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Big in Japan: A History of Jazz in the Land of the Rising Sun, Part 1
by Karl Ackermann
Part 1 | Part 2The music market in Japan--second only to the U.S. in terms of revenue--generates more than two-billion dollars in sales annually. Enthusiasts and collectors of jazz recordings had long ago discovered that Japan's robust music scene, and the now virtual accessibility to products have made the country a go-to resource for ...
Blue Highways and Sweet Music: The Territory Bands, Part II
by Karl Ackermann
Part 1 | Part 2 Part 1 of Blue Highways and Sweet Music: The Territory Bands looked at the roots, drivers and challenges of the travelling groups who brought jazz music to the non-urban areas of the Southern Plains, through one-night-stands, in often impromptu venues. A black phenomenon, often misappropriated by white musicians, promoters, ...
Blue Highways and Sweet Music: The Territory Bands, Part I
by Karl Ackermann
Part 1 | Part 2 OriginsBy the second half of the 1920s, New York had supplanted Chicago as the center of jazz. The “Jazz Age"--a label incorrectly ascribed to F. Scott Fitzgerald--could rationally have been framed as the “Dance Age." Prohibition, and the speakeasies that it spawned, were packed with wildly enthusiastic patrons of ...
State and Mainstream: The Jazz Ambassadors and the U.S. State Department
by Karl Ackermann
The Cold War that began in 1947 and ran for forty-four years, had jazz music as its primary deterrent to global tensions, and it did more to foster good will between the U.S. and global citizens than any previous program launched by the U.S. Department of State. Jazz music, even in its Golden Age, was seldom ...
Culture Clubs: Part IV: When Jazz Met Europe
by Karl Ackermann
The Geography of Jazz--When Jazz Met Europe In 2004 Maureen Anderson, a researcher at Illinois State University contributed a dissertation to the journal, African American Review, titled The White Reception of Jazz in America. Ostensibly, her article deals with stories published in high profile periodicals and journals from 1917 and into the 1930s, written by white ...
Culture Clubs: A History of the U.S. Jazz Clubs, Part III: Kansas City, Philadelphia, Los Angeles & Beyond
by Karl Ackermann
Beyond the Hubs While New Orleans, Chicago, Kansas City and New York City were the incubators of modern jazz, they were by no means the only locations with an appetite for live music. Jazz artists whose point of origin could not sustain multiple venues ventured to locations near and far to practice their trade. ...
Culture Clubs: A History of the U.S. Jazz Clubs, Part II: New York
by Karl Ackermann
Jazz didn't abandon Chicago but its further development only began to take on a distinct personality in the 1960s. By the late 1920s, the next phase of the jazz scene had shifted from Chicago to New York though, initially, there was no red carpet rolled out. As jazz bands made their way to New York they ...
Culture Clubs: A History of the U.S. Jazz Clubs, Part I: New Orleans and Chicago
by Karl Ackermann
Marching bands, ragtime music, and the blues, were all well-entrenched and spreading up the Mississippi River Valley from New Orleans at the beginning of the twentieth century. Dixieland was the popular music staple and with the all-white Original Dixieland Jass Band recording the first jazz side, “Livery Stable Blues," in 1917, an original musical language was ...
Preserving the Cradle of Jazz: The New Orleans Jazz Museum
by Karl Ackermann
The New Orleans Jazz Club's beginnings, according to a 1950s edition of their bi-monthly newsletter, sprang from a sidewalk meeting of four jazz fans on Mardi Gras in 1948. The impromptu gathering intended to listen to the marching band called King Zulu's. One member of that group inspired the others to begin a club for jazz ...
Flame Keepers: National Jazz Museum in Harlem
by Karl Ackermann
On 129th Street, in the heart of Harlem, Loren Schoenberg emerges from a crowded back room with an unusual looking recording. Aluminum discs like the one he holds, were the first instant, electrical means of recording. Invented in 1929 they were a means of allowing radio stations to record and archive live programs that could be ...
