Black British musicians have been making jazz since around 1920 when the genre first arrived in Britain. This groundbreaking book reveals their hidden history and major contribution to the development of jazz in the UK. More than this, though, the chapters show the importance of black British jazz in terms of musical hybridity and the cultural significance of race. Decades before Steel Pulse, Soul II Soul, or Dizzee Rascal pushed their way into the mainstream, black British musicians were playing jazz in venues up and down the country from dance halls to tiny clubs. In an important sense, then, black British jazz demonstrates the crucial importance of musical migration in the musical history of the nation, and the links between popular and avant-garde forms. But the volume also provides a case study in how music of the African diaspora reverberates around the world, beyond the shores of the USA - the engine-house of global black music. As such it will engage scholars of music and cultural studies not only in Britain, but across the world.
The book also champions the importance of studying jazz beyond the borders of the United States and contributes to a growing body of literature that will enrich mainstream jazz scholarship.
The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s.
some for many years after. soweto Kinch, currently in his mid-twenties, is one of Britain's best and most successful saxophonists. he was not a member of the Jazz Warriors, but in the succeeding generation of black British jazz ...
34 Further, Collins states that the evolution concept is equally unsound in suggesting that ragtime, blues, and gospel sounds were natural precursors to jazz music. Collins advocates that far more authentically richer and thicker forms ...
Black British Swing unpacks the story of Ken 'Snakehips' Johnson's West Indian Dance Band, once Britain's most exciting dance outfit, which competed against the Blitz for the soul of London.
The book examines the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth and early twentieth centuries.
But the work produced by Black British artists has in part been within the context of Britain’s colonial legacy.
It toured with the African American performers Gordon Heath and later Connie Smith (for a biography of Smith, see Key Figure 8).20 Robert Adams (b. 1902, Guyana; d. 1965, Guyana) worked extensively in UK theatre in the 1940s.
This is the definitive history of British jazz in the 1960's.
This is the first biography of jazz pianist and composer Stan Tracey CBE (1926-2013).