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THE ART OF THE BLUES
A Visual Treasury of Black Music’s Golden Age
Bill Dahl w/ Chris James
University of Chicago Press
By Mark Baier
New to the
bookshelves at fine bookstores everywhere is a literary treasure
published by The University of Chicago Press entitled
The Art of The Blues. It is
one of the most sumptuous visual journeys into the genre imaginable,
touching on every conceivable use of graphics and imagery associated
with the “art” used in promoting blues music. There are hundreds and
hundreds of graphic representations from turn of the century sheet music
covers, early advertising, label catalogs and associated ephemera, rare
78 label art from the earliest days of recording, music and movie
posters, vintage promo and performance photos and much much more. Hardly
steeped in the distant past, The
Art of The Blues is equally representative of vintage periods, post
war and the modern era. From Bessie Smith to Dinah Washington to Koko
Taylor, there’s a bonanza of rich visual treats awaiting that is certain
to thrill any blues lover. Compiled by renowned journalist Bill Dahl,
and aided by blues artist Chris James’ deep collection of ephemera and
vintage artwork, TAOTB is both a visual and literary delight. Dahl’s
commentary is spot on and to the point, offering valuable historical
context and credentials to the stunning visual content.
Perhaps the most
intriguing chapter is the one dedicated to prewar advertising. The task
of accumulating these scarce ads is a true act of scholarship and
represents a valuable window into a world before the civil rights
movement and modern decorums. The ads were targeted for a very specific
audience and display humor, rhythm, sex and pathos. Blind Lemon
Jefferson’s “Cannon Ball Moan” is a standout as is Tampa Red’s “Tight
Like That.” It’s unforgettable stuff created as a transitory
advertisement, yet it endures as the art it truly is. And while it is
art, it’s not at all racially sensitive by modern standards. Most, if
not all, of the art was produced by record companies that were targeting
a specific racial community. Many of the early examples are more than a
little racist in their depictions of what the record companies
apparently believed daily African American life was all about. The bulk
of these images were culled from copies of
The Chicago Defender and The
Baltimore Afro-American newspapers from the ‘20s and ‘30s, and while
some of the images may be challenging, they are all fascinating.
The chapters
focusing on the post war era are filled with rarely (if ever) seen
before promo shots, posters and record slip covers of all the great
blues artists that define the genre. Whether it’s Walter Davis, Pee Wee
Crayton, Gatemouth Brown or Chuck Berry, authors Dahl and James have
discovered a virtual treasure trove of blues iconography. The chapter
dedicated to catalogs features record company promo material usually
only seen by store owners, listing artists and sides for Victor,
Vocalion, Bluebird, Decca, Okeh and many, many others. Now impossibly
rare, these catalogs and their content are a visual and historical
blessing. Dahl and James deserve serious kudos for archiving and sharing
them.
TAOTB is an
oversized “coffee table” style book with rich color plates and heavy
high quality satin finish paper. One may be tempted to buy multiple
copies so the lavish images can be mounted individually for display;
they’re that high quality, and there are so many of them! The depth and
quality of the images is almost overwhelming, providing the opportunity
for discovery whether it’s the initial or hundredth time the book is
enjoyed.
TAOTB comes
highly recommended and will be a jewel in any blues fans library. It not
only enhances the ability to understand and enjoy the music, it acts as
lavish historical document that will enrich anyone’s understanding of
American history and the blues place in our ever changing society. Buy 3
copies.
For info or to buy the book: CLICK |
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