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Christopher J. Wells-Dissertation-Final “GO$HARLEM!”$CHICK$WEBB$AND$HIS$DANCING$AUDIENCE$DURING$THE$GREAT$ DEPRESSION$ Christopher$J.$Wells$ A$dissertation$submitted$to$the$faculty$of$the$University$of$North$Carolina$at$Chapel$Hill$ in$partial$fulfillment$of$the$requirements$for$the$degree$of$Doctor$of$Philosophy$in$the$ Department$of$Music$ Chapel$Hill$ 2014$ $ $ $ Approved$by:$ $ David$F.$García,$ Chair$ $ Perry$Hall$ $ Mark$Katz$ $ Jocelyn$Neal$ $ Sherrie$Tucker$ $ $ ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Christopher$J.$Wells ALL$RIGHTS$RESERVED$ $ $ ii$ $ $ $ $ $ ! ABSTRACT! ! Christopher$Jason$Wells:$“Go$Harlem!”:$Chick$Webb$and$his$Dancing$Audience$$ During$the$Great$Depression$ (Under$the$direction$of$David$F.$García)$ $ $ This$dissertation$examines$the$career$and$music$of$Harlem$drummer$and$ bandleader$William$Henry$“Chick”$Webb$(1905`1939).$Foregrounding$Webb’s$ connections$with$audiences,$it$emphasizes$local$circumstances$and$dialogic,$co`creative$ performer`audience$relationships.$While$many$scholars$mark$1935—when$heavily$ arranged$big$band$jazz$became$broadly$popular—as$the$“Swing$Era’s”$beginning,$this$ project$situates$swing$as$a$local$genre$in$Harlem$in$the$late$1920s$and$1930s.$Adopting$ conjunctural$analysis$from$cultural$studies,$it$emphasizes$the$particular$sociopolitical$ and$economic$conditions$in$which$Webb$and$other$African$American$bandleaders$and$ arrangers$developed$this$music$during$the$Great$Depression.$It$explores$the$interplay$ between$composition,$improvisation,$race,$gender,$dance,$economics,$urban$geography,$ and$political$power$through$which$Webb’s$deep$sonic$connections$with$local$audiences$ developed.$ $ Adopting$an$interdisciplinary$approach,$the$dissertation’s$three$internal$chapters$ are$discrete$methodological$case$studies$that$explore$Webb$and$his$music$through$ spatial$practice$theory,$carnal$musicology,$and$critical$discourse$analysis.$Spatial$ practice$theory$updates$the$classic$“jazz$itinerary”$method—built$here$from$over$1,000$ clippings$in$African$American$newspapers—to$follow$how$specific$ballrooms$and$ $ iii$ nightclubs,$neighborhood$dynamics,$race$and$gender$identities,$political$events,$and$ ideologies$informed$Webb’s$tremendous$stylistic$diversity.$Carnal$musicology$blends$ the$author’s$experience$as$a$vernacular$jazz$dancer$with$close$readings$of$diverse$ historical$source$material$and$analytical$tools$from$music$theory$to$reconstruct$and$ analyze$Webb’s$live$interactions$with$improvising$lindy$hop$dancers$at$Harlem’s$Savoy$ Ballroom.$Critical$discourse$analysis$routes$critiques$of$Webb$and$singer$Ella$Fitzgerald$ from$white$male$aficionados$in$the$emerging$field$of$jazz$criticism$through$queer$theory$ and$critical$race$theory$to$connect$jazz’s$aesthetic$system$with$broader$structures$of$ white$supremacy,$patriarchy,$and$class$privilege.$The$concluding$chapter$blends$these$ perspectives$to$analyze$Webb’s$1937$battle$of$music$with$Benny$Goodman’s$orchestra.$ $ Ultimately,$the$dissertation$advances$an$immanence`focused,$rather$than$ transcendence`focused,$approach$that$can$investigate$figures$whose$significance,$like$ Webb’s,$stems$primarily$from$their$popularity$with$specific$audiences$in$particular$ times$and$places.