Product Description

Local histories are of far more than regional significance, particularly when the data relate to larger scenes, as is true in this study of Dallas's early-20th-century Jewish and Black ghettos--Deep Ellum and Central Track. The two groups had migrated to Dallas, individually expecting the traditions of segregation, a situation that brought about some degree of alliance. Sociological concerns do play a part in Govenar's coverage (including politics, economics, and crime), but his real subject is blues--an idiom that began to come into focus late in the 19th century and blossomed with Texan Blind Lemon Jefferson (1893-1929) and those who came under his influence. Although Govenar provides a very respectable bibliography, the majority of the footnoted sources are interviews, suggesting much of the information has not previously appeared in print. Included in the four appendixes are discographies of Dallas-related jazz, blues, gospel, and country and of the Light Crust Doughboys, a popular music ensemble active in the late 1930s (in fact, these two appendixes occupy more than a third of the book). Numerous photographs are also included. This will be a welcome addition to collections supporting study of the blues and of the US Southwest. Choice Magazine, May 1999. Review by D. R. de Lerma, Lawrence University.

"Through a mixture of contemporary interviews and historical research, Govenar and Brakefield provide us with a compelling portrait of Deep Ellum, a complex and often misunderstood section of Dallas. The nexus for many East Texas musicians during the 1920s and 1930s, Deep Ellum was a helter skelter mixture of clubs, pawnshops, and other small businesses that attracted the entire spectrum of vernacular musicians. This book is important not only for what it reveals about local blues, gospel, jazz, and western swing performers but for what it tells us about race relations and other poorly researched aspects of the city's social history." --Kip Lornell, George Washington University, & the Smithsonian Institution

"Like Beale Street in Memphis and Bourbon Street in New Orleans, Deep Ellum in Dallas, Texas, was famed in song and legend for its nightlife as well as its thriving daytime commerce. It was also a place in the segregated South where the races met in ways that they couldn't elsewhere. In the work of Govenar and Brakefield, Deep Ellum now takes its place in these other important southern urban districts of the early twentieth century."--David Evans, Professor of Music, The University of Memphis

"Alan Govenar is a gifted and meticulous researcher whose works are notable for a passionate respect for his subject. In its thoroughness and insight, Deep Ellum deepens our understanding of African-American music by re-connecting the art to its material base. It's a reminder that Harlem is only one chapter in the renaissance of African-American culture."--Lorenzo Thomas, University of Houston-Downtown

Product Details

• Amazon Sales Rank: #1809160 in Books
• Published on: 1998-11
• Format: Illustrated
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 344 pages

Customer Reviews

A fascinating study of music and culture in Dallas.
This is a well researched and well written description of a time and place in Dallas in the 20's and 30's that has long been overdue. The history of blues, jazz, gospel and country was written in Deep Ellum. It was a "good read", and I recommend it highly.

An Overdue Tribute to an Important Blues CIty
When your typical blues fan thinks of cities that were important to the development of this great art form, he usually thinks of Chicago and maybe Memphis. However, Alan Govenar and Jay Brakefield make the case for Dallas, Texas as a major center for the developement of the blues in no uncertain terms. Of course, Deep Ellum and Central Track is not a blues book per se, but rather a well researched historical and sociological treatise on the birth and development of Big D's Deep Ellum and Central Track districts from the earliest days to the present. The authors use lots of primary source interviews with the surviving denizens of this fascinating area of town and paint a truly engaging picture of the lifestyles and business practices of these predominantly black and Jewish areas, particularly around the 1920's heyday of the earliest great blues artists. Such immortal founding fathers as Blind Lemon Jefferson, Blind Willie Johnson and "Oak Cliff" T-Bone Walker were crucial to the growth of the art form, and these and innumerable lesser artists are covered in meticulous and loving detail. The authors also spend plenty of time covering contributors to the local jazz and country music scenes as well, particularly jazz hornman Buster Smith, and country pickers the Light Crust Doughboys, where western swing icon Bob Wills got his start. Even though the work has a decidedly scholarly bent, the numerous stories of such colorful characters as gambling mogul Benny Binion and mammoth shoeshine entrepreneur "Open the Door Richard", provide enough reading pleasure to keep even casual fans enthralled. Researchers will love the nearly one hundred pages of source appendices, and fans of history, sociology, music, and Big D will all want to read this book as soon as possible, for it proves, among other things, that Dallas, Texas was and is a fascinating city, as well as a major contributor to the history of the blues art form.