California Soul
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Despite its title this book is not exclusively about soul music, it is about all forms of African American music which became popular in California. These genres include jazz, blues, gospel, R&B and of course soul music. Published by the University of California, it is doubtful whether it was ever intended for mass consumption. At a guess it was probably targeted at students taking degree courses in African-American studies. As one would expect of an academic tome it tends to be quite dry in places. Another annoying feature is the number of pages of appendices, supplementary notes and bibliographies it contains. Five hundred and seven pages at first glance seems to suggest a massive piece of work which represents good value for money but it doesn't seem quite the bargain when you realise that this supplementary material take up over half its volume. The main text of the book is ten essays written about black music in the state, the first four come under the title 'Music in an Urban environment', three more about 'Black music and the Media' with the remaining three billed under the title 'The musician as an innovator'. Personally I thought the content was heavily biased towards Jazz and gospel. The first two essays, which were predominantly about Jazz were well written, but somehow disappointed. They were littered with irrelevant detail which made the whole endeavour seem rather pointless. I read them from beginning to end, found out the names of many California night-spots and which artists played them but couldn't help feeling 'so what' at the end of it all. Undoubtedly the most relevant sections from the soul fans point of view were Kimasi L Brown's essay "Brenda Holloway: Los Angeles contribution to Motown" and the rather bizarrely named Kwaku Person Lynn's interview with Al Bell. There is very little documentary information about Brenda Holloway, and this first piece was quite revealing. Her classical upbringing, her first meeting with Berry Gordy and her eventual disillusionment with Motown were of great interest. Al Bell's interview was also fascinating. As a former chairman of Stax records he provided some useful insights as to the demise of the label and shared his views on the partnership between Stax and CBS records. These are both very worthwhile reads. I also enjoyed the section on jazz musician Clora Bryant, the story of a black woman trying to make it in the music business, a story which transcends all genres. One aim of the book, often hinted at but never overtly stated, is to present a case for California being a major influence in Black American music. From a jazz, gospel or R&B perspective I cannot say if this aim was achieved, but from a soul perspective it doesn't happen. If Brenda Holloway, (whose talent I am in no way questioning) is the only example they can give coupled with the fact that she produced her best work in Detroit then this is is hardly a strong case for arguing California can compete with the output of Detroit, Chicago and Memphis. Goldmine has produced two fabulous CD's "The Northern Soul of LA" volumes 1 and 2 thus proving that the state did have a significant soul output, but by not considering these less well known artists the authors have missed an opportunity. For a student studying for a degree in Black culture this book may well be an essential, but for the casual soul fan my advice would be to borrow this book from the library, read the chapters on Al Bell and Brenda Holloway then take it back to where you got it. I don't think it contains enough information to justify a purchase. |
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Why Not visit the Authors other Website, 'The Alternative Blackpool Website' at http://www.localdial.com/users/jsyedu133/bpool This Site Last Updated 18/05/05
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