Making Jazz French

Music and Modern Life in Interwar Paris

Nonfiction, Entertainment, Music, Music Styles, Jazz & Blues, Jazz
Cover of the book Making Jazz French by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg, Duke University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg ISBN: 9780822385080
Publisher: Duke University Press Publication: August 5, 2003
Imprint: Duke University Press Books Language: English
Author: Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
ISBN: 9780822385080
Publisher: Duke University Press
Publication: August 5, 2003
Imprint: Duke University Press Books
Language: English

Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial.

Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial.

Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.

More books from Duke University Press

Cover of the book An Account of the Antiquities of the Indians by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Extra/Ordinary by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Liminal Lives by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Why Stories Matter by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Gay Priori by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Subcommander Marcos by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Vinyl Freak by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Little Manila Is in the Heart by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book The Social Medicine Reader, Second Edition by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Origins of Modern Japanese Literature by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Ten Books That Shaped the British Empire by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Stains on My Name, War in My Veins by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Reckoning with Pinochet by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Unequal Cures by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
Cover of the book Networked Reenactments by Jeffrey H. Jackson, Gilbert M. Joseph, Emily S. Rosenberg
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy