Dead Man's Blues: City Blues Quartet Book 2
*Shortlisted for the CWA Gold Dagger for Best Crime Novel of 2017* Chicago, 1928. In the stifling summer heat three disturbing events take place. A clique of city leaders is poisoned in a fancy hotel. A white gangster is found mutilated in an alleyway in the Black Belt. And a famous heiress vanishes without a trace. Pinkerton detectives Michael Talbot and Ida Davis are hired to find the missing heiress by the girl's troubled mother. But it proves harder than expected to find a face that is known across the city, and Ida must elicit the help of her friend Louis Armstrong. While the police take little interest in the Black Belt murder, crime scene photographer Jacob Russo can't get the dead man's image out of his head, and so he embarks on his own investigation. And Dante Sanfelippo - rum-runner and fixer - is back in Chicago on the orders of Al Capone, who suspects there's a traitor in the ranks and wants Dante to investigate. But Dante is struggling with problems of his own as he is forced to return to the city he thought he'd never see again . . . As the three parties edge closer to the truth, their paths cross and their lives are threatened. But will any of them find the answers they need in the capital of blues, booze and corruption? Dead Man's Blues is the gripping second installment in Ray Celestin's prize-winning City Blues quartet. It is followed by the third book in the series, The Mobster's Lament.
Dead Man's Blues
A stunning historical mystery from Ray Celestin, following on from the events of The Axeman's Jazz.Dead Man's Blues is the gripping historical crime novel from Ray Celestin, the author of The Axeman's Jazz, winner of the CWA John Creasey (New Blood) Dagger for Best First Novel 2014. Chicago, 1928. In the stifling summer heat three disturbing events take place. A group of city leaders is poisoned in a fancy hotel. A white gangster is found mutilated in an alleyway in the Black Belt. And a famous heiress vanishes without a trace. Pinkerton detectives Michael Talbot and Ida Davis are hired to find the missing heiress. But it proves harder than expected, and Ida must elicit the help of her friend Louis Armstrong to track her down. While the police take little interest in the Black Belt murder, crime scene photographer Jacob Russo can't get the dead man's image out of his head, and so embarks on his own investigation. And Dante Sanfelippo - rum-runner and fixer - is back in Chicago on the orders of Al Capone, who suspects there's a traitor in the ranks and wants Dante to investigate. But Dante is struggling with his own problems as he is forced to return to the city he thought he'd never see again . . . As the three parties edge closer to the truth, their paths will cross and their lives threatened. But will any of them find the answers they need in the city of blues, booze and corruption?
The Mobster's Lament
From the bestselling author of The Axeman's Jazz, Ray Celestin's gripping third book, The Mobster's Lament, follows a gangster's last chance to escape the clutches of New York's mafia families, but as a blizzard descends on NYC, a ruthless serial killer is tracking his every move. New York, 1947. Mob fixer Gabriel Leveson’s plans to flee the city are put on hold when he is tasked with tracking down stolen mob money by ‘the boss of all bosses’, Frank Costello. But while he's busy looking, he doesn't notice who's watching him . . . Meanwhile, Private Investigator Ida Young and her old partner, Michael Talbot, must prove the innocence of Talbot’s son Tom, who has been accused of the brutal murders of four people in a Harlem flophouse. With all the evidence pointing towards him, their only chance of exoneration is to find the killer themselves. Whilst across town, Ida’s childhood friend, Louis Armstrong, is on the brink of bankruptcy, when a promoter approaches him with a strange offer to reignite his career . . . Both a gripping neo-noir crime novel and a vivid, panoramic portrait of New York, The Mobster's Lament takes you to the heart of a city where the Mob has risen to the height of its powers. Complete the City Blues Quartet with Sunset Swing.
Sunset Swing
Following The Mobster's Lament, this is the fourth and final book in Ray Celestin's critically acclaimed City Blues quartet.
The Original Blues
With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America's favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler "String Beans" May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the "blues master piano player of the world." His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female "coon shouters" acquired a more dignified aura in the emergent persona of the "blues queen." Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before--a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
