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Author English, T. J., 1957- author.

Title Dangerous rhythms : jazz and the underworld / T. J. English.

Publication Info. New York : William Morrow, an imprint of HarperCollins Publishers, [2022]
©2022

Copies

Location Call No. Status
 Bloomfield at the Atrium  306.4 ENG    Check Shelf
 Enfield, Main Library - Adult Department  306.4842 ENG    Check Shelf
 Glastonbury, Welles-Turner Memorial Library - Adult Department  306.484 ENGLISH    Check Shelf
 New Britain, Main Library - Non Fiction  306.4842 ENG    Check Shelf
 Simsbury Public Library - Non Fiction  306.4842 ENGLISH    Check Shelf
 South Windsor Public Library - Non Fiction  306.4842 ENGLISH    Check Shelf
Edition First edition.
Description 437 pages, 32 unnumbered pages of plates : illustrations ; 24 cm
Bibliography Includes bibliographical references (pages 409-420) and index.
Contents I. MAJOR CHORD. Shadow of the demimonde -- Sicilian message -- Kansas City Stomp -- Disfiguration -- Birth of the hipster -- Friends in dark places -- Down on the plantation -- II. FLATTED FIFTH. The crooner -- Swing Street -- "Jazz Provides Background for Death" -- The ghost of Chano Pozo -- Fear and loathing at the Copacabana -- The muck and the mud -- Twilight of the underworld -- Coda.
Summary "Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America's most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl "Fatha" Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie "Lucky" Luciano, provided opportunities that would not otherwise have existed. Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in "protected" joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers." -- Amazon.com.
Subject Jazz -- Social aspects -- United States -- History -- 20th century.
Jazz -- History and criticism.
Music and crime.
Organized crime -- United States -- History -- 20th century.
Jazz. (OCoLC)fst00982165
Jazz -- Social aspects. (OCoLC)fst00982185
Music and crime. (OCoLC)fst01749492
Organized crime. (OCoLC)fst01047884
United States. (OCoLC)fst01204155
Chronological Term 1900-1999
Genre/Form Criticism, interpretation, etc. (OCoLC)fst01411635
History. (OCoLC)fst01411628
Other Form: Online version: English, T. J., 1957- Dangerous rhythms First edition. New York : William Morrow, an imprint of HarperCollins Publishers, 2022 9780063031432 (DLC) 2021060832
ISBN 9780063031418 (hardcover)
0063031418 (hardcover)
9780063031425 (trade paperback)
0063031426 (trade paperback)
9780063031432 (ebook)
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