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Dangerous Rhythms: Jazz and the Underworld
Goodreads Choice Award
Nominee for Readers' Favorite History & Biography (2022)From T. J. English, the New York Times bestselling author of Havana Nocturne, comes the epic, scintillating narrative of the interconnected worlds of jazz and organized crime in 20th century America.
Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America's most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl "Fatha" Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie "Lucky" Luciano, provided opportunities that would not otherwise have existed.
Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in "protected" joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers.
Through English's voluminous research and keen narrative skills, Dangerous Rhythms reveals this deeply fascinating slice of American history in all its sordid glory.
Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America's most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl "Fatha" Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie "Lucky" Luciano, provided opportunities that would not otherwise have existed.
Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in "protected" joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers.
Through English's voluminous research and keen narrative skills, Dangerous Rhythms reveals this deeply fascinating slice of American history in all its sordid glory.
448 pages, Hardcover
First published August 2, 2022
171 people are currently reading
11976 people want to read
About the author
T.J. English
13 books453 followersT.J. English's latest book is THE LAST KILO. English is an author and journalist with an emphasis on organized crime, the criminal underworld, and the criminal justice system. Many of his books have been New York Times bestsellers, including HAVANA NOCTURNE, THE SAVAGE CITY, PADDY WHACKED, and WHERE THE BODIES WERE BURIED. Four of his books have been nominated for an Edgar Award in the category of Best Fact Crime (BORN TO KILL, HAVANA NOCTURNE, THE SAVAGE CITY, WHERE THE BODIES WERE BURIED). In 2023, his book DANGEROUS RHYTHMS was given a special award by PEN Oakland. A collection of his journalism was published under the title WHITEY'S PAYBACK, an anthology that includes articles originally printed in Playboy, Newsweek, Esquire, The New York Times, and other national publications. He lives in New York City.
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Displaying 1 - 30 of 139 reviews
January 8, 2023
This is a history of the affiliation between jazz music and organized crime from the inception of the music style up until the time when its popularity began to wane. Big names in the mob and jazz worlds can be found here and the thorough nature of the book makes it clear why talented artists who would later go on to become stars teamed up with shifty characters: mob-owned clubs were often safer (who's going to cause trouble in a place crawling with mafia members?), they offered protection for Black artists during extremely racist days, and, of course, the money of it all.
This was really illuminating and packed full of fascinating stories, but I think it jumped around too much to be truly effective in its storytelling. I appreciate the author wanted to go in depth and give every example possible, but, for example, the section on Pittsburgh (where I live) is so short, not even a few pages long, so it's merely a drop in this massive pond, to the point where I wish he wouldn't have included it at all. A tighter focus and a willingness on the part of the author to sacrifice some of the research in favor of the flow of the book would have boosted this up another star for me.
Click here to hear more of my thoughts on this book over on my Booktube channel, abookolive!
This was really illuminating and packed full of fascinating stories, but I think it jumped around too much to be truly effective in its storytelling. I appreciate the author wanted to go in depth and give every example possible, but, for example, the section on Pittsburgh (where I live) is so short, not even a few pages long, so it's merely a drop in this massive pond, to the point where I wish he wouldn't have included it at all. A tighter focus and a willingness on the part of the author to sacrifice some of the research in favor of the flow of the book would have boosted this up another star for me.
Click here to hear more of my thoughts on this book over on my Booktube channel, abookolive!
April 18, 2022
The author reveals how early jazz music was often played in bordellos and bars owned by organized crime figures. He cites specifics in New Orleans, where the Sicilian mafia was often in control, and Kansas City, where “most of the night spots were run by politicians and hoodlums, and the town was wide open for…pretty much every form of vice [and] work was plentiful for musicians.” The inherent racism of the system was perpetuated, since the performers were mostly people of color and the managers and club owners were frequently Italian, Jewish, or Irish gangsters. This is a well-researched look at the evolution of jazz music in the United States. It was surprising how often jazz music was involved with the mob, politics, and bribery, and how often the shady club owners and promoters made more money than the talented musicians. Thanks to Edelweiss and the publisher for the ARC.
December 29, 2022
Dangerous Rhythms chronicles the symbiotic relationship between jazz and the shadowy underworld of gangsters. Beginning with the music’s origins in the streets and bordellos of New Orleans’ infamous Storyville red light district, the book traces the tale of how jazz and organized crime grew and developed together. From New Orleans to Kansas City, Chicago to New York, Los Angeles to Havana to Las Vegas — the hottest towns for jazz and the underworlds that both supported and exploited it are mapped out. The often arcane relationships between mobsters, corrupt politicians, and the music business is explored.
The book is arranged as a collection of episodic stories, mostly in chronological order, that tell the history of jazz’s most storied performers and their dependence on the mob’s most nefarious characters. For some, it was a devil’s bargain of necessity. Others were drawn to the glamor and danger of the mobsters. Dangerous Rhythms serves as a bird’s eye history of both jazz and the mob, and will be fascinating to those interested in either.
The book is arranged as a collection of episodic stories, mostly in chronological order, that tell the history of jazz’s most storied performers and their dependence on the mob’s most nefarious characters. For some, it was a devil’s bargain of necessity. Others were drawn to the glamor and danger of the mobsters. Dangerous Rhythms serves as a bird’s eye history of both jazz and the mob, and will be fascinating to those interested in either.
September 11, 2022
This is one of the best books about music I’ve ever read. Of course, it isn’t solely about music. It’s a close look at the relationship between jazz musicians and the mob and how the latter exploited the former for their own ends.
The question the book raises - and largely leaves to the reader to answer - is this: without organized crime’s backing, could jazz have thrived as it did for much of the 20th century? From New Orleans to Chicago, Havana to Las Vegas, Kansas City to New York City, the mob was there, owning the nightclubs and managing the artists.
Mob control proved to be a double-edged sword. While the gangsters provided the venues and were known to honor their commitments to pay musicians, they also exacted a high price if an artist showed signs of independence, as Louis Armstrong and Joe E. Lewis found.
T.J. English’s style is lively, his prose is vibrant and never dull, and he knows how to tell a story (trust me, there are some eyebrow-raising tales in these pages about Frank Sinatra). Dangerous Rhythms is a fascinating and compelling exploration of the nexus between one of America’s most important musical forms and one of America’s most deadly crime syndicates.
