B&R 121.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
TN Bluesletter Week 10 080310.Cdr
(About the Blues continued) offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Shows begin at 6:30 unless noted Texas acoustic blues relied more on the use of slide, In case of inclement weather, shows will be held just down the and artists like Lightnin' Hopkins and Blind Willie street at the Grand Theater, 102 West Grand Avenue. Johnson are considered masters of slide guitar. Other June 1 Left Wing Bourbon local and regional blues scenes - from New Orleans MySpace.com/LeftWingBourbon June 8 The Pumps to Atlanta, from St. Louis to Detroit - also left their mark ThePumpsBand.com on the acoustic blues sound. MySpace.com/ThePumpsBand When African-American musical tastes began to June 15 The Blues Dogs change in the early-1960s, moving towards soul and August 3, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs rhythm & blues music, country blues found renewed June 22 Pete Neuman and the Real Deal popularity as the "folk blues" and was sold to a PeteNeuman.com June 29 Code Blue with Catya & Sue primarily white, college-age audience. Traditional YYoouunngg BBlluueess NNiigghhtt Catya.net artists like Big Bill Broonzy and Sonny Boy Williamson July 6 Mojo Lemon reinvented themselves as folk blues artists, while MojoLemon.com Piedmont bluesmen like Sonny Terry and Brownie MySpace.com/MojoLemonBluesBand McGhee found great success on the folk festival July 13 Dave Lambert DaveLambertBand.com circuit. The influence of original acoustic country July 20 Deep Water Reunion blues can be heard today in the work of MySpace.com/DWReunion contemporary blues artists like Taj Mahal, Cephas & July 27 The Nitecaps Wiggins, Keb' Mo', and Alvin Youngblood Hart. -
Gayle Dean Wardlow Bibliography
Gayle Dean Wardlow Bibliography -Wardlow, Gayle Dean. Really! The Country Blues. USA: Origin Jazz Library OJL-2, c1962. -Klatzko, Bernard; Wardlow, Gayle Dean. The Immortal Charlie Patton, 1887–1934. Number 2: 1929– 34. USA: Origin Jazz Library OJL-7, 1964. Reprinted in Chasin’ That Devil Music, by Gayle Dean Wardlow, pp. 18–33. San Francisco: Miller Freeman, 1998. Reprinted as notes with Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton. USA: Revenant 212, 2001. -Wardlow, Gayle Dean. Country Blues Encores. USA: Origin OJL-8, c1965. -Wardlow, Gayle Dean. “Mysteries in Mississippi.” Blues Unlimited no. 30 (Feb 1966): 10. Reprinted in Chasin’ That Devil Music, pp. 110–111. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “Legends of the Lost. Pt. 1.” Blues Unlimited no. 31 (Mar 1966): 3–4; “Pt. 2.” Blues Unlimited no. 34 (Jul 1966): 3; “Pt. 3.” Blues Unlimited no. 35 (Aug 1966): 3; “Pt. 4.” Blues Unlimited no. 36 (Sep 1966): 7. Reprinted in Back Woods Blues, ed. S.A. Napier, pp. 25–28. Oxford: Blues Unlimited, 1968. Reprinted in Chasin’ That Devil Music, pp. 126–130. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean; Evans, David. The Mississippi Blues, 1927–1940. USA: Origin OJL-5, 1966. -Wardlow, Gayle Dean. “Son House (Collectors Classics, 14: Comments and Additions).” Blues Unlimited no. 42 (Mar/Apr 1967): 7–8. -Wardlow, Gayle Dean; Roche, Jacques. “Patton’s Murder: Whitewash? or Hogwash?” 78 Quarterly no. 1 (Autumn 1967): 10–17. Reprinted in Chasin’ That Devil Music, pp. 94–100. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “King Solomon Hill.” 78 Quarterly no. -
Jazz in America • the National Jazz Curriculum the Blues and Jazz Test Bank
