Christopher Wilkinson
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617031687
- eISBN:
- 9781617031694
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031687.003.0011
- Subject:
- Music, History, American
This chapter discusses the principal forces that brought to a close in 1942 the lively engagement with big bands that black Mountaineers had enjoyed for a number of years. It suggests that this ...
More
This chapter discusses the principal forces that brought to a close in 1942 the lively engagement with big bands that black Mountaineers had enjoyed for a number of years. It suggests that this development may be attributed to wartime policies concerning rationing and a reduction in the number of employed black miners. The chapter analyzes several issues embedded within the history of the of big band musical culture and explains some of the reasons why this culture flourished in West Virginia to an extent not to be observed in states lying to its east, west, or south.Less
This chapter discusses the principal forces that brought to a close in 1942 the lively engagement with big bands that black Mountaineers had enjoyed for a number of years. It suggests that this development may be attributed to wartime policies concerning rationing and a reduction in the number of employed black miners. The chapter analyzes several issues embedded within the history of the of big band musical culture and explains some of the reasons why this culture flourished in West Virginia to an extent not to be observed in states lying to its east, west, or south.
Christopher Wilkinson
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617031687
- eISBN:
- 9781617031694
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031687.003.0007
- Subject:
- Music, History, American
This chapter discusses the evidence of the comparative economic prosperity enjoyed by black Mountaineers in West Virginia following the implementation of New Deal policies as reflected in a dramatic ...
More
This chapter discusses the evidence of the comparative economic prosperity enjoyed by black Mountaineers in West Virginia following the implementation of New Deal policies as reflected in a dramatic increase in the number of public dances. It provides statistics showing an increase in the number of coalfield communities that provided sites for public dances during the period from 1933 to 1945, and also lists territory bands performing in West Virginia during this period.Less
This chapter discusses the evidence of the comparative economic prosperity enjoyed by black Mountaineers in West Virginia following the implementation of New Deal policies as reflected in a dramatic increase in the number of public dances. It provides statistics showing an increase in the number of coalfield communities that provided sites for public dances during the period from 1933 to 1945, and also lists territory bands performing in West Virginia during this period.
Christopher Wilkinson
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617031687
- eISBN:
- 9781617031694
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031687.001.0001
- Subject:
- Music, History, American
The coal fields of West Virginia would seem an unlikely market for big band jazz during the Great Depression. That a prosperous African American audience, dominated by those involved with the coal ...
More
The coal fields of West Virginia would seem an unlikely market for big band jazz during the Great Depression. That a prosperous African American audience, dominated by those involved with the coal industry, was there for jazz tours would seem equally improbable. This book shows that, contrary to expectations, black Mountaineers flocked to dances by the hundreds, in many instances traveling considerable distances to hear bands led by Count Basie, Duke Ellington, Andy Kirk, Jimmie Lunceford, and Chick Webb, among numerous others. Indeed, as one musician who toured the state would recall, “All the bands were goin’ to West Virginia.” The comparative prosperity of the coal miners, thanks to New Deal industrial policies, was what attracted the bands to the state. This study discusses that prosperity, as well as the larger political environment that provided black Mountaineers with a degree of autonomy not experienced further south. The author demonstrates the importance of radio and the black press both in introducing this music and in keeping black West Virginians up to date with its latest developments. The book explores connections between local entrepreneurs who staged the dances and the national management of the bands that played those engagements. In analyzing black audiences’ aesthetic preferences, the author reveals that many black West Virginians preferred dancing to a variety of music, not just jazz. Finally, the book shows that bands now associated almost exclusively with jazz were more than willing to satisfy those audience preferences with arrangements in other styles of dance music.Less
The coal fields of West Virginia would seem an unlikely market for big band jazz during the Great Depression. That a prosperous African American audience, dominated by those involved with the coal industry, was there for jazz tours would seem equally improbable. This book shows that, contrary to expectations, black Mountaineers flocked to dances by the hundreds, in many instances traveling considerable distances to hear bands led by Count Basie, Duke Ellington, Andy Kirk, Jimmie Lunceford, and Chick Webb, among numerous others. Indeed, as one musician who toured the state would recall, “All the bands were goin’ to West Virginia.” The comparative prosperity of the coal miners, thanks to New Deal industrial policies, was what attracted the bands to the state. This study discusses that prosperity, as well as the larger political environment that provided black Mountaineers with a degree of autonomy not experienced further south. The author demonstrates the importance of radio and the black press both in introducing this music and in keeping black West Virginians up to date with its latest developments. The book explores connections between local entrepreneurs who staged the dances and the national management of the bands that played those engagements. In analyzing black audiences’ aesthetic preferences, the author reveals that many black West Virginians preferred dancing to a variety of music, not just jazz. Finally, the book shows that bands now associated almost exclusively with jazz were more than willing to satisfy those audience preferences with arrangements in other styles of dance music.
