Black Music, White Business: Illuminating the History and Political Economy of Jazz / Edition 1

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Probes the conflicts between the artistry of Black musicians and the control by largely white-owned businesses of jazz distribution-the recording companies, booking agencies, festivals, clubs, and magazines.

Index, Photos

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Product Details

  • ISBN-13: 9780873488594
  • Publisher: Pathfinder Press GA
  • Publication date: 12/28/1997
  • Edition description: 1 ED
  • Edition number: 1
  • Pages: 165
  • Sales rank: 1,021,279
  • Product dimensions: 5.20 (w) x 8.20 (h) x 0.50 (d)

Table of Contents

Preface and acknowledgements 9
Pt. 1 The political economy of jazz then and now
1 'You don't own your own product': an introduction to the political economy of jazz 15
2 Why let a little thing like death interfere with exploitation? 25
3 'Selling records to colored people': white contempt for black art 37
4 If you're black, get back: double standards in the recording industry 55
Pt. 2 Approaching jazz history
5 You don't have to be intellectually dishonest to defend the status quo in jazz - but it helps 83
6 The 'jazz tradition': black music, white critic 95
7 The Afro-American folk roots of innovation in jazz 127
App. A Mark Levine's contract with Catalyst Records 145
App. B Royalty payments to Mark Levine from United Artists Records 152
Index 161
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  • Anonymous

    Posted May 20, 2003

    Great obsevations, better vignettes

    This book is a useful expose of how the music business scams and exploits all artists, not just Black artists. It is vitally important at a time when the Wynton Marsalis/Albert Murray school of Jazz history is trying to claim that Jazz is a 'celebration' of American capitalism. Kofsky shows Jazz musicians have been and continue to be victims of capitalism! Kofsky is most effective in the individual stories he tells in the separate articles in this book. He unmasks a lot of people who have manufactured images that they were friends of the jazz musician like Blue Note Records. One of his most interesting vignettes is his exposure of Vanderbuilt heir, self-praising liberal, and paternalist interferer with Jazz John Hammond. He exposes how Hammond's phoney story about Bessie Smith's death was part of the legend that helped net the already-wealthy Hammond scores of thousands of dollars, back when a dollar was a dollar, while Smith and her estate got zilch.

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