HTY/POL 301 Career Prep and HTY 339: Historiographical Essays and HTY 499/POL 499 Senior Seminar: Jazz Culture, Jazz Music, and the American Public during the Great Depression

Christopher Wilkinson uncovers a fascinating and unexplored side of American musical and social history in this richly detailed account of Don Albert's musical career and the multicultural forces that influenced it. Albert was born Albert Dominque in New Orleans in 1908. Wilkinson discusses his musical education in the Creole community of New Orleans and the fusion of New Orleans jazz and the Texas blues styles in the later 1920s during his tenure with Troy Floyd's Orchestra of Gold. He documents the founding of Albert's own band in San Antonio, its tours through twenty-four states during the 1930s, its recordings, and its significant reputation within the African American community. In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era. Albert's years as a San Antonio nightclub owner in the 1940s and 1950s saw the rise in popularity of rhythm and blues and the decline of interest in jazz. There was also increasing racial animosity, which Albert resisted by the successful legal defense of his right to operate an integrated establishment in 1951. In the two decades before his death in 1980, his performances in Dixieland jazz bands and interviews with oral historians concerning his own career were the fitting climax to a multifaceted musical life. Albert's voice and personality, his feelings and opinions about the music he loved, and the obstacles he faced in performing and promoting it, are artfully conveyed in Wilkinson's fluid, accessible, and erudite narrative. Jazz on the Road shows the importance of live performance in bringing jazz to America, and succeeds brilliantly in depicting an era, a locale, and a way of life.

If the 1930s was the Swing Era, then the years from 1937 on might well be called the Jump Era. That summer Count Basie recorded Jumping at the Woodside, and suddenly jump tunes seemed to be everywhere. Along with the bouncy beat came a new dance step--the high-flying aerials of the jitterbuggers--and the basketball games that took place in the dance halls of African America became faster, higher, and flashier. Duke Ellington and a cast of hundreds put the buoyant spirit of the era on stage with their 1941 musical revue, Jump for Joy, a title that captured the momentum and direction of the new culture of exuberance. Several high-profile public victories accompanied this increasing optimism: the spectacular successes of African American athletes at the 1936 Olympics, the 1937 union victory of the Brotherhood of Sleeping Car Porters, and Joe Louis's 1937 and 1938 heavyweight championship fights. For the first time in history, black Americans emerged as cultural heroes and ambassadors, and many felt a new pride in citizenship. In this book, Gena Caponi-Tabery chronicles these triumphs and shows how they shaped American music, sports, and dance of the 1930s and beyond. But she also shows how they emboldened ordinary African Americans to push for greater recognition and civil liberties--how cultural change preceded and catalyzed political action. Tracing the path of one symbolic gesture--the jump--across cultural and disciplinary boundaries, Caponi-Tabery provides a unique political, intellectual, and artistic analysis of the years immediately preceding World War II.

Even theAmerican Heritage Dictionary acknowledges that F. Scott Fitzgerald "epitomized the Jazz Age." And nowhere among his writings are the gin, pith, and morning-after squint of that era better illuminated than in these short essays. Selected in celebration of the 100th anniversary of Fitzgerald's birth, these candid personal memoirs--one written with his wife, Zelda--furnish nothing less than the autobiography of "the lost generation" of the 1920s. "He lacked armor," EL. Doctorow, author of The Waterworks, Ragtime, and Billy Bathgates, notes in his introduction. "He did not live in protective seclusion, as Faulkner. He was not carapaced in self-presentation, as Hemingway. He jumped right into the foolish heart of everything, as he had into the Plaza fountain." The Jazz Age is a celebration of one of the twentieth century's most vital writers.