Stomp and Swerve : American Music Gets Hot, 1843#x96;1924

The early decades of American popular music-Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso-are, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music-black and white, urban and rural, sophisticated and crude-made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music-how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers-and how it became rock 'n' roll. It reveals that the young men and women of that bygone era had the same musical instincts as their desc ants Louis Armstrong, Elvis Presley, James Brown, Jimi H rix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean musics; shares terrific stories about minstrel shows, coon songs, whorehouses, knife fights, and other low-life phenomena; and showcases a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors. Author Biography: David Wondrich is the author of Esquire Drinks and writes about music and cocktails for The New York Times , Esquire , and The Village Voice . He lives in Brooklyn, New York. Downbeat [Wondrich] never lets his knowledge of historical minutiae get in the way of a good story. The early decades of American popular music—Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso—are, for most listeners, the dark ages. It wasn’t until the mid-1920s that the full spectrum of this music—black and white, urban and rural, sophisticated and crude—made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music—how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers—and how it became rock ’n’ roll. It reveals that the young men and women of that bygone era had the same musical instincts as their descendants Louis Armstrong, Elvis Presley, James Brown, Jimi Hendrix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean forms; shares terrific stories about minstrel shows, “coon” songs, whorehouses, knife fights, and other low-life phenomena; and showcases a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors.
The early decades of American popular music#x97;Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso#x97;are, for most listeners, the dark ages. It wasn{u2019}t until the mid-1920s that the full spectrum of this music#x97;black and white, urban and rural, sophisticated and crude#x97;made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music#x97;how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers#x97;and how it became rock {u2019}n{u2019} roll. It reveals that the young men and women of that bygone era had the same musical instincts as their descendants Louis Armstrong, Elvis Presley, James Brown, Jimi Hendrix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean forms; shares terrific stories about minstrel shows, #x93;coon? songs, whorehouses, knife fights, and other low-life phenomena; and showcases a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors The early decades of American popular music are, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music -- black and white, urban and rural, sophisticated and crude -- made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music -- how it outlasted sentimental waltzes and parlour ballads, symphonic marches and Tin Pan Alley novelty numbers -- and how it became rock 'n' roll. It reveals that the young men and women of that bygone era had the same musical instincts as their descendants Louis Armstrong, Elvis Presley, James Brown, Jimi Hendrix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean music; shares terrific stories about minstrel shows, 'coon' a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors. Love and strife -- Minstrelsy, or, Get out de way -- Ragtime, or, All coons alike -- Black folks' opera -- Emmett's children, or, Hillbilly music.;The early decades of American popular music--Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso--are, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music--black and white, urban and rural, sophisticated and crude--made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music--how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers--and how it became rock 'n' roll. It reveals that the young men and wom. The early decades of American popular music℗اStephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso℗اare, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music℗اblack and white, urban and rural, sophisticated and crude℗اmade it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music℗اhow it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers℗اand how it became rock 'n' roll. It reveals that the young men an In late January 1843, Daniel Decatur Emmett hosted an impromptu jam session in his room in Mrs. Brooke's boarding house at 37 Catherine Street, in New York's impressively unsavory Fourth Ward. Companion CD 'Stomp and Swerve' to be simultaneously released by Archeophone records