The question the book raises - and largely leaves to the reader to answer - is this: without organized crime’s backing, could jazz have thrived as it did for much of the 20th century? From New Orleans to Chicago, Havana to Las Vegas, Kansas City to New York City, the mob was there, owning the nightclubs and managing the artists.
Mob control proved to be a double-edged sword. While the gangsters provided the venues and were known to honor their commitments to pay musicians, they also exacted a high price if an artist showed signs of independence, as Louis Armstrong and Joe E. Lewis found.
T.J. English’s style is lively, his prose is vibrant and never dull, and he knows how to tell a story (trust me, there are some eyebrow-raising tales in these pages about Frank Sinatra). Dangerous Rhythms is a fascinating and compelling exploration of the nexus between one of America’s most important musical forms and one of America’s most deadly crime syndicates.
January 15, 2023
I really had no idea just how much jazz and the underworld were connected! The author does a remarkable job of telling the history of jazz music. I was familiar with most of the organized crime figures throughout the book. It's definitely interesting to read. This is the fourth book by TJ English I've read. He's become one of my favorite nonfiction authors! His research and dedication are second to none. The way he relates the events and stories makes it read like fiction. The best part for me is obviously, it's nonfiction which I just find it so cool because you can't make this stuff up!
December 16, 2022
This comprehensive account by T.J. English of the origins of jazz music, with in-depth portrayal of organized crime’s involvement in its prosperity, is a brilliantly constructed and phenomenally researched piece of historical musical (and criminal!) literature, sure to be a definitive guide on both topics for years to come.
As another reviewer pointed out, English really does his research well, and puts the stories and their contexts where they belong: throughout society in the 20s, 30s, 40s, 50s - rather than distorting these narratives by attempting to examine them through the lens of modern-day culture and society.
Meaning: he doesn’t sugarcoat the relationship between infamous mobsters and brilliant household jazz names, nor how because the mob owned vice, owned the illegal booze trade, and therefore owned and operated the biggest nightclubs where jazz got its start, they were able to, in great effect, also own a piece of each artist who dreamed of playing at these venues; dreamed of showing off their exceptional talent and providing a good life for their families.
Yes, it was demeaning and horrible the way many of these mobsters treated black entertainers. Readers must also remember that this was at the height of segregationist Jim Crow laws, and therefore if black artists hoped to secure the best and highest paying gigs around, they had little choice but to go along with the racist laws of the time. For instance, even when certain musicians - Sammy Davis, Jr., for one - had their names on the marquee in lights outside the club as the headlining entertainment - they were still made to eat in the kitchen, rather than out in the restaurant where the white patrons sat. And although the main musical acts were almost always black, most clubs still operated according to strict segregation laws - meaning that blacks could not serve as club personnel or even patronize the club - leaving the black entertainers to perform for all white audiences.
It’s awful, but it’s almost even worse that younger generations of blacks would judge these musicians for this; resenting Louis Armstrong, Count Basie, Dizzy Gillespie, and other major jazz musicians for not refusing to abide by these policies. As it is often said - you can hardly judge someone for the decisions they had to make, when you have no idea what it’s like to be in their shoes: to face such difficult decisions in an impossibly difficult era for blacks altogether, still almost entirely without legal rights.
There’s just so much more to this than jazz itself... as mentioned, so much on organized crime and its contributions to the genre, as well as the speculation of how much it really helped the musicians vs. how much it hindered them, looking back at society then. It’s a fantastic read no matter if you’re a lover of jazz, an occasional listener, or even if it’s just not for you. Easy five stars. ⭐️⭐️⭐️⭐️⭐️ Could hardly put this down.
As another reviewer pointed out, English really does his research well, and puts the stories and their contexts where they belong: throughout society in the 20s, 30s, 40s, 50s - rather than distorting these narratives by attempting to examine them through the lens of modern-day culture and society.
Meaning: he doesn’t sugarcoat the relationship between infamous mobsters and brilliant household jazz names, nor how because the mob owned vice, owned the illegal booze trade, and therefore owned and operated the biggest nightclubs where jazz got its start, they were able to, in great effect, also own a piece of each artist who dreamed of playing at these venues; dreamed of showing off their exceptional talent and providing a good life for their families.
Yes, it was demeaning and horrible the way many of these mobsters treated black entertainers. Readers must also remember that this was at the height of segregationist Jim Crow laws, and therefore if black artists hoped to secure the best and highest paying gigs around, they had little choice but to go along with the racist laws of the time. For instance, even when certain musicians - Sammy Davis, Jr., for one - had their names on the marquee in lights outside the club as the headlining entertainment - they were still made to eat in the kitchen, rather than out in the restaurant where the white patrons sat. And although the main musical acts were almost always black, most clubs still operated according to strict segregation laws - meaning that blacks could not serve as club personnel or even patronize the club - leaving the black entertainers to perform for all white audiences.
It’s awful, but it’s almost even worse that younger generations of blacks would judge these musicians for this; resenting Louis Armstrong, Count Basie, Dizzy Gillespie, and other major jazz musicians for not refusing to abide by these policies. As it is often said - you can hardly judge someone for the decisions they had to make, when you have no idea what it’s like to be in their shoes: to face such difficult decisions in an impossibly difficult era for blacks altogether, still almost entirely without legal rights.
There’s just so much more to this than jazz itself... as mentioned, so much on organized crime and its contributions to the genre, as well as the speculation of how much it really helped the musicians vs. how much it hindered them, looking back at society then. It’s a fantastic read no matter if you’re a lover of jazz, an occasional listener, or even if it’s just not for you. Easy five stars. ⭐️⭐️⭐️⭐️⭐️ Could hardly put this down.
December 19, 2022
(This review is based on the audiobook, narrated by jazzy baritone JD Jackson — I highly recommend it. The print volume also has nice glossy photo sections worth seeing.)
I’m from New Orleans; grew up in the thick of music down there, but never took the time to learn about early jazz musicians or the arc of the spread of jazz across the country.
Not to mention the history of notorious mobsters in America. TJ English makes this task enjoyable by expertly weaving the two together in a way that really captures the zeitgeist of the times.