Jazz in America • The National Jazz Curriculum The Blues and Jazz Test Bank Select the BEST answer. 1. Of the following, the style of music to be considered jazz’s most important influence is A. folk music B. the blues C. country music D. hip-hop E. klezmer music 2. Of the following, the blues most likely originated in A. Alaska B. Chicago C. the Mississippi Delta D. Europe E. San Francisco 3. The blues is A. a feeling B. a particular kind of musical scale and/or chord progression C. a poetic form and/or type of song D. a shared history E. all of the above 4. The number of chords in a typical early blues chord progression is A. three B. four C. five D. eight E. twelve 5. The number of measures in typical blues chorus is A. three B. four C. five D. eight E. twelve 6. The primary creators of the blues were A. Africans B. Europeans C. African Americans D. European Americans E. Asians 7. Today the blues is A. played and listened to primarily by African Americans B. played and listened to primarily by European Americans C. respected more in the United States than in Europe D. not appreciated by people outside the United States E. played and listened to by people all over the world 8. Like jazz, blues is music that is A. planned B. spontaneous C. partly planned and partly spontaneous D. neither planned nor spontaneous E. completely improvised 9. Blues lyrical content A. is usually secular (as opposed to religious) B. -
“Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (Guest Post)*
“Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (guest post)* 78rpm album package Pete Seeger, known as the “Father of American Folk music,” had a difficult time of it as a young, budding singer. While serving in the US Army during World War II, he wrote to his wife, Toshi, “Every song I started to write and gave up was a failure. I started to paint because I failed to get a job as a journalist. I started singing and playing more because I was a failure as a painter. I went into the army because I was having more and more failure musically.” But he practiced his banjo for hours and hours each day, usually starting as soon as he woke in the morning, and became a virtuoso on the instrument, and even went on to invent the “long-neck banjo.” The origin of the Almanacs Singers’ name, according to Lee Hays, is that every farmer's home contains at least two books: the Bible, and the Almanac! The Almanacs Singers’ first job was a lunch performance at the Jade Mountain Restaurant in New York in December of 1940 where they were paid $2.50! The original members of the group were Pete Seeger, Lee Hays, Millard Campbell, John Peter Hawes, and later Woody Guthrie. Initially, Seeger used the name Pete Bowers because his dad was then working for the US government and he could have lost his job due to his son’s left-leaning politically charged music. The Singers sang anti-war songs, songs about the draft, and songs about President Roosevelt, frequently attacking him. -
Josh White, St. James Infirmary, 1964 The
blacklisting efforts of Appleton’s infa- its minor key. Scores of musicians have mous rotten scoundrel, Joe McCarthy. recorded some version of St. James over © May 2011 by We also were not aware that White the years. The most well known ver- Peter© 2012 Berryman by ArchivedPeter at louandpeter.comBerryman toured despite increasing physical prob- sion, for good reason, was recorded in Archived at louandpeter.com lems, and died only five years after this 1928 (!) by Louis Armstrong. But Josh Josh White, St. James Infirmary, 1964 concert, in September 1969. White is the man who really brought it to us that afternoon, in a spellbinding The Madison Public Library website Josh White had a unique and compli- rendition, highlighting its beautiful (and maybe all such sites) provides ac- cated life, which took him from travel- weirdness. cess to thousands of online newspaper ing with country blues street musicians archives around the world to anyone as an impoverished boy to eventually If you want a new way to feel the deep with a card. This came in handy lately. appearing on Broadway. Though he strangeness of this song, have a look at considered himself primarily an enter- the 1933 Betty Boop cartoon Snow I've mentioned before that my music tainer, he was legendary as a political White, produced by Max Fleischer, fea- partner Lou and my guitar-playing pal artist and activist. He worked in film, turing Cab Calloway singing a wild in- Paul attended a Josh White concert in including playing himself in the great terpretation of it. The vocal begins a bit Oshkosh in the mid sixties. -
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings Selected from the Archive of Folk Culture. INSTITUTION Library of Congress, Washington, DC. Motion Picture, Broadcasting, and Recorded Sound Div. PUB DATE 89 NOTE 59p. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS American Indians; Audiodisks; Audiotape Cassettes; *Folk Culture; Foreign Countries; Music; *Songs IDENTIFIERS Bahamas; Black Folk Music; Brazil; *Folk Music; *Folktales; Mexico; Morocco; Puerto Rico; Venezuela ABSTRACT This catalog of sound recordings covers the broad range of folk music and folk tales in the United States, Central and South America, the Caribbean, and Morocco. Among the recordings in the catalog are recordings of Afro-Bahain religious songs from Brazil, songs and ballads of the anthracite miners (Pennsylvania), Anglo-American ballads, songs of the Sioux, songs of labor and livelihood, and animal tales told in the Gullah dialect (Georgia). A total of 83 items are offered for sale and information on current sound formats and availability is included. (PPB) Reproductions supplied by EMS are the best that can be made from the original document. SELECTED FROM THE ARCHIVE OF FOLK CULTURE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION LIBRARY OF CONGRESS WASHINGTON. D.C. 20540 U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERICI hisdocument has been reproduced as received from the person or organization originating it C Minor changes have been made to improve reproduction duality Pointsof view or opinions stated in thisdccu- ment do not necessarily represent officral OERI motion or policy AM. -
The Rise & Fall of Paramount Records Volume II
ICLA icla.com The Rise & Fall of Paramount Records Volume II The Rise and Fall of Paramount Records Volume II GRAMMY WINNER 2016 - Best Boxed or Special Limited Edition Package The Rise and Fall of Paramount Records Volume II, a joint release by Third Man Records and Revenant Records and co-produced by leading Paramount scholar Alex van der Tuuk, stretches from 1928 until the label’s unceremonious end in the wake of the Great Depression in 1932, when the money ran out for music. Talent did not stop coming during that time of financial woe. Paramount continued to add creative geniuses to their roster, adding Charley Patton, Son House, Lottie Kimbrough, Clarence Williams, Blue Jay Singers, Dock Boggs, Lillie May “Geeshie” Wiley, Elvie Thomas, Skip James, Willie Brown, Thomas Dorsey and Emry Arthur, just to name a few. The Rise and Fall of Paramount Records Volume II document the roots of gospel and swing and the growth of blues and jazz through the efforts of some of American music’s most creative minds. There is even a hint of bluegrass and traces of rock n roll yet to come. Yet, despite all of Paramount’s great talents, record sales finally plummeted and the company died. Hailed by Wired as “the ultimate box set of iconic American music”, the Rise and Fall of Paramount Records Volume II is housed in a polished aluminum case, evoking the era’s high art deco styling and America’s own Machine Age take on modernist design. The Rise and Fall of Paramount Records Volume II is comprised of a multi-colored foil stamped 250-page large format case bound book with gilded edges that provides the continued history of Paramount Records and anecdotal stories about some of their many music artists. -
Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937. -
In Search of Blind Blake Arthur Blake’S Death Certificate Unearthed by Alex Van Der Tuuk, Bob Eagle, Rob Ford, Eric Leblanc and Angela Mack
