Washington, D.C. Jazz In Images Of America
The Images of America Series of photographic local histories has taught me a great deal about American places and people. This recent book in the series, "Washington DC Jazz" (2019) offers an overview of the history of jazz in the nation's capital, a city I have called home for more than 40 years. As the home of our national government, Washington D.C.'s many other activities and accomplishments are frequently overlooked. Without entering into comparisons of D.C. to other cities such as New Orleans or New York City as a home of jazz, this book shows the large, vibrant presence of the music and its performers in the life of the city.
This book is the product of a series activities by the authors, Dr. Regennia Williams and Rev. Dr. Sandra Butler Truesdale. Both women are scholars with long experience in jazz. In 2017-2018, the authors conducted 25 interviews of musicians for the Washington, D.C. Jazz Oral History Project. These interviews will prove invaluable for researchers and others with a passion for jazz and its history. The interviews are used liberally in this book. In addition, the authors are involved in a group called "D.C. Legendary Musicians, Inc" which has the goal to " to preserve, protect, and promote the artistic legacy, contributions and well-being of Washington, DC’s professional musicians." Many of the artists featured in this book are members of this organization. Together with using these two sources, the authors did careful additional research in taking the story of D.C. jazz back to the early years of the 20th century.
The authors point out that this short book only skims the surface of D.C. jazz, yet their book includes a compelling level of detail of their book, In ten short chapters, the book tells its story beginning with early pre-jazz pioneers, moving through World War I and the rise of "Black Broadway" in Washington, D.C.'s U Street community. It covers the growth of jazz through WW II and the following years when jazz became an emissary of goodwill abroad for the United States. The book describes the riots which decimated the U Street corridor following the assassination of Dr. Martin Luther King, Jr. and then shows how jazz returned to flourish in other areas and venues of the city and eventually came back to the revived U Street corridor itself. The history of jazz is intertwined in this book with some of the history of the city.
There is no shortage of sources about D.C. jazz in photographs and manuscripts held by the Smithsonian Museum, local universities and many other sources. Jazz had a large presence in clubs and in more recent times in universities, large outdoor festivals, and concert halls. Jazz also benefited from coverage from several radio stations and from radio broadcasters who became experts in their music. Thus this book presents many outstanding images of jazz musicians and jazz venues of every form. It shows vocalists, saxophonists, percussionists, pianists, and harpists. There are soloists, small ensembles, and large bands. The music is both intimate and highly public. The authors make a special effort to show the role of women in every stage of the history of D.C. jazz. The book covers highly familiar figures such as Duke Ellington as well as many musicians that most readers likely will be learning about for the first time. Together with the images, the authors offer informed introductory commentary and captions.
The most moving feature of the book is the love of music and the commitment to the art by the musicians. The music and the artistry almost leap from every image on every page. The authors bring boundless and contagious enthusiasm to the reader in presenting this story of D.C. jazz.
Many times in reading this book, I wanted to pause to try to learn more about some of the musicians and their music. To name just a few, there is pianist Erskine Butterfield playing and singing in a D.C. nightclub in 1942. The Smithsonian Museum is home to a jazz orchestra, the Smithsonian Jazz Masterworks Orchestra which receives much attention in the book. I have heard this orchestra in concert, but I was especially impressed to see images of the group performing in front of the pyramids in a tour to Egypt in 2008. The book includes a 2016 image of Queen Esther Marrow. Queen Esther began singing in the Washington D.C. United House of Prayer for All People and went on to sing with Duke Ellington. She founded and performs with the Harlem Gospel Singers. I had not heard of her before and took the opportunity to learn a little more and to hear some of Queen Esther's music.
This book will delight readers wanting to broaden their understanding of Washington, D.C. as well as readers with a love of music of whatever genre. I enjoyed learning about D.C. jazz and its musicians and learning about my adopted city in this book.
