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• W2041692276 abstract "Reviewed by: Subversive Sounds: Race and the Birth of Jazz in New Orleans Brian Harker Subversive Sounds: Race and the Birth of Jazz in New Orleans. By Charles Hersch. Chicago: University of Chicago Press, 2007. [x, 289 p. ISBN: 9780226328676. $35.00.] Bibliographic [End Page 772] references, illustrations, discography, index. In this book, Charles Hersch surveys the rise of jazz in New Orleans with special attention to race and class. As a political scientist, he brings a perspective and expertise unusual in jazz studies. His aim is to show how, in the age of Plessy v. Ferguson, jazz “did in fact subvert racial segregation, musically enacting and abetting Plessy’s assault on white purity” (p. 5). Hersch rejects the view of New Orleans as a musical “melting pot,” a microcosm of America that produced jazz, proposing instead a more dynamic image of cultural “circulation”: “Jazz did in fact bridge racial boundaries but not through the homogenizing blending of the melting pot but by means of the labyrinthine circulation of music throughout various New Orleans venues with audiences of different races and classes, like a parade with its second line followers” (p. 206). As a result, the traces of racial influence on jazz are not blended into the music but stand out in African features such as syncopation and blue notes, and European ones such as the use of dances like the quadrille and cotillion. This is hardly a new concept, but Hersch marshals a wealth of documentary evidence to contextualize it. The question of the precise role of different races in the creation of jazz, however, remains stoutly elusive, as in the absence of any jazz recordings before 1917 it surely must. Hersch organizes the book into five chapters entitled “Places,” “Reaction,” “Musicians,” “Music,” and “Dissemination: Morton, La Rocca, and Armstrong.” The titles indicate apparently distinct topics, but the chapters overlap considerably. For instance, Hersch discusses the black church contextually and at length in four chapters. In “Places,” he treats the black church as a site of social cohesion (pp. 24–29); in “Reaction,” he recounts the historical roles of the Baptist and Sanctified churches in shaping musical attitudes in the black community (pp. 69–72); in “Musicians,” he covers much of the same ground again, now applying the information to specific musicians (pp. 92–94); and in “Music,” he revisits the same topic but with an eye toward church influences on the music of jazz (pp. 147–54). While the framing is slightly different each time, the multiple repetitions of similar material can become disorienting and wearisome. A related problem is the lack of a sufficiently controlling time frame or chronology. The book proposes to treat the “birth” of jazz but does not focus on the turn of the century or even the period before 1917. Instead it swings freely across a wide historical spectrum, from the late 1800s to the 1920s, even from time to time reaching back as far as the eighteenth century. This gives the book admirable scope but leaves the reader in a kind of temporal limbo, disconnected from a clear sense of historical sequence or causality. To be sure, with much evidence in the form of retrospective interviews, finding causality in early New Orleans jazz might be futile in any case. But Hersch repeatedly promises to show cause and effect (as in his unequivocal statement that Creoles’ “complex struggles with identity affected the course of the music,” p. 102), a goal made more difficult by the author’s synchronic view of history. Unequivocal statements, unfortunately, appear all too frequently in a book whose subject matter, even more than other scholarly topics, cries out for modulated views and qualified declarations. “This ability to play a number of instruments was a rejection by New Orleans musicians of all races of the European virtuosic tradition in favor of an African-based craft aesthetic” (p. 121). “The dissolving of the boundary between uptown and downtown, black and Creole, reader and faker, changed the music itself ” (p. 122). “Bolden’s music was inevitably described as new and exciting by listeners, and this exhilaration came from his mixture of the sacred and the secular” (p. 151). These views might be..." @default.
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• W2041692276 title "<i>Subversive Sounds: Race and the Birth of Jazz in New Orleans</i> (review)" @default.
• W2041692276 doi "https://doi.org/10.1353/not.0.0155" @default.
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