At the same time as a immature person of varied Senegalese and French heritage who grew up in Mali, Senegal and France and whose journey led him to teach Jazz in the United States of America, I was continuously fascinated and intrigued by the level of cultural amnesia and the want of academic in sequence so as to existed with respect to the socio-cultural offerings so as to West Africans taken from their continent through slavery had brought to the United States of America used for 350 years.

At the same time as an outcast looking in, I was often puzzled by and sought to understand why European Americans generated dance moves and rhythmic expressions on the dance floors of the US so as to were closer in aesthetics to individuals of West Africans than the earliest dance moves of their informed European ethnic heritage from Vienna or the Paris Opera.

I struggled to assume given away why the African American population clapped on beat two and four once expressing the rhythmic pulse of the tune it fashioned and how it was able to drive a sum total country whose majority was of European tumble to integrate this intellect of chill out in its cultural norms, to the moment anywhere relatives would present you new looks by a night bludgeon or a church if you were found ovation on the incorrect beat, i.E. Beat lone.

It was particularly motivating to me since I know so as to in West Africa we tap on beat lone and so as to Europeans and work beat lone as their preparatory rhythmic referential moment in the metric routine of measures so as to codify their tune.

In vogue the absence of academic in sequence, I tried to grasp why the vocal tonalities, inflexions, bent annotations and rhythmic instrumental patterns of the rural Blues of the Mississippi Delta were so jarringly reminiscent of the sounds of the ngoni, the songs of the Djalis and the musical systems of the Soundiata Keita repertoire of eleventh century West Africa.

Lastly, I wanted to bargain given away why the United States of America, a country with an ethnic majority from Europe would incubate a tune so very much diverse from so as to of Baroque, Classical and Romantic European styles, so as to its identity markers laid in the bent and blue annotations of its vocal stylings and instrumentation, the syncopation of its rhythms, the swing feel of its extraction and the sung and musical tonalities of its oldest instrument of African tumble, the banjo.

One of the issues confronting the assessment of the cultural bearing of West African contribu- tions to North America and the humanity in wide-ranging, was so as to the huge majority of books or articles depicting such offerings had been on paper and in print mostly by Europeans in academia, who although well-intended, were not issued from these junior Saharan African societies and so lacked perspective and access to the expertise, cultural foundation, subtleties, and sensibilities so as to no more than heritage in such traditions can bring up to date soundly. Other European scholars journalism going on for Africa and Africans used for Africa, Africans and the humanity were simply blinded by their own prejudices and openly promoted a intellect of European cultural supremacy in line with the regal thinking of the era. At the same time as first as the mid-nineteenth century, West Africa as a sum total was mostly under French and British regal have power over from Senegal to Gambia, Guinea to Mali, Ivory Coast to Benin, Togo, to Tchad, Niger to Nigeria, Cameroon, and the rest....

At the same time as uttered by African scholars Senghor, Cesaire, Diop, Leakey, Mazrui and echoed by British scholar Basil Davidson, it is of foremost value so as to Africans label their heritage from the wealth of their languages and the horizon of their traditions. The pur- pose of this reserve is to look by the West African musical offerings and values of aesthetics so as to contain informed the tune and the culture of the Mississippi Delta, in an effort to link this cultural and academic gap born given away of a culture of lack of sympathy promulgated by ex- regal institutions, given away of respect used for the incredible torment, and in the reminiscence of the millions of West Africans taken from their native lands used for a dot in the vein of three hundred and fifty years, and whose children surprisingly and naturally fashioned in the United States, drawing from the depths of their collective souls the rhythmic, musical and sung foundations of the musical traditions of the Mande, as uttered through the sonic landscape of the fieldhollers and worksongs, the Gospel and the Delta Blues, America's no more than local artform Jazz.

Jazz in its aspirations and its blues, in its despair and its hopes embodies through creative rhythmic intuition the African forms of extraction and the cultural values of aesthetics of the African continent exacerbated by the expressively violent and bloody socio-cultural experience of Africans and African Americans with American slavery, killing, Jim Crow laws of segregation, monetary, following and academic oppression in the United States.