If you are both a music lover and curious about American history you should enjoy this book. I found myself Googling jazzters and mobsters alike. Fortunately YouTube has many early recordings available to listen to the evolution of the musical style, known early on as “jass”, a word with vulgar connotations that even today would not be used in polite society.
If you ever heard the lyric “Kansas City Here I Come”… and wondered “Kansas City: why??” you’ll find your answer here. It turns out that in the 30s and 40s the city was an important automobile layover in the rapid growth of a nation newly connected by auto, pictures and sound (the underworld always hitching the underbelly ride) and the concomitant culture also hitching along: new jazz styles energetically played at all-night clubs (fueled by newly available alcohol and drugs), thus making Kansas City an important (and apparently uniquely magical) “cradle of jazz”.
Frank Sinatra gets some space in this tale, placing you at the doorstep of Hollywood and studio bosses (the mob?) — perhaps a future book?
For the curious, there is the opportunity (if not urgency) to dive into the internet along the way: videos of early cakewalks and minstrelsy, Sousa marches; Sicily’s special love of music and brass bands, mixing with New Orleans’ slave descendants and immigrant political bosses to incubate jazz; ragtime; Charleston and its early jazz influence; swing, stride, boogie woogie, bebop…
It all happened so fast. That is a book in itself.
English convincingly illustrates that without the power and influence of the Italian, Irish and Jewish mob (assisted by corrupt civil servants) jazz may have never become America’s music.
A related recommendation: English’s bestselling “Havana Nocturne” tells the story of the mob attempting to escape American interference in its “business” by usurping Cuba as its own worldwide music and gambling paradise, in perpetuity. A permanent offshore vice island. But alas, a revolution gets in the way….
I’m from New Orleans; grew up in the thick of music down there, but never took the time to learn about early jazz musicians or the arc of the spread of jazz across the country.
Not to mention the history of notorious mobsters in America. TJ English makes this task enjoyable by expertly weaving the two together in a way that really captures the zeitgeist of the times.
If you are both a music lover and curious about American history you should enjoy this book. I found myself Googling jazzters and mobsters alike. Fortunately YouTube has many early recordings available to listen to the evolution of the musical style, known early on as “jass”, a word with vulgar connotations that even today would not be used in polite society.
If you ever heard the lyric “Kansas City Here I Come”… and wondered “Kansas City: why??” you’ll find your answer here. It turns out that in the 30s and 40s the city was an important automobile layover in the rapid growth of a nation newly connected by auto, pictures and sound (the underworld always hitching the underbelly ride) and the concomitant culture also hitching along: new jazz styles energetically played at all-night clubs (fueled by newly available alcohol and drugs), thus making Kansas City an important (and apparently uniquely magical) “cradle of jazz”.
Frank Sinatra gets some space in this tale, placing you at the doorstep of Hollywood and studio bosses (the mob?) — perhaps a future book?
For the curious, there is the opportunity (if not urgency) to dive into the internet along the way: videos of early cakewalks and minstrelsy, Sousa marches; Sicily’s special love of music and brass bands, mixing with New Orleans’ slave descendants and immigrant political bosses to incubate jazz; ragtime; Charleston and its early jazz influence; swing, stride, boogie woogie, bebop…
It all happened so fast. That is a book in itself.
English convincingly illustrates that without the power and influence of the Italian, Irish and Jewish mob (assisted by corrupt civil servants) jazz may have never become America’s music.
A related recommendation: English’s bestselling “Havana Nocturne” tells the story of the mob attempting to escape American interference in its “business” by usurping Cuba as its own worldwide music and gambling paradise, in perpetuity. A permanent offshore vice island. But alas, a revolution gets in the way….
February 24, 2024
This was such a fascinating read! I learned so much about American history (the mob shaped so much of it but it really isn’t taught in schools) and jazz. And English’s storytelling really brought the history to life.
December 15, 2024
Interesting reading…somewhat light but still fun! I had a few, “Oh wow! I didn’t know that!”—moments. Recommend if you love music and/or are intrigued by the criminal underworld.
November 22, 2022
T.J. English’s “Dangerous Rhythms” is a book about the lives of the great jazz originators and their intertwined relationship with the underworld. It’s a book about a part of the American history. This book is thoroughly researched and very well-written. I learned so much about the lives of those jazz musicians I admire - Duke Ellington, Louis Armstrong, Fats Waller, Miles Davis, Count Basie, Sarah Vaughan, Ella Fitzgerald, Billie Holiday, Mary Lou Williams, etc. - and have gained a greater appreciation and respect for them.
A definite must read for jazz aficionados, and a great book for history lovers!
I was reading the book and listening to the audiobook simultaneously, so I also would like to give big kudos to JD Jackson who did an amazing job with the narration.
A definite must read for jazz aficionados, and a great book for history lovers!
I was reading the book and listening to the audiobook simultaneously, so I also would like to give big kudos to JD Jackson who did an amazing job with the narration.
February 10, 2025
An intriguing, in-depth examination of the link between mobsters and jazz, from author T. J. English.
Jelly Roll Morton, Louis Armstrong, Nick LaRocca, The Duke, Cab Calloway, Fats Waller, Old Blue Eyes.
Thomas Anderson, Henry Matranga, Joe Glaser, Al Capone, Meyer Lansky, Frank Costello, Lucky Luciano.
New Orleans, Chicago, New York City, Kansas City, St. Louis, Los Angeles, Havana.
The research that went into this eye-popping record must have taken some time. The vast network of bars, dance halls, speakeasies, juke joints and lounges connected to the criminal underworld from the 1920s to 1960s is staggering.
If you love music, read the book for the song titles. If you're drawn to the seedy gangster way of life, read it for the knifings and shoot-ups.
Dangerous Rhythms makes readers want to hop into a time machine and head back to the glory years of jazz. Head back with bodyguards, that is.
Jelly Roll Morton, Louis Armstrong, Nick LaRocca, The Duke, Cab Calloway, Fats Waller, Old Blue Eyes.
Thomas Anderson, Henry Matranga, Joe Glaser, Al Capone, Meyer Lansky, Frank Costello, Lucky Luciano.
