Music's most culturally significant concert?

Sometime in 1938, jazz fan, producer and critic John Hammond had the idea of arranging a concert at New York’s Carnegie Hall with the ambition to celebrate Black music from its earliest days to the very latest in jazz. To us, today, this seems like an ambitious and exciting event, well worth attending. In 1938 it was an audacious idea, for it was the first major concert at s a prestigious venue to feature Black artists, performing to an integrated audience. Hammond faced views ranging from antipathy to out and out hostility and to make it work he needed a sponsor. Having tried just about everyone he finally got ‘New Masses’ to put up the money; ‘New Masses’ was the journal of the Communist Party.

Two days before Christmas 1938 Hammond walked on stage to start the evening he had named,

From Spirituals to Swing

It was sold out, and for those lucky enough to be at this  “socially significant event” they witnessed legendary performers at “a musical milestone”. Fortunately, for later generations, Hammond had the foresight to record the concert; acetates of almost every performance were taken.

In 1959 Hammond wrote about the concerts saying, Big Bill Broonzy left his Arkansas farm and mule to come to New York.  “William ‘Big Bill’ Broonzy bought a new pair of shoes and got on a bus in Arkansas to make his first trip to New York” wrote John Sebastian (not the Lovin’ Spoonful member) in a review that appeared in ‘New Masses’. It was his first trip to NYC if you ignore the eight days of recording on three separate sessions in 1930 and 1932!

Hammond also told of having signed Robert Johnson to appear, who failed to make it because he was killed in a bar room brawl (further fuel to the Johnson legend). The concert was dedicated to the memory of Bessie Smith who had died 15 months previously; her niece Ruby accompanied by James P. Johnson sang her songs.

One of the star turns were the pianists, Albert Ammons, Pete Johnson and Meade Lux Lewis all playing together Their appearance proved to be sensational and New York’s Café Society went wild for these charismatic performers. The Count Basie Orchestra, Hammond had originally signed Basie to MCA in 1936, were also on the bill. Mitchell’s Christian Singers and sister Rosetta Tharpe represented Gospel, while Sony Terry, Joe Turner, Jimmy Rushing and Helen Humes played the Blues.

On Christmas Eve following year there was another concert. Many of the same stars were on parade including, Basie, Big Bill, Sonny Terry, James P. Johnson and Helen Humes. Additionally the Golden Gate Quartet, The Benny Goodman Sextet, featuring Charlie Christian, and Ida Cox performed. Ida had cut her first Blues sides in 1923.