Stomp and Swerve: American Music Gets Hot, 1843-1924
by David Wondrich
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Book Summary Information
Author: David WondrichEdition: Paperback
Audio: English (Original Language); English (Unknown); English (Published)
Published: 2003-08-01
ISBN: 155652496X
Number of pages: 256
Publisher: Chicago Review Press
Book Reviews of Stomp and Swerve: American Music Gets Hot, 1843-1924
Book Review: Bounce!
Summary: 5 Stars
American music didn't get hot suddenly in the 1950's with the arrival of Rock 'n' Roll. It didn't get sexy when Jazz provided the soundtrack to hi-jinx in the back seat of a Model A Ford in the 1920's. American music, with serendipitous blend of African and Celtic influences, has been scaring church folk and turning good girls bad since the 19th century. David Wondrich, with great wit and careful research, tells the quintessentially american story of our funky popular music.
Summary of Stomp and Swerve: American Music Gets Hot, 1843-1924
The early decades of American popular music-Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso-are, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music-black and white, urban and rural, sophisticated and crude-made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music-how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers-and how it became rock 'n' roll. It reveals that the young men and women of that bygone era had the same musical instincts as their descendants Louis Armstrong, Elvis Presley, James Brown, Jimi Hendrix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean musics; shares terrific stories about minstrel shows, "coon" songs, whorehouses, knife fights, and other low-life phenomena; and showcases a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors.History & Criticism Books
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