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Better Days Will Come Again: The Life of Arthur Briggs, Jazz Genius of Harlem, Paris, and a Nazi Prison Camp (English Edition) Format Kindle
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Description du produit
Biographie de l'auteur
Détails sur le produit
- ASIN : B07QMFTY8H
- Éditeur : Chicago Review Press (7 janvier 2020)
- Langue : Anglais
- Taille du fichier : 7793 KB
- Synthèse vocale : Activée
- Confort de lecture : Activé
- X-Ray : Non activée
- Word Wise : Activé
- Nombre de pages de l'édition imprimée : 268 pages
- Pagination - ISBN de l'édition imprimée de référence : 0914090100
- Classement des meilleures ventes d'Amazon : 473,722 en Boutique Kindle (Voir les 100 premiers en Boutique Kindle)
- Commentaires client :
Meilleure évaluation de France
Un problème s'est produit lors du filtrage des commentaires. Veuillez réessayer ultérieurement.
By Travis Atria
Chicago Review Press
This is an authorised biography in that the author was approved by Arthur Briggs’ daughter, and given access to her father’s oral memoir. The story proper runs to 250 pages, and there are 16 pages of photographs on gloss paper. Briggs’ date and place of birth has hitherto been obscure, but his ancestry is set out clearly here, as is his peripatetic career. That was spent largely within Europe, which he visited first with the Southern Syncopated Orchestra, returning later to play with other visiting firemen like Sidney Bechet, Noble Sissle, Freddy Johnson, and Django Reinhardt. His part in the creation of the Hot Club of France, and the formation of the Quintette, has largely been airbrushed from history, and his version of events is set out very clearly. It was not the only reverse Briggs would suffer, yet he refused to return to a segregated America, despite offers from visiting bandleaders.
Ironically, that decision cost him his freedom when Paris fell to Hitler’s army, although Josephine Baker, who features large, remained at liberty. The latter part of the book describes the privations Briggs suffered in a German prison camp, and is set against the progress of the war. Over a period of four years he organised and rehearsed a camp orchestra, giving frequent concerts and later a daily anthem “Better Days Will Surely Come” which refrain provides the book’s subtitle. His survival, and how he rebuilt his life after the war, is a testament to the strength of his character, and the courage of his convictions.
Atria is at his best weaving the story of Briggs’ progress; he is on less sure ground when he elaborates on that story. For instance – in line with current thinking – he alleges that white musicians deliberately thrived at the expense of their black counterparts (to put it as simply as possible). The reality was far more nuanced, as writers like Richard M. Sudhalter and Randall Sandke have shown. His description of the set-up in a recording studio in 1927 reads more like the pre-electric acoustic era. There are a number of discrepancies in the text; for instance two 1933 recordings were “issued as a single” (how else?), and Coleman Hawkins is taken as having been referring in 1935 to the album “Hawk in Holland” which was not issued until 1968! Perhaps the most pertinent factor for readers of ML is that although there is a chapter on how his Berlin recordings came about, there is little detail about the records themselves, and no mention of Al Bowlly, who was a member of the band, and took many of the vocals.
Despite my reservations this book provides a useful guide to the career of a player who made a major contribution to the development of jazz in Europe.