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On a December evening in 1938, New York City's Carnegie Hall was packed with an unusually

racially diverse crowd. They were all there for an event that had been organized and curated

by one of America's greatest talent scouts and music and prosarios, the soon-to-be-legendary,

John Hammond. By this point in his career, Hammond had already made a name for himself as one of

the nation's most tenacious promoters of jazz. At a time when entertainment was still deeply

segregated, he had been instrumental in helping artists like Count Basie and Billy Holiday get heard

by both Black and White audiences. Hammond would eventually go on to play a role in the careers of

artists as diverse as Bob Dylan, Aritha Franklin, Bruce Springsteen, and Leonard Cohen.

But on that chilly December night, he was intent on one goal,

putting on a show that would teach the history of African American music.

He had dubbed the event from spirituals to swing, and the program featured artists

that would each represent a stage in the evolution of Black music in America. The show was opened

with performers doing renditions of West African spiritual songs. As the program progressed,

...