Our Language (1924-1929)
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Jazz In 1920
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When most people think of Detroit and music, they think of the Motown sound. But what many people forget is that Detroit has a remarkable jazz history, which became a major influence in what came to be known as the Motown sound.
Before Motown is the first book about the history of jazz in Detroit. It shows the significant impact Detroit has had on the development of jazz in America, with its own sound, distinct from that of the other jazz centers of Chicago, New Orleans, St. Louis, or Kansas City. Starting with the big bands in the 1920s,with groups like the McKinney's Cotton Pickers and Jean Goldkette's Orchestra, and continuing into the 1950s, Detroit experienced a golden age of modern jazz centered around clubs like the Blue Bird Inn. That jazz scene comes alive in interviews with musicians and club owners, combined with unique period photographs and advertisements. In addition, Detroit's vital jazz scene is placed in its social context, particularly within the changing relations between blacks and whites at the time.
Long overdue, Before Motown tells the story of Detroit jazz as it really happened, told by the people who lived it. More importantly, it shows how life can mirror art in the most pragmatic of American cities, Detroit.
Lars Bjorn is Professor of Sociology, University of Michigan, Dearborn, and the author of numerous articles and publications about jazz. Jim Gallert is Vice President of the Jazz Alliance of Michigan and a veteran jazz broadcaster. He has been involved with the Detroit jazz scene for over twenty-five years.
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F. Scott Fitzgerald named it, Louis Armstrong launched it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this fabulous era in his marvelously engrossing book, appropriately called The Jazz Age. Enriching his account with lively anecdotes and inside stories, he describes the astonishing outpouring of significant musical innovations that emerged during the "Roaring Twenties"--including blues, jazz, band music, torch ballads, operettas, and musicals--and sets them against the background of the Prohibition world of the Flapper and the Gangster.
The Jazz Age offers an insider's view into the significant developments and personalities of the jazz age, including the maturation and Americanization of the Broadway musical theater, the explosion of the arts celebrated in the Harlem Renaissance, the rise of the Classic Blues Singers, and the evolution of ragtime into stride piano. It also contains a bibliography, detailed discography, and listings of the songs of the twenties in Variety's "Golden 100" and of films featuring singers and songwriters of the era.
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This study demonstrates that jazz as it appeared in narrative fiction was often used as a forum to address the nation's anxieties in the turbulent years during which the United States gradually changed from a nation dedicated to an isolationist policy to a superpower likely to intervene in foreign conflicts. The jazz narrative became one of the means through which this paradigm shift was justified to an American audience.
Jazz might strike many readers as a subject only for aficionados, but this book is accessible to a broad audience. It is aimed at casual fans of jazz music curious about the music's broader role in the cultural development of the United States and the interplay between jazz and American fiction.
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Todd Dwyer: Legalizing marijuana, like alcohol, is the rational thing to do As for the mafia bootleggers and smugglers who supplied the alcohol that fueled the Jazz Age of the 1920s, they tended -- in the absence of sensible regulation -- to become exceedingly violent and vastly wealthy and powerful. |
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Check Out the Last SCAA Concert of the Year: Blair Crimmins and the Hookers For Atlanta singer/songwriter Blair Crimmins, it is all about 1920's jazz. Crimmins has played in different genres with several bands but it was not until he began learning about the blues and matured as a musician that he found himself face to face |
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Wildcats to Perform at Banjo Museum The museum's core collection of instruments are the ornately decorated banjos made in America during the Jazz Age of the 1920's and 30s. As entertainment of the 20s and 30s was a flamboyant “in person” experience, the banjos from this era were very |
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Wshat's on But overexposure be damned: if you somehow missed his 2009 show at the Montreal International Jazz Festival and his co-headlining concert with Eric Clapton last year, don't make the same mistake again. Of all his axe-hero contemporaries, Beck remains |
"If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original."
— Duke Ellington, jazz composer and bandleader
As a proud patriotic American, he always claimed that he was born on the Fourth of July. He was mistaken in that, and missed the year by also frequently stating that he was born with the last century, in 1900. In truth, he likely did not know for certain, and like other wandering dirt poor boys born in the south at the time, assumed an easily recalled "close enough" date for formal purposes early on in life. By the time his almost 70 odd but very storied years were done on this earth he had become not only a world famous entertainer, but he was widely recognized worldwide as the quintessential American produced in that era.
Early in te clip you’ll spot Tony Esterman playing solo piano as guests enter in the foyer. In the chill lounge, under the chandeliers, you’ll see Bakelite Jazz adding enormously to the 1920s theme, with myself conducting (when I wasn’t singing the songs of the 1920s & 1930s), Al Davey on trumpet (he also played trombone that night), Peter Locke piano, Darcy Wright double bass and Joel Davis on the big 1927 vintage drums and 1924 vintage temple blocks
These magnificent drums are unfortunately obscured in the film clip. So here’s a pic of how they looked, which I snapped on the night before the band started playing, just to show you…