[78-L] Interracial recording hillbilly vs. jazz

gdkimball gdkimball at cox.net
Sat Aug 31 17:05:03 PDT 2013

And to add more silliness to the equation,  are we counting recordings that feature Pacific Islanders and Haoles?

Sent from my Verizon Wireless 4G LTE Smartphone

-------- Original message --------
From: Julian Vein <julianvein at blueyonder.co.uk> 
Date: 08/31/2013  5:57 PM  (GMT-05:00) 
To: 78-L Mail List <78-l at klickitat.78online.com> 
Subject: Re: [78-L] Interracial recording hillbilly vs. jazz 
On 31/08/13 19:27, Joe Scott wrote:
> One of the chapters in the recent book Hidden In The Mix: The African American Presence In Country Music claims that the two largest categories of interracial recording before about 1933 were vaudeville blues (Mamie Smith with Joseph Samuels' band type stuff) followed by hillbilly. That's incorrect, there were more jazz than hillbilly. The writer apparently doesn't know that trumpeter Bill Moore's sessions with the likes of Tommy Dorsey were interracial sessions, e.g., which reminds us that if you compare one thing to another you should know about the other.
> Reminds me, another recent book, Black Recording Artists by Gibbs, he doesn't seem very interested in Achille Baquet or Bill Moore either.
> Joseph Scott
> _______________________________________________
> What would be more interesting is which social groups Baquet and Moore moved in outside the studio. Where did they feel most comfortable?

It seems we're in danger of descending into the "South African Pencil 

Should be get obsessed with the colour of a musician's skin down to this 
amount of details.

      Julian Vein
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