Most studies of 1960s jazz underscore the sounds of famous avant-garde musicians like John Coltrane, Ornette Coleman, and Albert Ayler. Conspicuously absent from these narratives are the more popular jazz artists of the decade that electrified dance clubs, permeated radio waves, and released top-selling records. Names like Eddie Harris, Nancy Wilson, Ramsey Lewis, and Jimmy Smith are largely neglected in most serious work today. Mike Smith rectifies this oversight and explores why critical writings have generally cast off best-selling 1960s jazz as unworthy of in-depth analysis and reverent documentation.
The 1960s were a time of monumental political and social shifts. Avant-garde jazz, made by musicians indifferent to public perception aligns well with widely held images of the era. In with the In Popular Jazz in 1960s Black America argues that this dominant, and unfortunately distorted, view negates and ignores a vibrant jazz community. These musicians and their listeners created a music defined by socialization, celebration, and Black pride.
Smith tells the joyful story of the musicians, the radio DJs, the record labels, and the live venues where jazz not only survived but thrived in the 1960s. This was the music of everyday people, who viewed jazz as an important part of their cultural identity as Black Americans. In an era marked by turmoil and struggle, popular jazz offered a powerful outlet for joy, resilience, pride, and triumph.
Very detailed history of black jazz music and musicians in the 1960’s. I enjoyed this history of jazz and listened to many of the tunes highlighted by the stories of why that musician and that tune were important. Well done Mike Smith.
Reading this book was a joyful education for a non-musician. I found myself constantly looking up names of musicians and songs. Finally, I just kept my earbuds in while reading so I could search particular versions or artists mentioned by the author and listen to it, thus generating an incredible 1960s jazz playlist! Lots of good energy here...
A celebration of a sub-genre of jazz that was massively popular in its day but, as the author argues, largely overlooked today. As a listener, I’m well versed in the music he writes about (and was very heartened by his emphasis on the late Ramsey Lewis in the title, cover art and several passages). It helps me appreciate all of these incredible artists even more (they include Ramsey Lewis, Eddie Harris, Nancy Wilson, Cannonball Adderley, Wes Montgomery, the Jazz Crusaders).