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Jazz in New Orleans provides accurate information about, and an insightful interpretation of, jazz in New Orleans from the end of World War II through 1970. Suhor, relying on his experiences as a listener, a working jazz drummer, and writer in New Orleans during this period, has done a great service to lovers of New Orleans music by filling in some gaping holes in postwar jazz history and cutting through many of the myths and misconceptions that have taken hold over the years. Skillfully combining his personal experiences and historical research, the author writes with both authority and immediacy. The text, rich in previously unpublished anecdotes and New Orleans lore, is divided into three sections, each with an overview essay followed by pertinent articles Suhor wrote for national and local journals—including Down Beat and New Orleans Magazine. Section One, "Jazz and the Establishment," focuses on cultural and institutional settings in which jazz was first battered, then nurtured. It deals with the reluctance of power brokers and the custodians of culture in New Orleans to accept jazz as art until the music proved itself elsewhere and was easily recognizable as a marketable commodity. Section Two, "Traditional and Dixieland Jazz," highlights the music and the musicians who were central to early jazz styles in New Orleans between 1947 and 1953. Section Three, "An Invisible Generation," will help dispel the stubborn myth that almost no one was playing be-bop or other modern jazz styles in New Orleans before the current generation of young artists appeared in the 1980s.
Charles Suhor was born in New Orleans and raised in the Ninth Ward. He is a prolific writer in both jazz journalism (Down Beat, New Orleans magazine) and education. He is currently a freelance consultant, writer, speaker, and musician in Montgomery, Alabama.
Chapter 1 Timeline ChartsChapter 2 Foreword, Dan MorgensternChapter 3 PrefaceChapter 4 AcknowledgmentsChapter 5 1 Discovering Myths, Reclaiming the PastPart 6 Section I. Jazz and the Establishment: From Flouting to FlauntingChapter 7 Timeline Chart 1: Commercial and Cultural Victories for Traditional and Dixieland JazzChapter 8 2 Jazz and the New Orleans PressChapter 9 3 The New Orleans Jazz Club: From Ragtime to RichesChapter 10 4 Hello, Central, Give Me Doctor Jazz: Edmond SouchonChapter 11 5 The Jazz MuseumChapter 12 6 The Jazz Archive at TulaneChapter 13 7 The Stage Band Movement at Loyola— Or, How to Start a Revolution While Really Trying Not ToChapter 14 8 Jazzfest 1968: ReviewChapter 15 9 Jazzfest 1969: PreviewChapter 16 10 Jazzfest 1969: ReviewChapter 17 11 New Orleans Farewell: Louis ArmstrongPart 18 Section II. "Revivals" Beaucoup: Traditional, Dixieland, and Revivalist JazzChapter 19 Timeline Chart 2: Highlights of the Popular Revival in New Orleans, 1947-1953Chapter 20 12 The Dukes of Dixieland: A Jazz OdysseyChapter 21 13 Pete FountainChapter 22 14 Al Hirt in PerspectiveChapter 23 15 Armand Hug: The Making of a LegendChapter 24 16 Raymond Burke and Art Hodes in Concert: ReviewChapter 25 17 Preservatiion Hall: New Orleans RebirthChapter 26 18 The Last Rites of a Jazzman: George LewisChapter 27 19 A Festival for a Funeral?Chapter 28 20 New Orleans Jazz—With a Foreign AccentPart 29 Section III. An Invisible Generation: Early Modern Jazz ArtistsChapter 30 Timeline Chart 3: Highlights of Early Modern Jazz in New Orleans, 1945-1970Chapter 31 21 New Jazz in the Cradle, Part 1Chapter 32 22 New Jazz in the Cradle, Part 2Chapter 33 23 The Problems of Modern Jazz in New OrleansChapter 34 24 Jazz Off Bourbon StreetChapter 35 25 Buddy Prima Trio: ReviewChapter 36 26 Modern Jazz Pioneers in New Orleans: A SymposiumChapter 37 Appendix 1. The Jazz Scene: Four Cross SectionsChapter 38 Appendix 2. Early Modern Jazz Musicians in New Orleans, 1945-1960Chapter 39 BibliographyChapter 40 IndexChapter 41 About the Author
