By Jacqueline Cogdell DjeDje, Eddie S. Meadows
Focusing on blues, jazz, gospel, rhythm and blues, and soul tune, California Soul is among the first books to discover the wealthy musical background of African american citizens in California. The individuals describe intimately the person artists, locales, teams, musical types, and neighborhood characteristics, and the result's a massive publication that lays the basis for an entire new box of research. The essays draw from oral histories, song recordings, newspaper articles and ads, in addition to inhabitants facts to supply insightful discussions of subject matters just like the California city milieu's impression on gospel track, the advance of the West Coast blues kind, and the importance of Los Angeles's primary road within the early days of jazz. different essays supply views on how person musicians were formed by way of their African American history, and at the position of the checklist and radio within the making of song. as well as the varied diversity of essays, the booklet contains the main accomplished bibliography now to be had on African American track and tradition in California.
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Additional resources for California Soul: Music of African Americans in the West
Grand Hotel, and at the Jump Steady Club, where he appeared with the great blues singer Jimmy Rushing. ”70 Though Morton’s name does not appear in the ads, his autobiography71 indicates that the Cadillac was his ﬁrst main gig after he arrived in Los Angeles in and that the band he played with there initially was composed of local (at least, non–New Orleans) players: The Cadillac was again in bloom. Of course, the musicians couldn’t play the tunes we could in New Orleans; they didn’t have the ability.
The organization of materials is somewhat haphazard, and the text, mainly limited to captions and short introductory and transitional essay passages, provides valuable chunks of information but leaves a great deal unaccounted for, jumping about without much regard for chronological coherence. Bette Yarbrough Cox’s Central Avenue—Its Rise and Fall,8 despite its somewhat anecdotal presentation, is one of the few works that provides a more extensive discussion of jazz in Los Angeles prior to .
We didn’t have any dance halls in Los Angeles so there weren’t any places for musicians to play. ”45 The Sam McVea referred to by Spikes was likely related to (or perhaps was himself ) the father of Jack McVea. Jack got his start as a musician playing banjo for his father’s group, McVea’s Howdy Band, in the s, joining the band when he was only eleven years old. ” Most of Los Angeles’s black dance-band musicians were formally trained in European art music, to a greater degree than their counterparts elsewhere in the country,46 and musicreading ability was a prerequisite for professional success on the society danceband scene.