By Neil A. Wynn
This targeted selection of essays examines the movement of African American track and musicians around the Atlantic to Europe from the time of slavery to the 20 th century. In a sweeping exam of other musical forms--spirituals, blues, jazz, skiffle, and orchestral music--the participants think about the reception and effect of black song on a couple of assorted eu audiences, quite in Britain, but additionally France, Germany, and the Netherlands. The essayists method the topic via diversified historic, musicological, and philosophical views. a few essays rfile little-known performances and recordings of African American musicians in Europe. numerous items, together with one by way of Paul Oliver, specialise in the charm of the blues to British listeners. while, those issues usually demonstrate the ambiguous nature of eu responses to black song and in so doing upload to our wisdom of transatlantic race relatives. 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 historical past on the collage of Gloucestershire. he's the writer of historic Dictionary from nice struggle to nice melancholy, From Progressivism to Prosperity: American Society and the 1st global conflict, and The Afro-American and the second one international conflict.
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1959. ———. Blues Fell This Morning. , 1960. ———. Blues Off the Record. Tunbridge Wells: The Baton Press, 1984. Rowe, John, and Ted Watson. Junkshopper’s Discography. Jazz Tempo, Pub. 1945. 3 Even Philosophers Get the Blues FEELING BAD FOR NO REASON — D AV I D W E B S T E R . . the most astonishing aspect of the blues is that, though replete with a sense of defeat and down-heartedness, they are not intrinsically pessimistic: their burden of woe and melancholy is dialectically redeemed through sheer force of sensuality, into an almost exultant afﬁrmation of life, of love, of sex, of movement, of hope.
Eric Hobsbawm, Uncommon People: Resistance, Rebellion and Jazz (London: Weidenfeld & Nicolson, 1998), vii; Paul Oliver, Blues Fell This Morning: Meaning in the Blues (London: Cassell, 1960, second ed. Cambridge University Press, 1990). 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.
With the greater availability of paper, in 1947 Sinclair Traill founded Jazz Journal, a monthly illustrated magazine, for which Derrick Stewart-Baxter wrote his “Blues and Views” page for some thirty-ﬁve years. Derrick owned the ﬁrst Robert Johnson that I had heard; visiting him was only marred for me by his incessant pipe smoking while he held court above a little record shop in Britain. ” Soon after, in the late 1950s, Albert McCarthy commenced the publication of Jazz Monthly, in which Mike Wyler serialized his listing of the Paramount Race label and initiated what was soon to become a feature of blues writing and discography: the reproduction of record labels, which were photographed (mainly from his own collection) by Gerry Grounsell.