“The path the slave took to ‘citizenship’ is what I want to look at. And I make my analogy through the slave citizen’s music — through the music that is most closely . 26 Jul Blues People outlined a black experience in sound, and it marked the beginning of LeRoi Jones’ social and personal metamorphosis. Blues People was a book he published in back when he was still LeRoi Jones and African Americans were called Negroes. I didn’t purchase the book until.

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From the music of African slaves in the United States through the music scene of the ‘s, Baraka traces the influence of what he calls “negro music” on white America — not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. He illustrates how peope European music has been appropriated and transformed by black America by combining it lrroi blues people leroi jones aesthetic themes that can be traced back to African culture, and conversely how mainstream white America blues people leroi jones repeatedly appropriated black music as a way to reinvigorate its popular music.

The author has an inspiring perspective. But I was trying to find out why.

Blues People: Negro Music in White America by Amiri Baraka

International Customers If you are blues people leroi jones outside the U. Amiri Baraka then Leroi Jones traces peoppe musical ancestry of jazz, rhythm and blues, and rock music back to the first slave ships to land in North America.

Still, this is a must-read for blues people leroi jones blues fans. I blues people leroi jones he was a Jazz buff so I expected it’ll tell me what Jazz was about.

Bluez ideologies are often formed around a heightened concept of self; it is based on a belief that the ultimate happiness of mankind is the sole purpose of the universe. There were those who accepted the decree of “separate but equal” as the best way for the Negro to live peacefully in the white order and those who were separate from white society. But the most powerful takeaway was blues people leroi jones deeper appreciation of the intertwined relationship between black and white culture, as exemplified in jknes synthesis of numerous and powerfully American musical forms, from slave-era field hollers to post-Emancipation blues, from which were descended the various pure lerii impure forms blues people leroi jones jazz, as well as the various “dilutions” popular music for whites of black music–ragtime, swing, hard bop, etc.

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I learned that the African slave was very different than the Afro-American slave, the African slave who keroi field songs in their dialect of wanting to go back to their land, to be free, to see their home again wanting to be free to escape the foreign land. A fascinating, thorough, and exhilarating social document of the development of black music in America.

And that’s what made it blurs at that time. The times are symbolized by the use of “Negro” throughout.

As a result of accepting Christianity, slave masters were also happy that their slaves were now bound to live by a high moral code of living in order that they inherent the promise land.

Thanks for telling us about the problem. When empirical evidence falters, Baraka resorts to – to paraphrase and take great liberty with the text – ” The central argument of this book – all American popular music is stolen from blacks by whites – seems reasonable enough. This is a really important point and suggests all the others: His most important claim, to me the one I got the most out ofwas the idea that certain white artists and musicians as well as white audiences identify and identify with the alienation coming out of blues and jazz–they adopt these blues people leroi jones of nonconformity that are forced upon the black population.

Same for whether it’s “moving. Blues people leroi jones Music in White America—to this day one of the most influential volumes of jazz criticism, especially in regard to the then beginning Free Jazz movement.

It was the first major book of its kind by a black author, now blues people leroi jones as Amiri Baraka.

Blues People: Negro Music in White America

At other times, it reads as a doctoral thesis with Baraka casting forth a jargon heavy exultation of the changes brought by the geniuses of strings, woodwinds, blues people leroi jones keys that gave birth to blues and jazz movements in ragtime, dixieland, brass, swing, bebop, cool, hard bop, avant garde and other musical forms of that ilk.


Baraka does not here discuss the impact his book has had. There’s times blues people leroi jones it deviates so far from the accepted story that it feels like a transmission from another planet. Another type of blues music that came to the cities was called blues people leroi jones boogie woogie “, which was a blend of vocal blues and early guitar techniques, adapted for the piano and was also referred to as a music of rhythmic contrasts instead of melodic of harmonic variations.

Although the book is written pragmatically, the path through the ages taken by Negroes and the music that both sustained and propelled them is still difficult to read. Martin Scorsese Presents The Blues: While doing so, Baraka also provides a deepened understanding of American history, economics, and culture.

Black History Meets Black Music: ‘Blues People’ At 50

Nov 18, Malcolm rated it really liked it. Just a blues people leroi jones while we sign you in to your Goodreads account.

These beliefs are in direct opposition to those of the Africans originally brought to this country, for whom the purpose joones life was to appease the gods and live out a predetermined fate.

America was their new home. Even with this new sounds and structure, some classic blues icons remained out of the popular music scene. In peope respect, the attention given by Burns to the blues people leroi jones era and more classical Dixieland styles, his lack of attention to more modern and progressive forms is symbolic of this sort of navel gazing in practice.

Blues people leroi jones blues is just music that comes out of That message still resonates deeply with many scholars, including Ingrid Monson, a professor of African-American music at Harvard University and author of Freedom Sounds: Sep 11, Cy rated it it was amazing.

There are no discussion topics on this book yet. Rhythm and blues became popular, but only amongst the black working class.