The Life and Music of Graham Jackson

The first biography of Graham Jackson (1903-1983), a musician whose life story displays the complexities of being a Black professional in the segregated South. David Cason discusses how Jackson navigated a web of racial and social negotiations throughout his long career and highlights his little-known role in events of the twentieth century.
A groundbreaking Black artist and his career in the Jim Crow South

This book is the first biography of Graham Jackson (1903‒1983), a virtuosic musician whose life story displays the complexities of being a Black professional in the segregated South. David Cason discusses how Jackson navigated a web of racial and social negotiations throughout his long career and highlights his little-known role in events of the twentieth century. Widely known for an iconic photo taken of him playing the accordion in tears at Franklin D. Roosevelt’s funeral, which became a Life magazine cover, Jackson is revealed here to have a much deeper story. He was a performer, composer, and high school music director known for his skills on the piano and organ. Jackson was among the first Black men to enlist in the Navy during World War II, helping recruit many other volunteers and raising over $2 million for the war effort. After the war he became a fixture at Atlanta music venues and in 1971, Governor Jimmy Carter proclaimed Jackson the State Musician of Georgia. Cason examines Jackson’s groundbreaking roles with a critical eye, taking into account how Jackson drew on his connections with white elites including Roosevelt, Coca-Cola magnate Robert Woodruff, and golfer Bobby Jones, and was censured by Black Power figures for playing songs associated with Confederate memory. Based on archival, newspaper, and interview materials, The Life and Music of Graham Jackson brings into view the previously unknown story of an ambitious and talented artist and his controversial approach to the politics and culture of his day. Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

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