City of Gabriels presents St. Louis's jazz history from 1895 to 1973. Highlighted with striking images from each era, this book describes the lively world of jazz from talents and personalities like Tom Turpin, Frank Trumbrauer, Singleton Palmer, Clark Terry, Jeanne Trevor, Willie Akins, Miles Davis, and countless others. City of Gabriels, written by St. Louis radio host Dennis Owsley, is a must for lovers of jazz. The book gives a needed insight into an enduring culture in St. Louis. Published in cooperation with The Sheldon Concert Hall and Art Galleries.
From 1968 to 1972, St. Louis was home to the Black Artists' Group (BAG), a seminal arts collective that nurtured African American experimentalists involved with theater, visual arts, dance, poetry, and jazz. Inspired by the reinvigorated black cultural nationalism of the 1960s, artistic collectives had sprung up around the country in a diffuse outgrowth known as the Black Arts Movement. These impulses resonated with BAG's founders, who sought to raise black consciousness and explore the far reaches of interdisciplinary performance--all while struggling to carve out a place within the context of St. Louis history and culture.A generation of innovative artists--Julius Hemphill, Oliver Lake, and Emilio Cruz, to name but a few--created a moment of intense and vibrant cultural life in an abandoned industrial building on Washington Avenue, surrounded by the evisceration that typified that decade's "urban crisis." The 1960s upsurge in political art blurred the lines between political involvement and artistic production, and debates over civil rights, black nationalism, and the role of the arts in political and cultural struggles all found form in BAG. This book narrates the group's development against the backdrop of St. Louis spaces and institutions, examines the work of its major artists, and follows its musicians to Paris and on to New York, where they played a dominant role in Lower Manhattan's 1970s "loft jazz" scene. By fusing social concern and artistic innovation, the group significantly reshaped the St. Louis and, by extension, the American arts landscape.
African Americans have been part of the story of St. Louis since the city's founding in 1764. Unfortunately, most histories of the city have overlooked or ignored their vital role, allowing their influence and accomplishments to go unrecorded or uncollected; that is, until the publication of Discovering African American St. Louis: A Guide to Historic Sites in 1994. A new and updated 2002 edition is now available to take readers on a fascinating tour of nearly four hundred African American landmarks. From the boyhood home of jazz great Miles Davis in East St. Louis, Illinois, to the site of the house that sparked the landmark Shelley v. Kraemer court case, the maps, photographs, and text of Discovering African American St. Louis record a history that has been neglected for too long. The guidebook covers fourteen regions east and west of the Mississippi that represent St. Louis's rich African American heritage. In the words of historian Gary Kremer, "No one who reads this book and visits and contemplates the places and peoples whose stories it recounts will be able to look at St. Louis in the same way ever again."
In the early twentieth century, St. Louis was a hotbed for ragtime and blues, both roots of jazz music. In 1914, Jelly Roll Morton brought his music to the area. In 1919, Louis Armstrong came to town to play on the "floating conservatories" that plied the Mississippi. Miles Davis, the most famous of the city's jazz natives, changed the course of the genre four different times throughout a world-renowned career. The Black Artists Group of the 1970s was one of the first to bring world music practices into jazz. Author Dennis C. Owsley chronicles the ways both local and national St. Louis musicians have contributed to the city and to the world of music.
From the French fiddlers of the fur trading days to the rock and hip hop icons of the present millennium, St. Louis has been a town rich in musical history. Though it has rarely been cited as a center of any scene, any area that has been home to Chuck Berry, Miles Davis, Ike & Tina Turner, Grant Green, Pavlov's Dog, Uncle Tupelo, Nelly, and Pokey LaFarge has clearly deserved more attention. This book tells the story of music in St. Louis, from the symphonic to the singer/songwriter, from the radio stations that propelled it to the fanzines that documented it, from the musicians who left here for greater fame to those who stayed and made this town more vibrant. This is the first time that all the tributaries of the great St. Louis river of song have been covered in one place; classical, jazz, blues, r&b, rock'n'roll, country, hip hop, and more.
