The music we call “jazz” arose in late nineteenth century North
America―most likely in New Orleans―based on the musical traditions of
Africans, newly freed from slavery. Grounded in the music known as the
“blues,” which expressed the pain, sufferings, and hopes of Black folk
then pulverized by Jim Crow, this new music entered the world via the
instruments that had been abandoned by departing military bands after
the Civil War. Jazz and Justice examines the economic, social, and
political forces that shaped this music into a phenomenal US―and Black
American―contribution to global arts and culture.
Horne
assembles a galvanic story depicting what may have been the era’s most
virulent economic―and racist―exploitation, as jazz musicians battled
organized crime, the Ku Klux Klan, and other variously malignant forces
dominating the nightclub scene where jazz became known. Horne pays
particular attention to women artists, such as pianist Mary Lou Williams
and trombonist Melba Liston, and limns the contributions of musicians
with Native American roots. This is the story of a beautiful lotus,
growing from the filth of the crassest form of human immiseration.
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