Although he had success as a bandleader in the 1930′s, he is best known for being manager of Harlem’s Minton’s Playhouse during the birth of bebop. Who was he?
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For years, we have published exclusive interviews with prominent historians on a variety of figures and topics essential to American history that can also be put into the “American American History” category. Some examples:
Biographers discuss John Coltrane, Miles Davis, Charlie Parker, Louis Armstrong, Fletcher Henderson, Thelonious Monk, W. C. Handy, Cab Calloway, Sam Cooke, Lena Horne, Dizzy Gillespie, Dinah Washington, Robert Johnson, Bessie Smith, Lester Young, Charles Mingus, Bud Powell, Jelly Roll Morton, Billie Holiday, Sonny Rollins, and Josephine Baker
Historians — including National Book Award and Pulitzer Prize winners — talk about the lives of Rosa Parks, Ralph Ellison, Madame C.J. Walker, Zora Neale Hurston, Richard Wright, Reverend C.L. Franklin, Bayard Rustin, the Reverend Ralph Abernathy, and the events of the Tulsa race riots of 1921, 1960′s Birmingham, Alabama
Including interviews about Satchel Paige, The Harlem Globetrotters, Joe Louis, Negro League Baseball, Jack Johnson, Curt Flood and Jacke Robinson
There are countless other interviews and subjects to be discovered…If you are looking to do research for papers or to simply enjoy a favorite topic of history, we invite you to click here to get to a comprehensive list of interviews. Alternatively, you can find these interviews by doing a basic search. […] Continue reading »
Marc Myers is a busy guy…In addition to being a frequent contributor to the Wall Street Journal (where he writes about jazz, rock, and other culture), he also posts daily on his award-winning blog Jazz Wax and travels around the world promoting his pursuits. Perhaps his most important contribution is his book Why Jazz Happened, described by his publisher (University of California Press) as “the first comprehensive social history of jazz.” Myers’ perspective is fresh and thorough and wonderfully entertaining. For those who love the history of this music, it should be on your night table.
I recently interviewed Myers about his book, which he took the time to converse in great detail about — topics like how the G.I. Bill altered the direction of jazz; the advent of the extended jazz solo that came with the introduction of the LP; and how the suburbanization of Southern California ushered in a new harmony-rich jazz style in contrast to the music played in urban markets. It is a great read!
What follows is part conversation/part history class about Myers’ fascinating cultural study of why, in his opinion, “jazz happened.” […] Continue reading »
On occasion I have taught a very basic 45 minute “History of Jazz” class to first and second graders. I play music and show video, hold up classic record album covers, and read a quotation or two. Without fail, the 6 – 8 year olds are excited by the music and images, and it is exhilarating to see them get to their feet and unabashedly dance, inspired by the music of Armstrong, Goodman, Ellington, Basie, Billie, and Monk. Their energy is unbounded, and is a reminder of what lives inside children before many unlearn their “hip” roots.
Whenever a new book geared toward teaching children about jazz music is released, I am moved to share the news…Check out Journey to Jazzland, a picture book to inspire kids to learn about jazz. Conceptualized by Gia Volterra de Saulnier, she writes that she hopes to “get more kids inspired to learn at least a little bit more about jazz,” and to get them to know about “this important music history that really should be kept alive.”
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It is a photo of the arrest of one man — and Stan Getz’s career is fortunately not defined by this arrest — but it is an image of a generation of jazz musicians hooked on drugs, and would cause Martin Torgoff, author of Can’t Find My Way Home: America in the Great Stoned Age, 1945 – 2000 to devote an entire chapter of his book on the scourge, calling it “Bop Apocalypse.” “The craving necessity of a constant supply alone would drive many to crime and humiliation and self-destruction,” Torgoff writes. “Sonny Stitt would steal and pawn every musician’s horn he could get his hands on; Red Rodney would invent elaborate criminal scams […] Continue reading »