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Jazz Review, That They Believed They Eddie Durham, of San Marcos, Texas, Who Would Write and Necessarily Could Escape Racism by Playing in Northern Venues

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Jazz Review, That They Believed They Eddie Durham, of San Marcos, Texas, Who Would Write and Necessarily Could Escape Racism by Playing in Northern Venues et al.: Contents Produced by The Berkeley Electronic Press, 2006 1 Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 1 http://ecommons.txstate.edu/jtmh/vol6/iss1/1 2 et al.: Donors The Center for Texas Music History is a nonprofit educational program designed to help students, scholars, and the general public better understand how music reflects the richly diverse ethnic and cultural heritage of the American Southwest. Within its first few years, the Center has developed a number of very successhl projects focusing on the preservation and study of Southwestern music history. In order to continue this success, we need your help. Your contribution will help fund continued publication of The Journnl of Exa Music History, along with all the other important educational projects we have underway. We are very gratehl to the donors listed on this page. They have made a personal commitment to preserving the musical heritage of the Southwest. Their efforts will help us continue to increase awareness of how Texas music represents the unique historical development of the region. Won't you join us in promoting the preservation and study of Texas music history? Founding 100 Associate Members: Music Foundation Ramiro &Jewels Burr Members' Circle: $500-$999 Frank Josserand Carol & Kay Burton $1,000 or more Balie Griffith Harris Kaftie Randall Collier Gregg Andrews & Vikki Bynum Bobby & Nancy Barnard, William "Skip" King Kathie Cleveland Byron & Rebecca Augustin Sundance Records & Tapes Jack Lane Joseph &Janice Collins Richard & Laurie Baish Mary Brennan & Alan Apel Kathryn Ledbetter Antoinette Conroy Ronald &Judy Brown Harcourt Brace, Inc. David Lipprnan & Christina Jimmie & Teresa Criss Richard Cheatham Rod Kennedy, Simpson Joe & Ruth Dahlstrom Phillip & Cecilia Collins Kerrville Festivals, Inc. Ken & Patty Margerison Mr & Mrs. William Damron John & Robin Dickson, Mary Ann Mendoza Tim &Jennifer Marlow Virginia Z. Deal Dickson Productions Chad Raney, Lone Star Music.com Eve McArthur Carol Dochen Ralph & Patti Dowling Fisher-Rosemount Systems Michael Moeller Harry & Ellen Factor Dennis & Margaret Dunn Kevin E. Mooney Bob & Mary Fulton Ann Marie Ellis Patrons: Perry & Marianne Moore Pam Golightly Tracie Ferguson in memory of $100-$499 Alan Munde Dennis & Cash Hermes Deschamps "Champ" Hood & Michael & Lulu Abbott Bill & Patrice Nance R. C. Harshman Walter Hyatt Thomas C. Bailey Julie & George Parker Kelly Harwood Kent Finlay, Cheatham Street Paul Belanger Jim & Dianne Pape L. Patrick Hughes Warehouse Ed Bergin Rick Perkins Rumaldo & Teresa Juarez Margie First John & Sara Boyer T. Cay Rowe & Tim Thomson Carolynn Lankford Gary & Francine Hartman Elizabeth Bradshaw, Ginny's Donald & Mary Bleve Shaw Nora Linares-Moeller The Joan & Herb Kelleher Printing and Copying Denise & Dennis Smart Clyde Littlefield Foundation Lisa Bruce Steve Stiles Robert Livingston Lee &Judy Keller Alta Campbell Everett & Donna Swinney Mr. & Mrs. Ronald R. Newsorn John Kunz, Waterloo Records Bob & Nancy Cavendish Phi Alpha Theta History Honor Carolyn Pate Grant Mazak Kathie N. Cleveland Society at Texas State Michael Pierce