Louisiana Cultural Vistas - Summer 2008 - (Page 48)
48 LOUISIANA ENDOWMENT FOR THE HUMANITIES\Summer 2008 Bruce Raeburn: The title of this session is really “New Orleans Jazz in the 1950s and the 1960s”, but what we’re going to spend most of our time talking about is the jazz tradition and its preservation and the way it renews itself. We are extremely fortunate to have today one of the great home-grown talents on clarinet, Tom Sancton, who is also a graduate of Harvard, was a Rhodes Scholar, Bureau Chief for Time magazine in Paris for Editor’s Note: many, many years, and a notable The on-line version author in his own right. Most of of this feature at what we’re going to do is talk www.leh.org features about his most recent publication, streaming audio of which is Song for My Fathers: a New several of the jazz Orleans Story in Black and White, performances which is a wonderfully heartfelt noted here. memoir. I learned quite a bit in reading that book about some of the people that we’re going to be talking about today. I want to say a few words just to provide some context for this discussion, because jazz is widely known as “born in New Orleans,” but the people who lived here in the teens and twenties took that for granted. For them, jazz was a good time music, a dance music for social interaction that grew out of the black and Creole experience in New Orleans. But within the first ten to fifteen years of its existence, jazz had infiltrated virtually all corners of New Orleans society so that at dances at CHERYL GERBER
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