$Through$this$paradigm,$jazz$studies$can$disentangle$itself$from$the$ uncritically$transcendent$narratives$that$entrench$jazz$history$within$problematic$ discourses$of$American$exceptionalism.$ $ $ $ iv$ $ $ $ To$five$incredible$women$in$my$family:$$ Rebecca$Muñoz,$Elizabeth$Heller,$Abbie$Cooper,$Jacki$Gordon,$and$Cecile$Cooper.$ $ $ v$ $ $ $ $ $ ! ACKNOWLEGEMENTS! $ $ When$I$reached$the$stage$in$graduate$school$where$one$begins$working$on$a$ dissertation,$I$was$worried$about$how$I$would$handle$a$large`scale$project$that$requires$ so$much$monastic,$solitary$work.$Now$at$the$end$of$this$journey,$I$am$thrilled$to$reflect$ on$what$a$truly$collaborative$effort$this$has$been.$First$thanks$go$to$Elizabeth$Heller$for$ her$support$and$enthusiasm$during$this$process;$she$has$never$flinched$or$wavered$in$ encouraging$me$to$be$the$truest$version$of$myself,$and$her$motivation$has$emboldened$ me$to$make$this$project$what$I$truly$wanted$it$to$be.$Thanks$to$her$as$well$for$what$ seems$like$a$limitless$supply$of$patience$and$for$handling$so$many$of$the$important$life$ necessities$I’ve$punted$from$my$brain$in$order$to$process$more$scholarship.$ $ My$advisor,$David$F.$García,$has$been$inspiring$this$project$since$before$we$met,$as$ I$hadn’t$considered$that$musicology$could$be$a$path$to$follow$my$truest$passions$until$I$ saw$him$present$a$paper$on$his$mambo$research.$He$has$been$an$incredibly$supportive$ mentor$and$advocate$for$my$work,$and$I$appreciate$all$the$ways$he$has$pushed$me$at$ every$turn$to$make$my$work$simultaneously$more$solid$and$more$adventurous.$Along$ similar$lines,$I$thank$Sherrie$Tucker,$my$second$reader$both$for$her$inspiring$ scholarship$and$her$generous$mentorship.$In$her$unyielding$enthusiasm$for$rigorous,$ creative$work$that$makes$necessary$interventions$in$contemporary$systems$of$ oppression$and$in$her$upbeat$collegiality$and$zeal$in$supporting$other$scholars,$she$has$ been$my$role$model$for$what$being$an$academic$can$mean.$ $ vi$ $ This$project$would$not$have$been$possible$without$access$to$archival$resources,$ and$I$thank$the$staffs$at$Harlem’s$Schomburg$Center$for$Research$in$Black$Culture,$the$ New$York$Public$Library$for$the$Performing$Arts,$and$the$Institute$of$Jazz$Studies$at$ Rutgers`Newark$for$all$of$their$assistance$making$use$of$their$incredible$collections.$In$ particular,$I$thank$Dan$Morganstern,$Tad$Hershorn,$and$Vincent$Pelote$of$the$IJS$for$all$ their$guidance$during$my$extended$residency.$I$do$want$to$single$out$Joe$Peterson$for$ perpetually$going$the$extra$mile$to$make$sure$I$got$the$most$out$of$my$time$in$Newark$ at$the$IJS$by$troubleshooting$technology$problems,$looking$up$materials,$and$doing$ whatever$was$necessary$to$make$my$extended$visit$as$productive$as$possible;$I$would$ advise$anyone$going$to$the$Institute$of$Jazz$Studies$to$be$sure$and$do$so$when$Joe’s$ working.$I$further$want$to$thank$the$Graduate$School$of$the$University$of$North$Carolina$ for$an$Off`Campus$Dissertation$Research$Fellowship$that$facilitated$my$semester$of$ research$in$Newark$and$New$York$City.$Thanks$to$Abigail$Heller$for$uprooting$her$life$ and$supporting$Elizabeth$and$I$so$that$I$could$take$that$fellowship.