James E. & Cathey Moore Carolyn Conn Philip & Leslie Tom Curtis Schafer William & Michelle Musser Crockett Elementary Horizons Ingrid Weigand & George Dolis Hardeman Smyer Darrell & Barbara Piersol Group Bill & Kim Whitbeck Joe & Alice Specht Ronda Regan Susan W. Darrow Dr. Raymond White Bryan Sperry Robert & Kim Richey Dawound Enterprises, Inc. Carol J. Whitcraft Steve Sucher in memory Mildred Roddy Elizabeth Denton Larry York & Peggy Bradley of Tary Owens Elmer & Susan Rosenberger Tom & Teresa Duplissey Wayne Zatopeck Stan & Jan Tartakov Sharon Sandomirsky Ray & Mary Margaret Farabee Cody & Elizabeth Vickers & Chris Ellison Beth &Jon Erickson Friends: James & Jane Wilson Paul & Jo Snider John Farneti, Jr. Up to $100 Colin Wise Jerome & Cathy Supple Alton & Dorothy Gattis Tom Adler Larry Wolz Texas Heritage Songwriters Mariko Gorna Katheryn & Larry Anderson Mandy York Association Doug Hanners Cynthia Beeman Lucky & Becky Tomblin, Johnny Harvey Jay Brakefield The Tomblin Family Foundation Ray Hennig, Heart of Texas Music Paula Bosse ProducedNina B. byWright The Berkeley ElectronicKathleen Press, 2006 Hudson, Texas Heritage Sara Davis Boyer 1 Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 2 http://ecommons.txstate.edu/jtmh/vol6/iss1/2 2 3 2006 Press, Electronic Berkeley The by Produced lay40 AUDU ino puo~~ojs!qsnyV s,~xajo l~u~noyay4 6u!~.!~~iapunu! ~JOCr dns snoiaua 6.i1ay4 JOJ et al.: Donors al.: et Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 2 N..Qm!~ Tom Frost In hmiJlan at the TpMusk Officc , Charlie Gallagher & Crai 8r Roberta Modes I Paul Paynter at the ~rarnbrinwcQ.rnpru,y WdyMorgan Records Susan Gibson & Scott Meloa Alan Munde &Joe Cur E?ihnat the Fire Eliza Gikyson Emilio Navaira Jimrnie Dale Giore Gary l? Nunn Pat Green Katheleen O'We Jod Guzmdn, Sarah Fox, & k Gwil Owen Butch Hand Tary Owens & Maryann Price I Wou & she Zyrdeco Trendsetters Debra Hanson RapPolson & Cash Ekbds h%h Terri Hendrii & Lloyd Maines Karen Posrrm &$ ik Nancy Bpmazd at"~unkRECoREcords Ray Hennig Tani Price ?. bs,blensm & As+ at the meel Gary & Tracy Herman Mamn kerat & 83h& Neubiliy Records Caroline Herring StewartRaDnser& kig~ one Dan Herrington at Dualtone Music Group WdhAh- ;. !,-I' { "r'"~L,+:~,)TJ~,? Sara ~ickmk 'the Ttsh Hinojosa & Marvin Champ Hood bh~~Muscuen Judy & Ray Wylie Hubbard Slim Echq & Ftancie Wte b CwmH Ronda1 Hwkaby Step Ndecur & thc Zydea, Oatlaws Qthleen Hudson at the Texas Heritage Randy Rogers Music Foundation Tom Roudebd at Vg.1dwoad Studio Humanities Taras Par & Seabo hwme Ken Irwin, Bill Nowlin, & Ellen Taintor at Shake IhselI & DmCooper kpdc kkty~f the Southwest Rounder Records Tom Russell & Andrew Hvdin MiChad Jarrett ki-or 8e B~yanEeck at KGSR-FM Flaco JimCnez & Victoria Casrillo I &e Ddy & I> krds Lthan Johnson at Bridge Enrettainment Adam Kay p&i Benno at the Kathleen & Robert Earl Keen &IDenn Agency Rod Kennedy & Dalis Allen at Kerrville George Strait k in & HoTe Bclnd wid hndat Dragon Street Records Fdvals, Inc. I I Sugar Hill Records Shelley King Marcelo Tafoya mej Tai ~e;$l&Curcis Peopl TaHeritage Songwrimrs kmiation - ent TwTd University Texas Department of AnricuIture m & Robin Didcron at John Kuna at waterloo Records Kimiko ibkita at the ~i@d Hartiey Cu. %&son Pduccions Jimmy LaFave Lucky Tomblin Jim Lawierdale Djangu Walker kph & Patti Dowling Bob Livingston Susan & Jerry Jeff BB& & Duan V~ckieLucero & Jwlie Carr at the John Wbeat at heCenter for Ammiran !