New Orleans, Chicago, New York City, Kansas City, St. Louis, Los Angeles, Havana.
The research that went into this eye-popping record must have taken some time. The vast network of bars, dance halls, speakeasies, juke joints and lounges connected to the criminal underworld from the 1920s to 1960s is staggering.
If you love music, read the book for the song titles. If you're drawn to the seedy gangster way of life, read it for the knifings and shoot-ups.
Dangerous Rhythms makes readers want to hop into a time machine and head back to the glory years of jazz. Head back with bodyguards, that is.
October 8, 2022
I could see why so many musicians had to play where ever they could. Times being what they were, jazz musicians faced racism. Clubs during Prohibition couldn’t serve alcohol. Who would want to go? The mobsters wanted the money musicians made for them so they protected the assets when it was good for them.
The Joe E Lewis story was scary. How entrenched the mobsters became was shocking.
The author doesn’t shy way from the times. It feels like too many modern authors feel afraid too afraid to day what was said back then and show the ugly racist words, the violence, the prostitution and bullying. He uses the harsh words to show the times. The book goes on to show what became of the once useful relationships to the just plain exploitation.
The Joe E Lewis story was scary. How entrenched the mobsters became was shocking.
The author doesn’t shy way from the times. It feels like too many modern authors feel afraid too afraid to day what was said back then and show the ugly racist words, the violence, the prostitution and bullying. He uses the harsh words to show the times. The book goes on to show what became of the once useful relationships to the just plain exploitation.
February 14, 2023
What an interesting book on the intersection between jazz and the mob. A lot of information about the history of jazz as music but also of the music business itself and it’s growth out of mob use to disguise where the real money was coming from through liquor, gambling, drugs, extortion, etc. A whirlwind tour around the United States as jazz moved from New Orleans and the South to Chicago, Kansas City, New York City and more; changing and evolving through musicians like Louis Armstrong, Charlie Parker, Duke Ellington and many more but being held down by Jim Crow laws as well as dominated by gangland’s control of venues and more. A very readable book, for anyone interested in music and/or true crime.
January 2, 2024
What a fun project this must have been for T.J. English. If it was as much fun to write as it was to read, he would’ve had a blast putting this together. I can imagine how enormous and complex his outline must have been, with the myriad overlaps and intertwinements of two topics as rich as jazz and organized crime. Few other subjects offer as many dot-connecting opportunities as jazz and organized crime, and T.J. English is both an expert dot-connector and a master distiller. Like a finely blended whiskey, “Dangerous Rhythms” combines two entities into one bottle, and the finished product is tasty, well-balanced, and intoxicating.
English’s first book, “The Westies” is a classic in the true mob genre, and his subsequent books have never failed to pique my interest and command my attention. I bought “Dangerous Rhythms” not knowing that I was sourced therein for my book, “The Mafia and the Machine: The Story of the Kansas City Mob.” When I discovered this, I was thrilled, because T.J. English is the writer I would aspire to be if I were a pro instead of an amateur. Having tracked his progress, I’m pleased to report that in my opinion, “Dangerous Rhythms” is his best book since “The Westies.”
That’s not to say I don’t have some criticisms. I noticed a few mistakes, and I would quibble with some of his interpretations and assertations. There were also a couple of notable omissions. First is the virtual absence of Harry Anslinger, who investigated and prosecuted mobsters and jazz musicians contemporaneously. Anslinger is a key figure in the jazz-mafia-heroin nexus, and his impact on mafiosi and jazz musicians was significant. English briefly and peripherally refers to him one time, but Anslinger’s virtual absence is conspicuous.
Another missed opportunity was the Moulin Rouge Hotel and Casino in West Las Vegas. Notable for its location in the black part of town and as the first integrated casino, the MR belonged in this book, but didn’t make it in.
Another complaint: Mr. English knows how the publishing game is played. How do you get the best reviews, endorsements, and shelf space? Well, we all know it helps if you express solidarity and fealty to the establishment ideology. And what is the establishment ideology in the literary-academic-publishing-library-bookstore-Hollywood nexus? Why, anti-capitalism, of course.
Fashionable (and wealthy) socialists like Cornell West are unlikely to write your cover endorsement without some socialism-supporting content. English seems to have endeared himself to West by associating capitalism with organized crime, but not with jazz. Every time capitalism is mentioned it’s disparaged and placed in the context of gangsterism. Never mind that jazz is the ultimate meritocracy and the most competitive of the arts; or that it could only have happened in a free market economy; or that every musician was an entrepreneur and every band a business; or that deregulation and freedom and individualism are inherent to the music; or that the vast majority of jazz greats prospered under capitalism even as some were ripped off by criminals; or that capitalism encouraged integration to happen organically within the fiercely competitive world of jazz; or that a company like Blue Note Records epitomizes the positive attributes of private enterprise, or that socialists in Cuba literally BANNED jazz because it was so representative of America and capitalism.
Don’t get me wrong: English does not explicitly endorse socialism. My hunch is that he’s not a socialist, but he knows how to play the game. This includes towing the line on the silly new orthodoxy that requires writers to capitalize “Black” while leaving “white” in lower case. It’s especially silly when the descriptors appear in the same sentence, with “Black” capitalized, and “white” in lower case. English, or his editor, even changes “black” to “Black” in old quotes from old books and other pre-capitalization sources. My hunch is that he finds this to be a bit of an eye-rolling exercise in political fealty, but what are you gonna do?
And finally, I was hurt by English referring to Joe Glaser as Mary Lou Williams’ “former Pimp Daddy.” It’s true that Glaser was a former pimp, but Mary was never a prostitute, and I’d hate for anyone to think she was, because she wouldn’t like that. I’m an adoring superfan of Mary Lou Williams and I feel protective of her legacy. I know English did not mean to imply that of Mary. He treats her with all due respect, and even reverence. This seems to have just been an uncharacteristic lapse in discretion that unintentionally tainted Mary with her former manager’s slime. But for the record, Mary Lou Williams was never a prostitute and she never had a pimp daddy!
