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Waiting for the Sunrise: Goan Jazz Musicians in Dar es Salaam, by Judy P. Luis-Watson
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WAITING FOR THE SUNRISE is a view of the Goan experience in Dar es Salaam, Tanzania of the 1950s and 1960s, through the lens of music. Musicians as far away as East Africa, India, and North America are inspired and connected through jazz. Leading the story are intimate and engaging first-hand accounts of musicians, whose friendships continue through good and difficult times. In this moving portrayal of Goan jazz musicians and the role they played in enriching their community, the back beat is the healing power of music.
- Sales Rank: #4309583 in Books
- Published on: 2015-09-18
- Original language: English
- Dimensions: 8.50" h x .34" w x 5.50" l,
- Binding: Paperback
- 136 pages
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FAMILY HISTORY AND JAZZ BEAUTIFULLY RENDERED
By L. S. Moyer
In this highly readable and deeply personal account, music, specifically jazz, is explored as the conduit by which immigrants from the Indian state of Goa created community in Dar es Salaam, Tanzania, during the 1950s and 60s. The author's father worked for Barclays Bank by day and played the accordion by night. Jerry Luis and his fellow Jazz Swingers members regularly took the stage at the Ocean Breeze, the city's most popular restaurant and nightclub. There, in snazzy suits and bow ties, the musicians played "Take the A Train," "Bye, Bye Blackbird," and other favorites to the delight of their audiences which drew from a number of Tanzania's social clubs. East Africa was once home to hundreds of social, sporting and cultural associations including at least four Goan clubs in Dar es Salaam as well as Greek, Portuguese, Scottish and Italian associations -- many of whom gathered to dance to the melodies of the Jazz Swingers."Waiting for Sunrise" also explores the monumental changes that Tanzania, a British territory and racially segregated country, underwent in the years before and after 1961 when it gained its independence. These shifts are examined by the author through the lens of the Goan community and the Jazz Swingers. The book ends with a chapter on the author's own musical journey as a blues performer.Toward the end of the book, the author reflects that, "With every few exceptions, musicians in Dar functioned somewhat in a vacuum, generally playing with their own ethnic or racial groups. This was so different from my own musical experience in the U.S., which helped to reinforce the notion that while we may be different, we are all connected." Family history and jazz meld wonderfully in this highly recommended account.
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