$ $ I$am$likely$in$the$last$generation$of$scholars$who$will$be$able$to$speak$with$anyone$ who$knew$Chick$Webb$personally,$and$I$am$grateful$to$Van$Alexander,$Norma$Miller,$ Eddie$Jenkins,$and$Frankie$Manning$for$being$so$gracious$and$generous$with$their$time$ and$for$all$the$insights$that$have$made$this$project$what$it$is.$Frankie$and$Eddie$have$ passed$on$since$our$interviews,$and$I$want$to$sincerely$thank$Bill$Jenkins$and$Dawn$ Hampton$for$arranging$those$conversations$while$there$was$still$time$to$have$them.$ Further$thanks$to$Dawn$Hampton$for$sharing$so$much$of$her$spirit$with$me$over$the$ years.$No$slight$to$my$many$excellent$academic$mentors,$but$I$maintain$that$I$learn$ more$about$music$each$time$I$dance$with$Dawn$for$three$minutes$than$I$have$in$11$ $ vii$ years$of$post`secondary$formal$education.$ $ The$University$of$North$Carolina$at$Chapel$Hill$has$been$an$ideal$place$to$learn$ and$grow$as$a$scholar$and$as$a$human.$I$thank$my$fellow$students$and$my$professors$in$ the$Department$of$Music$for$years$of$the$most$stimulating$conversations$and$projects$I$ have$ever$experienced;$thanks$to$Jocelyn$Neal,$Mark$Katz,$John$Nádas,$Annegret$Fauser,$ Severine$Neff,$Tim$Miller,$Naomi$Graber,$Matthew$Franke,$Laurie$McManus,$Joshua$ Busman,$Cathy$Crone,$and$many$others$who$have$made$this$a$very$special$place$to$live$ and$work.$Special$thanks$to$Travis$Stimeling$for$all$of$his$thoughtful$support$and$advice$ in$helping$me$negotiate$the$transition$out$of$studenthood$and$into$the$credentialed$ phase$of$life$as$a$scholar`teacher.$Thanks$as$well$to$the$staff$of$the$UNC$Writing$Center,$ especially$Victoria$Behrens,$for$giving$me$the$chance$to$help$others$write,$an$experience$ that$has$certainly$improved$my$own$writing.$Thanks$as$well$to$the$African,$African$ American,$and$Diaspora$Studies$Department—especially$Eunice$Sahle,$Kenneth$Janken,$ Reginald$Hildebrand,$and$Perry$Hall—for$your$confidence$in$me$and$for$offering$me$ teaching$opportunities$and$collegiality$that$have$transformed$my$scholarship.$ $ I$want$to$thank$my$parents$Jacki$Gordon$and$John$Wells$and$my$sister$Rebecca$ Muñoz$for$the$unconditional$love$and$support$that$have$emboldened$me$to$envision$ and$a$career$as$unlikely$and$fulfilling$as$“jazz$historian/dance$scholar”$and$for$instilling$ in$me$a$commitment$to$social$justice$that$continues$to$drive,$and$to$check,$everything$I$ seek$to$do.$Finally,$I$thank$my$dance$buddy$and$roommate$William$Stimpson$for$the$ best$advice$I’ve$ever$received:$“just$be$your$weird,$wacky$self.$It’s$gotten$you$this$far.”$ $ $ viii$ $ $ $ $ TABLE!OF!CONTENTS$ ! ! ! ! ! ! ! ! ! ! List$of$Tables$and$Figures………………………………………………………………………………………….xi$ ! Chapter$1:$$“SPINNIN’$THE$WEBB”:$THE$JAZZ$TRADITION$AND$$ $ $ THE$MYTH$OF$METHOD………………………………………………..………………………………...1$ $$ $ $ De`Centering$the$Record………………....………………………………………………………………3$ $ More$Horns$for$the$Woodshed:$Towards$an$Immanent$Jazz$Studies………………….6$ $ Jungles,$Palaces,$Depressions—Harlem’s$Spheres$of$Spatial$Practice………………...9$ $ Carnal$Musicology—Research$from$“Under$the$Skin”……………………………………..20$ $$ Critical$Discourse$Analysis—Reception$Study$as$Allyship……………………………….29$ $ Conclusion……………………………………………………………………………………………………40$
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