Despite all this criticism, this is terrific book. It’s well researched, well written, entertaining and informative. It’s authoritative but also accessible, and laymen will enjoy it alongside jazz afficionados and mafia historians, who will recognize many familiar stories but also find some fresh and surprising stuff. English is more of an arranger than a composer or a player, but let’s not underestimate the impact of great arrangers like Gil Evans or Horace Tapscott or Quincy Jones. For me, English is to non-fiction arranging what Bob Brookmeyer is to modern big band arranging: the best in the biz!
English’s first book, “The Westies” is a classic in the true mob genre, and his subsequent books have never failed to pique my interest and command my attention. I bought “Dangerous Rhythms” not knowing that I was sourced therein for my book, “The Mafia and the Machine: The Story of the Kansas City Mob.” When I discovered this, I was thrilled, because T.J. English is the writer I would aspire to be if I were a pro instead of an amateur. Having tracked his progress, I’m pleased to report that in my opinion, “Dangerous Rhythms” is his best book since “The Westies.”
That’s not to say I don’t have some criticisms. I noticed a few mistakes, and I would quibble with some of his interpretations and assertations. There were also a couple of notable omissions. First is the virtual absence of Harry Anslinger, who investigated and prosecuted mobsters and jazz musicians contemporaneously. Anslinger is a key figure in the jazz-mafia-heroin nexus, and his impact on mafiosi and jazz musicians was significant. English briefly and peripherally refers to him one time, but Anslinger’s virtual absence is conspicuous.
Another missed opportunity was the Moulin Rouge Hotel and Casino in West Las Vegas. Notable for its location in the black part of town and as the first integrated casino, the MR belonged in this book, but didn’t make it in.
Another complaint: Mr. English knows how the publishing game is played. How do you get the best reviews, endorsements, and shelf space? Well, we all know it helps if you express solidarity and fealty to the establishment ideology. And what is the establishment ideology in the literary-academic-publishing-library-bookstore-Hollywood nexus? Why, anti-capitalism, of course.
Fashionable (and wealthy) socialists like Cornell West are unlikely to write your cover endorsement without some socialism-supporting content. English seems to have endeared himself to West by associating capitalism with organized crime, but not with jazz. Every time capitalism is mentioned it’s disparaged and placed in the context of gangsterism. Never mind that jazz is the ultimate meritocracy and the most competitive of the arts; or that it could only have happened in a free market economy; or that every musician was an entrepreneur and every band a business; or that deregulation and freedom and individualism are inherent to the music; or that the vast majority of jazz greats prospered under capitalism even as some were ripped off by criminals; or that capitalism encouraged integration to happen organically within the fiercely competitive world of jazz; or that a company like Blue Note Records epitomizes the positive attributes of private enterprise, or that socialists in Cuba literally BANNED jazz because it was so representative of America and capitalism.
Don’t get me wrong: English does not explicitly endorse socialism. My hunch is that he’s not a socialist, but he knows how to play the game. This includes towing the line on the silly new orthodoxy that requires writers to capitalize “Black” while leaving “white” in lower case. It’s especially silly when the descriptors appear in the same sentence, with “Black” capitalized, and “white” in lower case. English, or his editor, even changes “black” to “Black” in old quotes from old books and other pre-capitalization sources. My hunch is that he finds this to be a bit of an eye-rolling exercise in political fealty, but what are you gonna do?
And finally, I was hurt by English referring to Joe Glaser as Mary Lou Williams’ “former Pimp Daddy.” It’s true that Glaser was a former pimp, but Mary was never a prostitute, and I’d hate for anyone to think she was, because she wouldn’t like that. I’m an adoring superfan of Mary Lou Williams and I feel protective of her legacy. I know English did not mean to imply that of Mary. He treats her with all due respect, and even reverence. This seems to have just been an uncharacteristic lapse in discretion that unintentionally tainted Mary with her former manager’s slime. But for the record, Mary Lou Williams was never a prostitute and she never had a pimp daddy!
Despite all this criticism, this is terrific book. It’s well researched, well written, entertaining and informative. It’s authoritative but also accessible, and laymen will enjoy it alongside jazz afficionados and mafia historians, who will recognize many familiar stories but also find some fresh and surprising stuff. English is more of an arranger than a composer or a player, but let’s not underestimate the impact of great arrangers like Gil Evans or Horace Tapscott or Quincy Jones. For me, English is to non-fiction arranging what Bob Brookmeyer is to modern big band arranging: the best in the biz!
October 17, 2022
"A great read cover to cover, Dangerous Rhythms knits together this complex history with great narrative skill, sweep, insight, and detail, finding patterns once only hinted at, with passion and precision. It also stirs fascinating questions about the chemistry of politics, race, art, and commerce in America, and about the role of extreme adversity in the creation of great art. "
Read the rest at:
https://medium.com/fan-fare/the-readi...
And thanks!
Read the rest at:
https://medium.com/fan-fare/the-readi...
And thanks!
September 18, 2024
Interesting but much more of a focus on the crime (organized, mobsters, gangs) rather than the jazz which is what I was looking for. Also the book was by someone white which shouldn’t be a big deal but I felt like it was missing some social context.
October 12, 2022
Loved this book , it was great reading about the music that I love. I learned new facts and was hooked from the very first page. One of the best books I have read in awhile
January 24, 2023
I love the book. It is written in a style that can be picked up and put down.... four hours later I put it down, and next day finished the read. I am a slow reader, rarely do I finish a book in two weeks. I've ordered his "Paddy Whacked" that I will read next month.
January 3, 2023
Interesting enough volume about the overlap between (organized) crime and jazz. But I had some problems with it.
The main problem is that the author seems to be confusing correlation with causation. Yes, jazz started in brothels, and took off with Prohibition, and certainly there were gangsters around. But my thinking is that clubs and dance halls without underworld ownership existed and thrived/died at probably similar rates...and the underworld had no influence on the music itself. By their promotion of alcohol, drugs, and gambling--and their forays into record producing and screwing the musicians out of royalties--they did more to impede jazz than anything else, by derailing talented artists. The author could have written a book focusing on jazz and law enforcement (Jim Crow laws, the NY cabaret card system, etc.) and gotten similar mileage.
