Satchmo Blows Up the World : Jazz Ambassadors Play the Cold War

Penny Von Eschen ends Satchmo Blows up the World with, "For more than two decades, all over the globe, America was associated with jazz, civil rights, African American culture, and egalitarianism - not because the jazz ambassadors claimed to represent a free country, but because they identified so deeply with global struggles for freedom" (Von Eschen, Satchmo Blows up the World 252). The quote exemplifies the ideological rivalry of the Cold War. As a response to the ideological antagonism, the U.S. State Department let loose a most unorthodox weapon vis-à-vis Communism: jazz (Von Eschen, Satchmo Blows up the World 1-26). Starting from 1956 and continuing until the end of the 1970s, America sent out its best jazz musicians to the far corners of the earth, in an effort "to win the hearts and minds" of the Third World and , ironically, to counter world opinions about an American form of racism (Von Eschen, Satchmo Blows up the World 58-91). Von Eschen tours us across the world with jazz luminaries like Dizzy Gillespie, Louis Armstrong, Duke Ellington, as they spread their music (and their ideas) further than the State Department could ever imagine (Von Eschen, Satchmo Blows up the World 1, 58, 121, and 250). Finally, while historian Thomas Borstelmann crafts his story from the perspective of presidents and policymakers, Von Eschen writes her story from the point of view of the African Americans who drew motivation from the independence movements in Africa. Through the stories of gigs and tours, Von Eschen articulates the amazing interconnection between the agendas of the State Department and the progressive ideas of the artists themselves (Von Eschen, Satchmo Blows up the World 126-128). Von Eschen shows us the artist's efforts to redefine the boundaries and realign the contours in an effort to redefine America on the world stage. The artists engaged their audiences both in concert and after hours, through official political statements and/or romantic liaisons (Von Eschen, Satchmo Blows up the World 121-147). The musicians broke through official government limits and allowed their audiences an unorthodox and unmatched view of the black American experience (Von Eschen, Satchmo Blows up the World 43-47). Though initially planned as a color-blind foisting of democracy, this one of a kind Cold War strategy unintentionally showed the essential role of African Americans, as stated previously, in U.S. national culture. The new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East instead fostered a sense of solidarity and pride (Von Eschen, Satchmo Blows up the World 71-72 and 75-76).

at The Height Of The Ideological Antagonism Of The Cold War, The U.s. State Department Unleashed An Unexpected Tool In Its Battle Against Communism: Jazz. From 1956 Through The Late 1970s, America Dispatched Its Finest Jazz Musicians To The Far Corners Of The Earth, From Iraq To India, From The Congo To The Soviet Union, In Order To Win The Hearts And Minds Of The Third World And To Counter Perceptions Of American Racism.

penny Von Eschen Escorts Us Across The Globe, Backstage And Onstage, As Dizzy Gillespie, Louis Armstrong, Duke Ellington, And Other Jazz Luminaries Spread Their Music And Their Ideas Further Than The State Department Anticipated. Both In Concert And After Hours, Through Political Statements And Romantic Liaisons, These Musicians Broke Through The Government's Official Narrative And Gave Their Audiences An Unprecedented Vision Of The Black American Experience. In The Process, New Collaborations Developed Between Americans And The Formerly Colonized Peoples Of Africa, Asia, And The Middle East—collaborations That Fostered Greater Racial Pride And Solidarity.

though Intended As A Color-blind Promotion Of Democracy, This Unique Cold War Strategy Unintentionally Demonstrated The Essential Role Of African Americans In U.s. National Culture. Through The Tales Of These Tours, Von Eschen Captures The Fascinating Interplay Between The Efforts Of The State Department And The Progressive Agendas Of The Artists Themselves, As All Struggled To Redefine A More Inclusive And Integrated American Nation On The World Stage.

martin Levin - Globe And Mail

a Fascinating Account Of How The U.s. State Department Tried To Win The Cold War By Appealing To Hearts, Minds And Souls Around The World Through Its Great Jazz Musicians. And, Since Most Of The Musicians Were Black (armstrong, Dizzy Gillespie, Duke Ellington), To Create The Impression Of A Country Where Racism Was Not An Issue.

"At the height of the ideological antagonism of the Cold War, the U.S. State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism." "Penny Von Eschen escorts us across the globe, backstage and onstage, as Dizzy Gillespie, Louis Armstrong, Duke Ellington, and other jazz luminaries spread their music and their ideas further than the State Department anticipated. Both in concert and after hours, through political statements and romantic liaisons, these musicians broke through the government's official narrative and gave their audiences an unprecedented vision of the black American experience. In the process, new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East - collaborations that fostered greater racial pride and solidarity." "Though intended as a color-blind promotion of democracy, this unique Cold War strategy unintentionally demonstrated the essential role of African Americans in U.S. national culture. Through the tales of these tours, Von Eschen captures the fascinating interplay between the efforts of the State Department and the progressive agendas of the artists themselves, as all struggled to redefine a more inclusive and integrated American nation on the world stage."--BOOK JACKET. Contents ......Page 8 1. Ike Gets Dizzy......Page 14 2. Swinging into Action: Jazz to the Rescue......Page 40 3. The Real Ambassador......Page 71 4. Getting the Soviets to Swing......Page 105 5. Duke’s Diplomacy......Page 134 6. Jazz, Gospel, and R&B: Black Power Abroad......Page 161 7. Improvising Détente......Page 198 8. Playing the International Changes......Page 236 9. Epilogue......Page 263 Notes......Page 276 Acknowledgments......Page 332 Index......Page 336 Ike Gets Dizzy -- Swinging Into Action: Jazz To The Rescue -- The Real Ambassador -- Getting The Soviets To Swing -- Duke's Diplomacy -- Jazz, Gospel, And R&b: Black Power Abroad -- Improvising Détente -- Playing The International Changes. Penny M. Von Eschen. Includes Bibliographical References (p. 263-318) And Index. Stung by reports that people around the world thought the US was a racist society that oppressed the African American, from 1956 the State Dept. dispatched jazz luminaries such as Louis Armstrong to distant corners where they blew the trumpet of freedom in the war against communism