Where the Dark and the Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz (Studies in Jazz) Review

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Where the Dark and the Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz (Studies in Jazz) ReviewWho invented jazz? Where did it come from? Who listened to whom, who played and hung out together, and who assimilated which musical influences from where?
Complex questions about the development of jazz music demand a thorough understanding of the musicians' points of view, coupled with impeccable research and an unbiased separation of fact from myth. Unfortunately, many critics, historians, and jazz writers over the years have contributed myth-based interpretations of jazz history. The story has often been skewed by poor journalism.
Randall Sandke, a brilliant trumpet player, composer, historian and author distills information from many firsthand sources, creating an accurate accounting of what really happened: from the facts and legends surrounding Congo Square, Storyville and Buddy Bolden, through the swing, bebop, cool, and avant-garde eras, to the modern politics of recording contracts, jazz festivals, and well-funded institutions like Jazz at Lincoln Center. Sandke challenges many well-known authorities on the topics of race and race relations in jazz, insisting that the debates over who created, developed, and contributed to jazz stay focused on facts. Sandke addresses hard-to-answer questions about where jazz came from, which influences and bloodlines its originators, protagonists and perpetuators possessed, and how cats of every color, every shade, and every gender have enriched the music. To understand the state of jazz today, Sandke maintains that we must understand history in an honest way.
In the chapter, It's Strictly Business, Sandke examines several high-profile relationships, like the partnership of Duke Ellington and his publisher Irving Mills. Was Mills taking advantage of Ellington? Would Ellington have been the star he became without Mills? Sandke presents all points of view and lets the reader decide, quoting interviews from Ellington himself, Mercer Ellington and Cab Calloway among many others. Sandke relates Calloway's publishing deal with Mills, which was similar to Ellington's--and surprisingly similar to some of the "360" deals that modern artists are signing with record companies and managers today. The relationship of manager Joe Glaser and Louis Armstrong is another beneficial partnership that created comparatively large fortunes for both parties. Sandke follows their relationship from its inception to the sad end; both men sharing a hospital room shortly before their passing in 1969.
In a brilliant look at the publishing business, Sandke tackles the tricky subject of copyrights and intellectual property rights in his chapter, Copyrights: Accounting Without Accountability. Sandke begins, "Other than an instrument (and perhaps a tuxedo), copyrights are the only work-related property a jazz musician is likely to own." He portrays the world of song rights ownership with clarity, cleverness, and hard facts; from W.C. Handy, Louis Armstrong, and The Original Dixieland Jazz Band to the exploitative tactics of Miles Davis, who appropriated many compositions from his band members and other musicians. Performing rights organizations (ASCAP, BMI) are dissected and held up for scrutiny through the eyes of this successful composer, player and author.
In the chapter, Is Everything About Race?, Sandke examines the history of the "one-drop" rule, implemented in 1896 by the Supreme Court. The ruling, intended to categorize all people by race, continues to have wide ranging implications in the jazz world and in American society in general. Sandke writes, "In my opinion the majority of jazz writers impale themselves on the spiky contradictions of America's quirky racial views. They position themselves on the side of racial equality, yet end up adhering to strict notions of racial classification. This was true in the 1930s and it's true now. Many jazz books continue to divide and classify musicians according to race as if segregation were still the law of the land."
I highly recommend this book to all music fans, musicians, and curious students of modern culture. Where the Dark and the Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz raises the level of discussion about this great modern art form. A five-star accomplishment.
John Goldsby
Bassist & Author of The Jazz Bass Book - Technique and Tradition Book/CD (Softcover) (Bass Player Musician's Library)Where the Dark and the Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz (Studies in Jazz) Overview

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