Next problem was the focus in the second half on Sinatra. Lester Young may have been correct in that Sinatra could have been a great jazz vocalist, and certainly Sinatra admired jazz singers...but Sinatra was not--ever--a jazz vocalist. He could be a good example of an intersection between celebrities and the mob, or at a stretch, between the music industry and the mob, but he's a poor example for jazz and the mob, because he isn't in the jazz camp. Part of this is my own prejudice...I've been a jazz fan for ~45 years, and I can't stand Sinatra (or Tony Bennett, or Mel Torme)...lounge singers are not my thing. For those who like that sort of thing, great, enjoy...but he comes off here as an asshole.
Final problem: the author, when describing Kind of Blue, named Wynton Kelly as being on bass. To clarify: Kelly played piano on one track, replacing Bill Evans. I'm sorry, if you're a jazz fan, you know who Wynton Kelly was, and you don't make that kind of mistake when naming personnel on one of the most significant recordings in the canon. A mistake in a non-fiction book makes me wonder what other mistakes were made.
The main problem is that the author seems to be confusing correlation with causation. Yes, jazz started in brothels, and took off with Prohibition, and certainly there were gangsters around. But my thinking is that clubs and dance halls without underworld ownership existed and thrived/died at probably similar rates...and the underworld had no influence on the music itself. By their promotion of alcohol, drugs, and gambling--and their forays into record producing and screwing the musicians out of royalties--they did more to impede jazz than anything else, by derailing talented artists. The author could have written a book focusing on jazz and law enforcement (Jim Crow laws, the NY cabaret card system, etc.) and gotten similar mileage.
Next problem was the focus in the second half on Sinatra. Lester Young may have been correct in that Sinatra could have been a great jazz vocalist, and certainly Sinatra admired jazz singers...but Sinatra was not--ever--a jazz vocalist. He could be a good example of an intersection between celebrities and the mob, or at a stretch, between the music industry and the mob, but he's a poor example for jazz and the mob, because he isn't in the jazz camp. Part of this is my own prejudice...I've been a jazz fan for ~45 years, and I can't stand Sinatra (or Tony Bennett, or Mel Torme)...lounge singers are not my thing. For those who like that sort of thing, great, enjoy...but he comes off here as an asshole.
Final problem: the author, when describing Kind of Blue, named Wynton Kelly as being on bass. To clarify: Kelly played piano on one track, replacing Bill Evans. I'm sorry, if you're a jazz fan, you know who Wynton Kelly was, and you don't make that kind of mistake when naming personnel on one of the most significant recordings in the canon. A mistake in a non-fiction book makes me wonder what other mistakes were made.
September 22, 2022
This is about the relationship between jazz and the mafia - not an appreciation society relationship, though many mobsters did enjoy jazz. But a financial relationship, with mobsters seeing jazz as a way to make money. By having performers at clubs, they drew people in to gamble, buy booze, drugs, etc. Any anytime they did a favor for anyone, that performer was felt to owe the mob forever. Then they got attracted to the sale of records - of which the artists saw little or none of the royalties - and claimed credit for writing the songs sung on the records and so on. Everything the mob did was looking at the bottom line and putting money in their own pocket. At first, it was a seemingly friendly top help they were giving jazz artists, but that relationship changed rather quickly. The book is split into two parts, the first is the beginning with the relationship of Louis Armstrong. That reached a point where Armstrong left the United States for fear of the mob. The second part takes a look at Frank Sinatra and his dealings with the mob. The end is the civil rights movement where the mobsters have to change because of the pressure brought against them by the movement and the FBI becoming deeply interested in their actions. There is even a part on the setup in Cuba by the mob. When that collapsed, it spurred the Las Vegas development.
There is even a bit about Hot Springs, Arkansas, thrown in there with the other mob spots in Kentucky, Chicago, New York, Kansas, etc. The pictures section is really good with mobsters and jazz perfdormers.
A very interesting look at the mob and jazz - and rather bloody on the mob's part.
There is even a bit about Hot Springs, Arkansas, thrown in there with the other mob spots in Kentucky, Chicago, New York, Kansas, etc. The pictures section is really good with mobsters and jazz perfdormers.
A very interesting look at the mob and jazz - and rather bloody on the mob's part.
June 28, 2022
This book is not the history of jazz, rather the history of what elements, environments and ideologies that gave birth to the genre of jazz. In all genres of music, they grow out these things as well. Not only is this book about jazz, it is so much more. It’s a narrative of what the greats of jazz had to endure and how they translated their experiences in the music.
June 5, 2022
I enjoy jazz music and I wanted to learn more about it but I didn’t learn much about jazz and I’m 70 pages in. I flipped through pages after I got frustrated to see if there was any thing about jazz and I didn’t read anything about jazz.
March 20, 2023
"Nothing says I want to live as much as Jazz."
If you love Jazz, enjoy reading about organized crime, or you are a fan of T.J. English (that's a big YES for me on all three), then this one is for you!
If you love Jazz, enjoy reading about organized crime, or you are a fan of T.J. English (that's a big YES for me on all three), then this one is for you!
August 28, 2022
Another masterpiece from T.J. English, the best book I have read this year.
August 2, 2023
I love music and hear lots of live music in the great music town I live in, but, personally, I can’t tell a C Sharp Major from a Sergeant Major. When Charlie Watts died a few months ago, somebody made me listen to a YouTube video that alleged to demonstrate the genius of Watts’ ability to drum “behind the beat”, but I really couldn’t hear the difference between whacking a drum behind, at, or in front of the beat. At moments like these, I tend to invoke my favorite historical figure, Ulysses S. Grant, who was allegedly tone-deaf and was quoted as saying: “I know two songs. One is Yankee Doodle, the other isn’t.”
But there are many ways to understand things, at least in part, including music. In order to know more about music within my limited ability to do so, I try to read books about music at the intersection of things I understand better, for example, history or biography. In this case, the history of music intersects with the history of crime, a very familiar narrative to any American who has worked around with eyes open. This is a very good book for people who, like me, love music but will never appreciate it as musicians do.
The history of jazz and gangsters is also the history of racism as the club owners were almost exclusively white, if this book is accurate. At first, jazz clubs seemed to be intended as a mixture of money-laundering operation and social club for the pathologically violent, but then the popularity of jazz caused honest money to be forced upon the gangland population. Racism, along with a host of other character flaws, often caused gangsters to kill this goose that laid golden eggs. The musicians who experienced this atmosphere only left with unpleasant memories if they were lucky. If not, they might end up literally scarred by their experience.
