<< 1 >>
Rating: Summary: An important illumination of the way jazz has worked Review: As the pithy title suggests, African-American culture has been the primary source of jazz music -- and folks who hail from that culture have had prescious little influence over where the profits from the music have gone... and, even, over who has gotten work and who has been heard.This book illuminates that ugly side to the jazz world. The first three chapters get things rolling in fits and starts without adequate evidence to demonstrate that the explotation of black musicians has been markedly different from that of other musicians. If this were the bulk of the work it would be interesting reading but would not do much more than preach to the choir. The rest of the book builds on those chapters, deepens them, broadens them, and creates an inarguable portrait of exploitation that goes so far as to names names *and* provide well-researched explanations that refute, for example, the notion that race is what one should focus on when exploring the history of jazz. The "black" and "white" of the title may appear to refer to genetics or race -- but the text makes it clear that these are cultural categories and are inextricably bound up within the history of jazz, what it has sounded like, what it sounds like now, and how it has been made.
Rating: Summary: General Observations and really great vignettes Review: This book is a useful expose of how the music business scams and exploits all artists, not just Black artists. It is vitally important at a time when the Wynton Marsalis/Albert Murray school of Jazz history is trying to claim that Jazz is a "celebration" of American capitalism. Kofsky shows Jazz musicians have been and continue to be victims of capitalism! And as someone with a background in studying the history of country music and western swing, I can agree with another reviewer here that the same tales of exploitation can be told about white musicans as well. Kofsky is most effective in the individual stories he tells in the separate articles in this book where as has already been pointed out he "names names." Kofsky unmasks a lot of people who have manufactured images that they were friends of the jazz musician like Blue Note Records. One of his most interesting vignettes is his exposure of Vanderbuilt heir, self-praising liberal, and paternalist interferer with Jazz John Hammond. He exposes how Hammond's phoney story about Bessie Smith's death was part of the legend that helped net the already-wealthy Hammond scores of thousands of dollars, back when a dollar was a dollar, while Smith and her estate got zilch. Just the Bessie Smith story is worth the price of the book!
<< 1 >>
|