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Association: Name: Association for the Study of African American Life and History URL: http://www.asalh.org
Citation: URL: http://www.allacademic.com/meta/p143037_index.html Direct Link: HTML Code:

Tkweme, William. "Let the Trumpet Sound: African Americans Organize in Pursuit of Jazz" Paper presented at the annual meeting of the Association for the Study of African American Life and History, NA, Atlanta, GA, Sep 26, 2006 <Not Available>. 2009-05-24 <http://www.allacademic.com/meta/p143037_index.html>

Tkweme, W. S. , 2006-09-26 "Let the Trumpet Sound: African Americans Organize in Pursuit of Jazz" Paper presented at the annual meeting of the Association for the Study of African American Life and History, NA, Atlanta, GA <Not Available>. 2009-05-24 from http://www.allacademic.com/meta/p143037_index.html

Publication Type: Individual Paper Abstract: Although jazz was a successful commercial enterprise during the first half of the 20th century, by the 1960s it was no longer a music which attracted a popular audience. A variety of motivations -- preservation of an important African American cultural heritage, the elevating power of art, the desire to help promote underexposed artists, as well as the profit motive -- prompted a variety of black groups and individuals in the 1960s and beyond to participate in efforts to present jazz performance in African American communities and elsewhere. Black entrepreneurs, especially clubowners, had a long history of promoting jazz. The distinguishing feature of this period is the primacy of the social/cultural component, the intention to serve a larger purpose beyond entertainment and profit. This period also witnesses many efforts by musicians to organize and present/promote their own work and that of their fellow artists. The community groups and figures I discuss, including The East, Left Bank Jazz Society, the Oasis, Jim Harrison, and the Afro Brothers, are part of this same self-determination impulse. This paper will illustrate the ways in which African Americans sought to counter the increasing marginalization of jazz during the 1960s and beyond.

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