% Propaganda Graup History at UT Austin qusicam Houston Marchman Bill Whitbeck & Rodney Hayden ~delkrgwon az Guene Hall Barbara Martin Lay& White mi m&y ek Piper Napkin Music Grant lvhdat MdMusic Bradley Jaye Williams !&at Fdy at Chatham Street W&we Ddbert ?&Clinton Burton Whn 9t.osk Flom Boob & Edith Michel at Eddie Wilson ,,aN~YF$ Agency Loudhouse Records Jay Woods at New West Records "-RathieFoster & Cyd Cassone Katy Moffitt Danny Roy Young ., http://ecommons.txstate.edu/jtmh/vol6/iss1/2 4 Bailey: The Texas Shuffle Produced by The Berkeley Electronic Press, 2006 1 'k8 Texas Shume ': Lone Star Underpinnings of the Kansas Civ Jcm Sound Journal of Texas Music History, Vol. 6 [2006], Iss. 1, Art. 3 7he story of Amerlcan juz is often .d~minakdby discussions of New Weans and of juz music's migro- 1 Won up the Mississippi RRlver into the urban centers of New York, Chicago, 1 Philadelphia, Detroit, and St. Louis. I mis narrative, whlle accurate in mony respecis, belies the true I nature of the music and, as with b any broad hisforIca1 generaliizu- tion, contulns an ultimate presump tlve flaw The emergence of jan cannot be aftributed solely fo any single clfy or reglon of he country. Instead, jan music Grew out of he collective experiences of Amerl- k b- .r~& cans from VU~~Wof backgrounds , living ihroughout the ndon.1 The routinely owrlookd conmibutions of T- &m to the dcvclopment of jazz unhmthe ndfor a broader un- of how chis music drew from a wide range of regidinfluenm. As dyas the I920s, mwhg pups of jm musidans, or %tory bands,* whicb indudad a n& of Tarnns, were hdping spread dmughout &t Souktand Miwest in such wwns as Kana City, Daltas. Fort Wod, Mo,Hnumn, Galveston. Sm Antonio, Tulsa, Oklahoma City, and beyond. The w11cctive iducnaof dmc musihbought many things to /bear on the dmeIopment of American jazz, including a cemh smsc of frcwlom md impraviaation dm later would be rcseewd in the erne- of bebop ad in the impromp jam dm,or eonmrs," rhac mn until dawn and helped spdighr youagu arrists and Md, new musical hmuiom.' The Tmas and sourhwesrern jas~ http://ecommons.txstate.edu/jtmh/vol6/iss1/3 2 Bailey: The Texas Shuffle scenes, while not heralded on the same scale as those in New in competitive jam sessions, or cutting contests, which allowed Orleans, Chicago, and New York City, have not gone artists to hone their skills, display their talents, and establish completely unnoticed by scholars. Gunther Schuller, Amiri their place within the hierarchy of the territory band ~ircuit.~ Baraka, Ross Russell, Frank Driggs, and Albert Murray have Kansas City became a hub of activity for these bands long proclaimed the brilliance and influence of the beginning in the 1920s, in part, because the Theatre Owners southwestern style, as well as the prominent role Texans have Booking Association and independent bandleaders alike played in its development. Dave Oliphant's 1996 book, Texan routinely considered the city as the western terminus of the Jazz, offers the most complete discussion of Texas artists and touring circuit. When itinerant bands broke up at the end of their contributions to jazz music. Building on the work of these their tours, droves of musicians found themselves "stranded in authors and others, this essay further examines the careers of Kansas City. Before long, however, the local night club scene these jazz troubadours from the Southwest who helped to shape would be transformed, and the town was able to offer a variety the popular "Kansas City" sound of the 1920s through 1940s, of employment opportunities to these players.
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