Jazz on the Road: Don Albert's Musical LIfeUniversity of California Press, 2001 M10 30 - 306 páginas Christopher Wilkinson uncovers a fascinating and unexplored side of American musical and social history in this richly detailed account of Don Albert's musical career and the multicultural forces that influenced it. Albert was born Albert Dominque in New Orleans in 1908. Wilkinson discusses his musical education in the Creole community of New Orleans and the fusion of New Orleans jazz and the Texas blues styles in the later 1920s during his tenure with Troy Floyd's Orchestra of Gold. He documents the founding of Albert's own band in San Antonio, its tours through twenty-four states during the 1930s, its recordings, and its significant reputation within the African American community. In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era. Albert's years as a San Antonio nightclub owner in the 1940s and 1950s saw the rise in popularity of rhythm and blues and the decline of interest in jazz. There was also increasing racial animosity, which Albert resisted by the successful legal defense of his right to operate an integrated establishment in 1951. In the two decades before his death in 1980, his performances in Dixieland jazz bands and interviews with oral historians concerning his own career were the fitting climax to a multifaceted musical life. Albert's voice and personality, his feelings and opinions about the music he loved, and the obstacles he faced in performing and promoting it, are artfully conveyed in Wilkinson's fluid, accessible, and erudite narrative. Jazz on the Road shows the importance of live performance in bringing jazz to America, and succeeds brilliantly in depicting an era, a locale, and a way of life. |
Dentro del libro
Resultados 1-5 de 16
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Don Albert's Musical LIfe Christopher Wilkinson. Music of the African Diaspora Edited by Samuel A. Floyd Jr. 1. California Soul : Music of African Americans in the West , edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2 ...
Don Albert's Musical LIfe Christopher Wilkinson. Music of the African Diaspora Edited by Samuel A. Floyd Jr. 1. California Soul : Music of African Americans in the West , edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2 ...
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... Americans born near the bottom of the social ladder , Albert was driven to rise economically and socially . At the ... African American responded to extraordinary changes in American music and society over more than six decades , from ...
... Americans born near the bottom of the social ladder , Albert was driven to rise economically and socially . At the ... African American responded to extraordinary changes in American music and society over more than six decades , from ...
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... African traditions and val- ues . The resulting culture was , in the words ... Afro - Creoles became the one regularly spoken by francophone New Orleanians of all ... Americans or of Europeans than of West Africans . The Creoles of Color ...
... African traditions and val- ues . The resulting culture was , in the words ... Afro - Creoles became the one regularly spoken by francophone New Orleanians of all ... Americans or of Europeans than of West Africans . The Creoles of Color ...
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Contenido
1 | |
West to Texas the Southwest Frontier of Jazz 192629 | 23 |
Recording for Okeh and Brunswick 192829 | 43 |
Don Albert Southwest Territory Bandleader 192933 | 67 |
Expanding the Territory 193334 | 95 |
To New York City and Back 193536 | 107 |
Americas Greatest Swing Band Records for Vocalion 1936 | 139 |
A National Band from the Southwest 193739 | 167 |
The Bands Final Year 1940 | 203 |
From Bandleader to Businessman 19408 | 211 |
The Second Keyhole and a Fight for Social Justice 194960 | 231 |
Closing the Circle 196080 | 245 |
ESSAY ON SOURCES | 273 |
WORKS CITED | 275 |
INDEX | 281 |
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Términos y frases comunes
African African Americans Albert Dominique Albert interview Albert's band Alvin Alcorn America's Greatest Swing American April arrangements August Ballroom band played band's bandleader banjo Bigard Billy Douglas black community Blues brass Chicago Defender chorus City clarinet club Creole Dallas dance bands Dominique's Don Albert Douglas Ellington engagement ensemble entertainment February floor show Floyd's band Geechee Greatest Swing Band Gueringer Gunther Schuller Hazel Herb Hall hired Hogan Jazz Archive house band January July June Kenneth Dominique later Lloyd Glenn Louis Armstrong Louis Cottrell Louisiana Weekly Lunceford March melody musicians night nightclub North Robertson November October Okeh Orchestra Orleans Jazz Pals performance phrase piano Pittsburgh Courier popular recalled recordings reeds rhythm Roper Russell San Antonio Register saxophone saxophonist Schuller September Seventh Ward Shadowland Sheik singer solo song Sterlin Holmesly story style Texas tour traveled trombone Troy Floyd trumpet trumpet player tuba two-measure venue vocal Vocalion week York
Pasajes populares
Página 2 - US Bureau of the Census, Fourteenth Census of the United States: 1920. Population, I, pp.
Página 72 - Bands, 1 mean big bands, are now taking to the road rather than hold one stand indefinitely. There's more money on the road and in barnstorming, even one-night jumps. . . . Radio has so popularized good musie that the smaller towns want and are willing to pay to hear good bands in person.24 Engagements in "the smaller towns" would be essential to the sueeess of any tour by the Ten Pals.
Página 99 - Afriean -Ameriean theater audienee that doesn't get their information from the arts seetion in the newspaper, that doesn't read reviews but listens to the radio, gets things stuffed in their bulletins in ehureh, has flyers put on their ear when they're nightelubbing.
Página 132 - Twenty Years On Wheels, as told to Amy Lee (Ann Arbor: University of Miehigan Press, 1989), 93-94. 41 . Lmus Armstrong's wife, [aialie, while aeknowledging that Armstrong "iramed for nothing," told Gary Guldens that loe Glaser eolleeted halt
Página 20 - s bands had to be prepared "to read straight [that is, notated] arrangements, to rely on head arrangements of standard tunes in the repertoire, and to improvise on new tunes."24 Thanks to his studies with Piron, Dominique eould handle the first task; this was what "reading" musieians were trained to do.
Página 6 - New Orleans Jazz: A Family Album (3d ed.). Baton Rouge: Louisiana State University Press, 1984.
Página 140 - Albert band had no really distinetive style of its own ... it went all out to emulate Ellington, even — one would have to add — in a...
Página 25 - Bluek and White Worlds of Dallas Converged ( Demon: University of North Texas Press, 1998), ix-ri.
Página 83 - Devils eould play in any of three styles; he mentioned "sweet musie" and arrangements "that had a lot of waltzes in it and some of the eountry musie," the third eomponent presumably eonsisting of jazz and blues numbers.
Referencias a este libro
Pearl Harbor Jazz: Change in Popular Music in the Early 1940s Peter Townsend Vista previa limitada - 2009 |
Subversive Sounds: Race and the Birth of Jazz in New Orleans Charles B. Hersch Vista previa limitada - 2008 |