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Blues and Gospel Records: 1890-1943
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Review
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
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About the Author
The compilers of this volume come from a mixture of backgrounds. Robert M. W. Dixon is Director of the Research Centre for Linguistic Typology at the Australian National University. He has done original field research on the indigenous languages of Australia, Fiji, and Amazonia, besides writing A New Approach to English Grammar: On Semantic Principles (Clarendon Press, 1991). The late John Godrich was in the Merchant Navy and then worked as a clerk at Swansea Docks. Howard Rye, who like Dixon is an Oxford graduate, is an independent scholar of jazz and blues. He is principal researcher for the New Grove Dictionary of Jazz and is a regular contributor to jazz and blues publications. From 1980 to 1995, he was editor of Collectors Items.
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Product details
Series: BLUES AND GOSPEL RECORDS
Hardcover: 1424 pages
Publisher: Oxford University Press; 4 edition (October 30, 1997)
Language: English
ISBN-10: 0198162391
ISBN-13: 978-0198162391
Product Dimensions:
9.3 x 2.5 x 6.8 inches
Shipping Weight: 4.4 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#1,676,796 in Books (See Top 100 in Books)
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.
If you work with recordings, this is an invaluable resource. I'm so glad, after years of making due with scans from libraries, that I finally purchased this book.
Everyone else has already said what there is to say. If you are involved in any kind of research on blues, gospel, or American folk music then this has to be in your library.
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.
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