In the United States, the excluded, underestimated, marginalized music
included all but the most schooled music made by African Americans, virtually
all music of rural and small-town white Southerners, and while there had already been, in Jelly Roll Morton’s
description, a “Spanish tinge” in American popular music for many
years, Latino music wasn’t going to cross the
border into American parlors or stages, either. And
then Ralph Peer came along. He saw as much potential in passed-over,
professionally neglected music, and did as much to make
something of it, as any one person ever has. In the initial breakthrough idea Peer had defined and
worked on at Okeh, they had looked for homespun performers, in
blues, hillbilly, gospel, regional jazz,
and began to record them,
specifically for the same populations from which they had emerged.

Hi there - any chance of re-upping this book
ReplyDeleteThanks
Hi Dave,
DeleteI've just added new links up in the main post.
all the best,
Johnny
Many thanks Johnny - fantastic response
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