A searing portrait of the racial dynamics that lie inescapably at the heart of our nation, told through the turbulent history of the city of St. Louis. From Lewis and Clark's 1804 expedition to the 2014 uprising in Ferguson, American history has been made in St. Louis. And as Walter Johnson shows in this searing book, the city exemplifies how imperialism, racism, and capitalism have persistently entwined to corrupt the nation's past. St. Louis was a staging post for Indian removal and imperial expansion, and its wealth grew on the backs of its poor black residents, from slavery through redlining and urban renewal. But it was once also America's most radical city, home to anti-capitalist immigrants, the Civil War's first general emancipation, and the nation's first general strike—a legacy of resistance that endures. A blistering history of a city's rise and decline, The Broken Heart of America will forever change how we think about the United States.
From the early days through Prohibition and the swing era, then to bebop and beyond, this is the story of jazz music, musicians, and venues in Minneapolis and St. Paul.
St. Louis Brews, Second Edition: The History of Brewing in the Gateway City features hundreds of historical images, a full chronology of the city's long brewing history, fascinating profiles of more than 125 local breweries, and capsules on the craft, regional, and nineteenth-century breweries. Available again in its second edition, the book begins with St. Louis' earliest brewing history--starting in 1809, the date of the city's incorporation, when beer was sometimes cooled in dug-out canoes--and tells the story of how St. Louis came to be one of America's foremost beer towns. That includes detailed backgrounds on St. Louis' beer barons, including Adolphus Busch and Eberhard Anheuser, a look at the city's golden age of brewing during the Belle Epoque, the impacts of Prohibition, and the InBev takeover of Anheuser-Busch in 2009. Finally, it gives the reader an up-to-the-moment look at the city's astonishing craft brewing scene, which began to blossom in 2009 and is now attracting national attention. Everyone in St. Louis loves to drink beer; they may love to drink it all the more knowing the city's rich backstory in beer and brewing.
A visual history of America’s jazz nightclubs of the 1940s and 1950s, featuring exclusive interviews and over 200 souvenir photos. In the two decades before the Civil Rights movement, jazz nightclubs were among the first places that opened their doors to both Black and white performers and club goers in Jim Crow America. In this extraordinary collection, Grammy Award-winning record executive and music historian Jeff Gold looks back at this explosive moment in the history of Jazz and American culture, and the spaces at the center of artistic and social change. Sittin’ In is a visual history of jazz clubs during these crucial decades when some of the greatest names in in the genre—Billie Holiday, Charlie Parker, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Louis Armstrong, Oscar Peterson, and many others—were headlining acts across the country. In many of the clubs, Black and white musicians played together and more significantly, people of all races gathered together to enjoy an evening’s entertainment. House photographers roamed the floor and for a dollar, took picture of patrons that were developed on site and could be taken home in a keepsake folder with the club’s name and logo. Sittin’ In tells the story of the most popular club in these cities through striking images, first-hand anecdotes, true tales about the musicians who performed their unforgettable shows, notes on important music recorded live there, and more. All of this is supplemented by colorful club memorabilia, including posters, handbills, menus, branded matchbooks, and more. Inside you’ll also find exclusive, in-depth interviews conducted specifically for this book with the legendary Quincy Jones; jazz great tenor saxophonist Sonny Rollins; Pulitzer Prize-winning fashion critic Robin Givhan; jazz musician and creative director of the Kennedy Center, Jason Moran; and jazz critic Dan Morgenstern. Gold surveys America’s jazz scene and its intersection with racism during segregation, focusing on three crucial regions: the East Coast (New York, Atlantic City, Boston, Washington, D.C.); the Midwest (Chicago, Cleveland, Detroit, St. Louis, Kansas City); and the West Coast (Los Angeles, San Francisco). This collection of ephemeral snapshots tells the story of an era that helped transform American life, beginning the move from traditional Dixieland jazz to bebop, from conservatism to the push for personal freedom.
His music provoked discussion of art versus commerce, the relationship of artist to audience, and the definition of jazz itself. Whether the topic is race, fashion, or gender relations, the cultural debate about Davis's life remains a confluence.".