In Search of Blind Blake Arthur Blake’s death certificate unearthed By Alex van der Tuuk, Bob Eagle, Rob Ford, Eric LeBlanc and Angela Mack t is interesting to observe that the almost completed the manuscript. A framed copy of the toughest nuts to crack, but did not seem of the envisioned cover of the book hangs in his impossible. Lemon Jefferson’s death certificate New York Recording Laboratories record room. Hopefully such an important work did turn up as late as 2009 when it was found recorded and issued a relatively will see the light of day in the near future. listed under a different Christian name, notably Ilarge group of blind musicians for Blind Arthur Blake, Blind Willie Davis and Blind supplied by his landlady. their ‘race’ series, the Paramount Joe Taggart have been the ultimate frustration for researchers. Especially Blind Blake, for whom not Night And Day Blues 12000 and 13000 series. One would a shred of official documentation has been found By the early 1990s a new, important instrument only have to think of blues artists that he ever walked on this planet, aside from a for researchers was starting to develop: the like Blind Lemon Jefferson, Blind handful of accounts collected from people who Internet. Researchers were already integrating saw him play or played with him. Arthur Blake, Blind Willie Davis, official documents into their publications, like We only have an occasional report in the census reports from the Federal Census Bureau, Blind Roosevelt Graves and Blind Chicago Defender and the legacy of his Paramount as well as information found on birth and death Joel Taggart to name some of the recordings. -
Blind Lemon Jefferson from Wikipedia, the Free Encyclopedia
Blind Lemon Jefferson From Wikipedia, the free encyclopedia Background information Birth name Lemon Henry Jefferson Also known as Deacon L. J. Bates Born September 24, 1893[1] Coutchman, Texas, U.S. Origin Texas Died December 19, 1929 (aged 36) Chicago, Illinois, U.S. Genres Blues, gospel blues Occupation(s) Singer-songwriter, musician Instruments Guitar Years active 1900s–1929 Labels Paramount Records, Okeh Records Notable instruments Acoustic Guitar "Blind" Lemon Jefferson (born Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues and gospel blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been called "Father of the Texas Blues". Jefferson's performances were distinctive as a result of his high-pitched voice and the originality on his guitar playing. Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists. Later blues and rock and roll musicians, however, did attempt to imitate both his songs and his musical style. Biography Early life Jefferson was born blind, near Coutchman in Freestone County, near present-day Wortham, Texas. He was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Paramount Vol 1 800 Songs, 1.5 Days, 5.35 GB
Page 1 of 23 Paramount Vol 1 800 songs, 1.5 days, 5.35 GB Name Time Album Artist 1 Abounding Sin And Abounding Gr… 2:42 The Rise & Fall of Paramount Re… Rev. J. O. Hanes and Male Choir 2 Ada Jane's Blues (Pm 12232, 188… 3:06 The Rise & Fall of Paramount Re… Trixie Smith 3 Adams Apple (Pm 12376, 2603-1) 2:52 The Rise & Fall of Paramount Re… Jimmy Blythe and His Ragamuffins 4 African Blues (Pm 12229, 1864-) 2:53 The Rise & Fall of Paramount Re… Sam Manning 5 Aggravatin' Papa (Pm 12013, 132… 3:12 The Rise & Fall of Paramount Re… Alberta Hunter 6 Ain't Goin' Marry (Ain't Goin' Settl… 2:59 The Rise & Fall of Paramount Re… Ethel Waters 7 Ain't It A Shame (Pm 12104, P-14… 3:00 The Rise & Fall of Paramount Re… Four Harmony Kings 8 Aint It A Shame (Pm 12032, 1374-1) 3:00 The Rise & Fall of Paramount Re… Norfolk Jazz Quartette 9 Airy Man Blues (Pm 12219, 1851-2) 2:40 The Rise & Fall of Paramount Re… Papa Charlie Jackson 10 Alabamy Bound (Pm 20400, 2147… 2:43 The Rise & Fall of Paramount Re… Jimmy O'Bryant's Washboard Band 11 Alexander, Where's That Band? (… 2:57 The Rise & Fall of Paramount Re… Pickett-Parham Apollo Syncopators 12 All Birds Look Like Chicken To Me… 3:13 The Rise & Fall of Paramount Re… Sweet Papa Stovepipe 13 All I Want Is A Spoonful (Pm 1232… 2:39 The Rise & Fall of Paramount Re… Papa Charlie Jackson 14 All I Want Is That Pure Religion (… 3:12 The Rise & Fall of Paramount Re… Deacon L.