At the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene.Jazz Diasporas challenges the notion that
Paris was a color-blind paradise for African Americans. On the contrary, musiciansand African American artists based in Europe like writer and social critic James Baldwinadopted a variety of
strategies to cope with the cultural and social assumptions that greeted them throughout their careers in Paris, particularly in light of the cultural struggles over race and identity that
gripped France as colonial conflicts like the Algerian War escalated. Through case studies of prominent musicians and thoughtful analysis of personal interviews, music, film, and literature,
Rashida K. Braggs investigates the impact of this post-war musical migration. Examining a number of players in the jazz scene, including Sidney Bechet, Inez Cavanaugh, and Kenny Clarke,
Braggs identifies how they performed both as musicians and as African Americans. The collaborations that they and other African Americans created with French musicians and critics complicated
racial and cultural understandings of who could play and represent authentic” jazz. Their role in French society challenged their American identity and illusions of France as a racial safe
haven. In this post-war era of collapsing nations and empires, African American jazz players and their French counterparts destabilized set notions of identity. Sliding in and out of black
and white and American and French identities, they created collaborative spaces for mobile and mobilized musical identities, what Braggs terms "jazz diasporas."
