Acknowledgements
Preface
Part 1 - Context
Precedents
Promotion
Program
Part 2 - Performance
The Orchestra
Twenty Years of Jazz
Jam Session
Trio/Quartet
Conclusion
Part 3 - Representation
Repercussions
Recording
Reception
Recreation
Appendix 1 - Carnegie Hall Program
Appendix 2 - Members of the Orchestra
Notes
References
Discography
Catherine Tackley is Senior Lecturer in Music at The Open University, UK. She is the author of The Evolution of Jazz in Britain, 1880-1935 (Ashgate, 2005) and is a co-editor of the Jazz Research Journal (Equinox). Catherine is Director of Dr Jazz and the Cheshire Cats Big Band.
"Tackley's is the most thorough study of this celebrated event. She
sifts through the prior writings and inflated claims to come up
with an original, level-headed, song-by-song analysis-and it's a
good read!" --Lewis Porter, Professor of Music, Rutgers
University-Newark
"Catherine Tackley's valuable study details the fascinating story
behind one of jazz's widely acknowledged milestones. Through
meticulous cultural criticism, sound analysis, and archival
research, Tackley unravels the social politics, aesthetics, and
commercial interests that brought Benny Goodman's famous concert to
the public ears, on to vinyl and into its eventual iconic status.
We learn to view this concert's recording as a complex creation of
multiple
modes of mediation and not simply as proof that jazz became 'a
lady.' Tackley shows us she's much more than that!" --Guthrie P.
Ramsey Jr., Edmund J. and Louise W. Kahn Term Professor of Music,
University
of Pennsylvania
"A distinguished contribution to the literature...Highly
recommended." --Choice
"As one who continues to listen and thrill to the recorded version
of this landmark event, I found this study fascinating." --W. Royal
Stokes, author of Growing Up With Jazz: Twenty-Four Musicians Talks
About Their Lives and Careers
"[U]nlikely one will find any related subject matter not covered
thoroughly here." -- IAJRC Journal
"Throughout the entire text, Tackley engages productive and
insightful questions about the relationships between live
performance, recordings, publich and journalistic discourses, and
media technologies as they pertain to the 1938
concert"--Twentieth-Century Music
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