Three essays highlighting the historical roots of blues, through the twentieth century of jazz to the present
FYI Communications, Inc.
Emphasis is on the cultural politics involved with the publicaion, production, promotion and critique of blues and jazz music for the benefit of the dominant capitalistic music industry and to the economic detriment of the innovators, African-Americans.
Though the birth of the Blues accounts for the copulation of the diverse and unwittingly perverse experiences of the Blues people, the afterbirth of the Blues is the stuff of which American music is sculpted. [The Sign of the Blues]
Despite the contempt with which both black Christians and white critics treated jazz, it provided a successful rhetoric for black Americans. The only true American art form, jazz is derived from the wordless experiences of blacks shackled by that horrible institution of American slavery. [Jazz: The Unmasked Rhetoric]
Blacks have not been in control of this powerful source of expression because of white domination of the business of recording, booking, radio and television production, and critique. But musicians like Max Roach and Quincy Jones dedicated themselves to building a strong economic base for African-American artists. [The Cultural Politics of Commercial Jazz]