There was one bit of this book that made me want to raise fussy objections. It is on page 114. There, the author seems to claim (not in so many words, but still) that the use of the word “hip” as a slang term originated during Prohibition, first meant to ask if a person was (illegally) carrying a hip flask of booze, and later more generally as “a broader question about a person’s state of awareness”. The author footnotes this assertion by referring to another history of jazz, which I don’t have access to, but I am a big enough nerd that I checked the Oxford English Dictionary online (thank you public library) and it said that the first documented usage of “hip” in this manner dates from 1908. In summary, this etymology of “hip” may be fun and clever, but not necessarily correct, I think.
Still, a fun and interesting book about a fascinating topic.
But there are many ways to understand things, at least in part, including music. In order to know more about music within my limited ability to do so, I try to read books about music at the intersection of things I understand better, for example, history or biography. In this case, the history of music intersects with the history of crime, a very familiar narrative to any American who has worked around with eyes open. This is a very good book for people who, like me, love music but will never appreciate it as musicians do.
The history of jazz and gangsters is also the history of racism as the club owners were almost exclusively white, if this book is accurate. At first, jazz clubs seemed to be intended as a mixture of money-laundering operation and social club for the pathologically violent, but then the popularity of jazz caused honest money to be forced upon the gangland population. Racism, along with a host of other character flaws, often caused gangsters to kill this goose that laid golden eggs. The musicians who experienced this atmosphere only left with unpleasant memories if they were lucky. If not, they might end up literally scarred by their experience.
There was one bit of this book that made me want to raise fussy objections. It is on page 114. There, the author seems to claim (not in so many words, but still) that the use of the word “hip” as a slang term originated during Prohibition, first meant to ask if a person was (illegally) carrying a hip flask of booze, and later more generally as “a broader question about a person’s state of awareness”. The author footnotes this assertion by referring to another history of jazz, which I don’t have access to, but I am a big enough nerd that I checked the Oxford English Dictionary online (thank you public library) and it said that the first documented usage of “hip” in this manner dates from 1908. In summary, this etymology of “hip” may be fun and clever, but not necessarily correct, I think.
Still, a fun and interesting book about a fascinating topic.
January 19, 2023
One of the most amazing Jazz Histories ever!
T.J. English is a Master of creating an atmosphere and characters that draw the Reader in, while recounting events that give context to the History he writes.
His Havana Nocturne is such a book, painting a portrait of the takeover of Cuba by Organized Crime Families. Dangerous Rhythms is another masterpiece, extending the story to the symbiotic relationship between Jazz Music and the Mob. The Author does an amazing job of describing the mutual dependence of Jazz on the forces of Capitalism, Politics, Culture and Entertainment. Their fortunes rise and fall together and we can hear the Music grow and develop as it moves from New Orleans to Kansas City, Chicago, New York and L.A. We follow the stories of Satchmo, Bird, Ella, Miles and others as they play for and are played by Ruthless Gangsters interested in their next buck, but also loving the artistry of their genius vassals.
It’s an incredible tale of the intersection of Racism, Greed, Violence and the struggle of Black Artists to build a Life creating and playing the Music they love. English knows and loves Jazz and the Masters who make it. Their tunes and personalities leap off the page. The Gangsters and Clubs who make their gigs possible are described in fine detail as well.
As a matter of fact, like in all well-written History, this book is deeply and thoroughly researched, yet extremely readable. The evolution of the Jazz styles is addressed, the Venues described, and the Crooked Pols, Cops and the Social Conditions of the Times come alive without bogging down in the weeds.
All in all, Dangerous Rhythms is one of the finest Jazz Histories I have ever read and I highly recommend it to anyone who wants to understand the roots of the powerful influence Jazz has had on popular Culture and the American Century that gave it Life. Five Stars. *****
T.J. English is a Master of creating an atmosphere and characters that draw the Reader in, while recounting events that give context to the History he writes.
His Havana Nocturne is such a book, painting a portrait of the takeover of Cuba by Organized Crime Families. Dangerous Rhythms is another masterpiece, extending the story to the symbiotic relationship between Jazz Music and the Mob. The Author does an amazing job of describing the mutual dependence of Jazz on the forces of Capitalism, Politics, Culture and Entertainment. Their fortunes rise and fall together and we can hear the Music grow and develop as it moves from New Orleans to Kansas City, Chicago, New York and L.A. We follow the stories of Satchmo, Bird, Ella, Miles and others as they play for and are played by Ruthless Gangsters interested in their next buck, but also loving the artistry of their genius vassals.
It’s an incredible tale of the intersection of Racism, Greed, Violence and the struggle of Black Artists to build a Life creating and playing the Music they love. English knows and loves Jazz and the Masters who make it. Their tunes and personalities leap off the page. The Gangsters and Clubs who make their gigs possible are described in fine detail as well.
As a matter of fact, like in all well-written History, this book is deeply and thoroughly researched, yet extremely readable. The evolution of the Jazz styles is addressed, the Venues described, and the Crooked Pols, Cops and the Social Conditions of the Times come alive without bogging down in the weeds.
All in all, Dangerous Rhythms is one of the finest Jazz Histories I have ever read and I highly recommend it to anyone who wants to understand the roots of the powerful influence Jazz has had on popular Culture and the American Century that gave it Life. Five Stars. *****
July 2, 2023
Dangerous Rhythms
27/2023.
Man, the early 20th century in America must have been a hoot! This story explores how the consolidation of Jazz into a coherent art form emerged hand in hand with organized crime in America. It inevitably includes a worthwhile discussion of race and class (recall: immigrants from Europe, while seeking “whiteness”, both participated in organized crime and became the police charged with keeping the racial/class structure in place). Almost certainly the best book I’ve read this year.
TJ English is mostly a long-form journalist, not a historian. This book feels like a long magazine article. It’s excellent writing. Punchy lines like: “A car picked him up, and the driver took the lyricist to Polly Adler’s brothel on West 54th in Midtown Manhattan. Razaf knew the place; he’d been there before.”
