the box, with a central wooden partition, was twice the width, this allowed eighty or more records to be placed in it. Many a dealer, like Dave Carey at the Swing Shop, Streatham, had literally dozens of orange boxes ﬁlled with 78s. Sales of jazz and blues records increased markedly at this time. During and after the War, one or two small magazines were published, most notably Jazz Music edited by Max Jones and Albert McCarthy. They had to pretend to some academic credentials, for instance, as members of the “Jazz Sociological Society,” in order to meet wartime requirements on the use of paper.
Html, February 2000. 31. Michael Urban with Andrei Evdokimov, Russia Gets the Blues: Music, Culture, and Community in Unsettled Times (Ithaca and London: Cornell University Press, 2004), 1. 32. Times, March 15, 1919. 33. Jen Wilson, “Black Soul, Welsh Hwyl: Black Music in Wales, 1870–1935,” paper, “ ‘Overseas Blues’: European Perspectives on African American Music,” University of Gloucestershire, July 23–26, 2004. 34. Times, April 8, 1939, and see issues for 1937 detailing radio broadcasts. 35.