from the same publishing house. Reading this fabulous account of so many talented Blacks hitting their heads against the stone wall of prejudice at almost every turn, I was fascinated, sad, and increasingly angry at story after story about composer after composer, lyricist after lyricist, who had so much to offer and and were for the most part obliged to perpetuate the stereotypical image imposed upon them and their people. Now and then, a bright light breaks through as with the story of James Resse Europe's Clef Club, a union of black musicians that managed (with the help of Irene and Vernon Castle) to make their orchestras and bands those of choice by white high society. You will be equally riveted to the other accounts of men like James A. Bland, Bert Williams, W.C. Handy, Noble Sissle, Eubie Blake, and others some more familiar and less familiar to most readers.
Many of the defeats described are not necessarily the result of racism. When one of the personalities involved was at fault through his own temper or poor judgment, the authors do not shirk in pointing out where the blame lies. They also do something I found lacking in their other book: when they say how good or innovative a song was, they give reasons in musical terms for that judgment.
On the other hand, whereas their other book has amazingly concise and full appendices of works, dates, publishers, and so on, this book has none. I would greatly have appreciated a list of the all the shows mentioned in the text in chronological order. Perhaps a later edition will include this.
Rating: 
Summary: Fabulous account of struggle and success
Review: Coauthors David A. Jasen and Gene Jones should be declared national treasures. Along with their excellent account "That American Rag," published by Schirmer Books, they have given us <Spreadin' the Rhythm Around: Black Popular Songwriters, 1880-1930> from the same publishing house.
Reading this fabulous account of so many talented Blacks hitting their heads against the stone wall of prejudice at almost every turn, I was fascinated, sad, and increasingly angry at story after story about composer after composer, lyricist after lyricist, who had so much to offer and and were for the most part obliged to perpetuate the stereotypical image imposed upon them and their people. Now and then, a bright light breaks through as with the story of James Resse Europe's Clef Club, a union of black musicians that managed (with the help of Irene and Vernon Castle) to make their orchestras and bands those of choice by white high society. You will be equally riveted to the other accounts of men like James A. Bland, Bert Williams, W.C. Handy, Noble Sissle, Eubie Blake, and others some more familiar and less familiar to most readers.
Many of the defeats described are not necessarily the result of racism. When one of the personalities involved was at fault through his own temper or poor judgment, the authors do not shirk in pointing out where the blame lies. They also do something I found lacking in their other book: when they say how good or innovative a song was, they give reasons in musical terms for that judgment.
On the other hand, whereas their other book has amazingly concise and full appendices of works, dates, publishers, and so on, this book has none. I would greatly have appreciated a list of the all the shows mentioned in the text in chronological order. Perhaps a later edition will include this.
Rating:
Summary: Glad That They Were "Spreadin' Rhythm Around"
Review: The complete source for information in this area. Proves to be an indispensable research guide. The impressive data, design, and layout are all first-rate. Photos and pix are priceless. A presentation of great beauty and charm. Highly recommended.
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