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Produktbeschreibungen
Pressestimmen
Praise for the third edition: "Indispensable: every music library should have it, and it will be a high priority item on any blues collector's list."--Ethnomusicology
"The definitive discography of the genre; it is comprehensive and accurate to the extreme, and is essential for all those who are interested in pre-war blues and gospel recordings."--Goldmine
"Absolutely indispensible to anyone with an interest in pre-war Blues and Gospel music."--Blues Unlimited
Kurzbeschreibung
Since its first edition in 1964, Dixon and Godrich's Blues and Gospel Records has been dubbed 'the bible' for collectors of pre-war African-American music. It provides an exhaustive listing of all recordings made up to the end of 1943 in a distinctively African-American musical style, excluding those customarily classed as jazz (which are the subject of separate discographies). The book covers recordings made for the commercial market (whether issued at the time or not) and also recordings made for the Library of Congress Archive of Folk Song and similar bodies -- about 20,000 titles in all, by more than 3,000 artists. For each recording session, full details are given of: artist credit, accompaniment, place and date of recording, titles, issuing company and catalogue numbers, matrix numbers and alternate takes. There are also short accounts of the major 'race labels', which recorded blues and gospel material, and a complete list of field trips to the south by travelling recording units. Howard Rye has joined the original compilers for this thoroughly revised fourth edition. This book is intended for anyone interested in pre-war blues and/or gospel music.
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Einleitungssatz
L.M. Abraham is probably Lawrence M. Abrams, the joint founder, with Lloyd Lee Woodard, of a school for the blind at Piney Woods. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
L.M. Abraham is probably Lawrence M. Abrams, the joint founder, with Lloyd Lee Woodard, of a school for the blind at Piney Woods. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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17 von 17 Kunden fanden die folgende Rezension hilfreich
Indispensable
20. Mai 2002
Format:Gebundene Ausgabe
This encyclopedia is indispensable to anyone seriously interested in blues and gospel recordings of the pre-WW2 era. Awe-inspiring labor has brought forth a volume of nearly 1500 pages listing, alphabetically by artist, recording data for every known African-American blues and gospel performer whose work was put on disk through 1943. It is not a jazz discography, though a few essentially jazz acts are included. As well as commercial recordings, it also attempts to catalog all known folklore field recordings of the same period, particularly those of the Archive of American Folk Song at the Library of Congress. Included are an index of artists, to help locate sideman appearances, and an index of song titles. The work involved here, which has occupied several writers for many years, is awe-inspiring, particularly since the book is specialized enough (and priced highly enough) that it will never break any sales records. A love for this wonderful music is evident on every page.
I bought a copy about 2 years ago and use it frequently, especially with my disk and tape collection. The kind of session data given so generously here was notoriously absent on LP reissues of early blues music. As an inveterate compiler and collator and list-maker, I can't imagine not having this info! The Oxford edition is a sturdy and well-made volume, and I consider the book worth every dime I paid for it, and then some.
One "improvement" I would like to see in a future edition is the addition of some symbol to designate records of which no copy is known to exist. Here and there the editors note that a particular recording has "never been found," but this should be done more consistently. Even with such a notoriously lost 78 as Pm 13096, only the absence of a master number indicates its status. Since 7 types of saxophone are differentiated in the instrumentation chart, I would also suggest that the Queen of Musical Instruments -- I mean, of course, the 12-string -- might be distinguished from the plain old 6-string guitar (perhaps as "12g").
The quibbles are quite minor. There is really nothing about this book that I don't like. Casual blues and gospel fans certainly don't need it, but it will be indispensable to those with a more serious interest.
4 von 4 Kunden fanden die folgende Rezension hilfreich
Blues & Gospel Records 1890-1943
2. Mai 2008
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
This is the 4th edition of a compilation of recording sessions of blues and gospel performers between 1890 and 1943, listed by matrix number and by records issued from that master, listed alphabetically by artist name and in order of recording dates under each artist and who accompanied on what instruments if known. It is mostly of interest to collectors and ethnomusicologists, and is an invaluable resource to us. this edition contains more information than the original edition from 1962, having been revised in 1997.
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