What makes this book sing is the personal connections he paints, where a given monster becomes close to a given musician. For example, Al Capone and Fats Waller. Most of these relationships were driven by the vice racket the Mafia sought to control: bring a big name entertainer to your speakeasy and see the money flow right in. But the dynamic was often a dangerous one for the musician (try to say no to the Mob!), and it was an awful surprise to learn they intentionally hooked their musicians on heroin and opium to create a new dope market.
A third character, always present between the Mob and the Jazz stars, is the booze and drugs. The mafia made a clear choice to push dope when prohibition was waning: they wanted to control the illicit substances racket. Jazz musicians, fans, and clubs created a ready marketplace for them, and they targeted black and Latino neighborhoods specifically.
27/2023.
Man, the early 20th century in America must have been a hoot! This story explores how the consolidation of Jazz into a coherent art form emerged hand in hand with organized crime in America. It inevitably includes a worthwhile discussion of race and class (recall: immigrants from Europe, while seeking “whiteness”, both participated in organized crime and became the police charged with keeping the racial/class structure in place). Almost certainly the best book I’ve read this year.
TJ English is mostly a long-form journalist, not a historian. This book feels like a long magazine article. It’s excellent writing. Punchy lines like: “A car picked him up, and the driver took the lyricist to Polly Adler’s brothel on West 54th in Midtown Manhattan. Razaf knew the place; he’d been there before.”
What makes this book sing is the personal connections he paints, where a given monster becomes close to a given musician. For example, Al Capone and Fats Waller. Most of these relationships were driven by the vice racket the Mafia sought to control: bring a big name entertainer to your speakeasy and see the money flow right in. But the dynamic was often a dangerous one for the musician (try to say no to the Mob!), and it was an awful surprise to learn they intentionally hooked their musicians on heroin and opium to create a new dope market.
A third character, always present between the Mob and the Jazz stars, is the booze and drugs. The mafia made a clear choice to push dope when prohibition was waning: they wanted to control the illicit substances racket. Jazz musicians, fans, and clubs created a ready marketplace for them, and they targeted black and Latino neighborhoods specifically.
May 10, 2023
"They would shoot at each other, and if you'd play a song they didn't like, they'd shoot you too."
That quote from a musician of the times paints a picture of this crazy saga. This book is a musical history and a criminal one. This is also an ethnographic story, particularly about the marginalized groups of Italian, Irish, Jewish, and African Americans. Featuring many names you've heard of, with a particular focus on the tales of figures like Frank Sinatra, it paints a picture
In great detail, this book absolutely lives up to its title, showing exactly how the world of the Mafia and the Jazz Age overlapped. The author covers a lot about crime and political machines, rather than just focusing on music-related history. By similarly jumping between many distinct characters, the book is less a chronological history and more an anthology of jazz-tinged gangster stories. And with lots of firsthand sources and historical archives to back it up, myths are dissected and confirmed for the fans who have likely only heard some of the urban legends so far. If you love movies and true crime, this might be the book for you.
That quote from a musician of the times paints a picture of this crazy saga. This book is a musical history and a criminal one. This is also an ethnographic story, particularly about the marginalized groups of Italian, Irish, Jewish, and African Americans. Featuring many names you've heard of, with a particular focus on the tales of figures like Frank Sinatra, it paints a picture
In great detail, this book absolutely lives up to its title, showing exactly how the world of the Mafia and the Jazz Age overlapped. The author covers a lot about crime and political machines, rather than just focusing on music-related history. By similarly jumping between many distinct characters, the book is less a chronological history and more an anthology of jazz-tinged gangster stories. And with lots of firsthand sources and historical archives to back it up, myths are dissected and confirmed for the fans who have likely only heard some of the urban legends so far. If you love movies and true crime, this might be the book for you.
January 28, 2025
This was a super interesting read! Taking a deep dive into the connections between the world of jazz and organized crime, this book follows such big names as Fatha Hines, Louis Armstrong, and, of course, Frank Sinatra.
I was drawn to this book after learning about Pittsburgh's historic jazz scene. As a certified Yinzer, I am always interested in learning more about my home, and I was thrilled to learn that some of the biggest names in the world of jazz were from the Steel City! This book introduced me to even more artists to listen to, and gave me details about their lives. Specifically, the circumstances that brought them so close to (and, in some cases, dependent on) the mob. Criminals like Al Capone and Lucky Luciano make for interesting and scandalous characters in this history of jazz music, and their connections within the jazz scene are surprising.
I will warn potential readers of some...adult scenes. If you are not scared by colorful language and drug-fueled sex parties, then you should be fine. If you ARE, then be prepared to be mildly uncomfortable fairly often. It is definitely hard to imagine Louis Armstrong as a pot-head, but hey, what can you do? It is what it is.
Overall, this book was a really great look at the connections between organized crime and jazz music. Definitely a good read for music lovers, history buffs, and people who have an unexplainable fascination with the 1920s/1930s.
I was drawn to this book after learning about Pittsburgh's historic jazz scene. As a certified Yinzer, I am always interested in learning more about my home, and I was thrilled to learn that some of the biggest names in the world of jazz were from the Steel City! This book introduced me to even more artists to listen to, and gave me details about their lives. Specifically, the circumstances that brought them so close to (and, in some cases, dependent on) the mob. Criminals like Al Capone and Lucky Luciano make for interesting and scandalous characters in this history of jazz music, and their connections within the jazz scene are surprising.
I will warn potential readers of some...adult scenes. If you are not scared by colorful language and drug-fueled sex parties, then you should be fine. If you ARE, then be prepared to be mildly uncomfortable fairly often. It is definitely hard to imagine Louis Armstrong as a pot-head, but hey, what can you do? It is what it is.
Overall, this book was a really great look at the connections between organized crime and jazz music. Definitely a good read for music lovers, history buffs, and people who have an unexplainable fascination with the 1920s/1930s.
January 1, 2023
This was one of the best books I’ve read this year, certainly the most captivating in musical history I’ve ever read. It did jump around a bit and threw around lots of names I wasn’t familiar with, but TJ English did a great job braiding the relationship between jazz and the mafia together, where now I cannot see them operating without each other. Dark and dramatic, but also full of all the feelings you feel when you listen to jazz. Can’t recommend this enough!
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