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Magnus Hoem, Juni 2018, Trondheim

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Magnus Hoem, Juni 2018, Trondheim Forord I det jeg gikk inn i prosessen med å velge tema hadde jeg en baktanke om å finne noe som ikke var så nøye utforsket fra før. Jeg hadde også et ønske om å finne et interessant og appellerende tema som kunne dekke mine interesser for både trommer, musikkutøvelse og svart musikk. Valget falt på en trommeslager som spilte på hitlåt etter hitlåt på 1960- og 1970-tallet, og som i nyere tid ikke har fått så mye oppmerksomhet. Denne oppgaven vil derfor handle om trommeslageren Al Jackson Jr., mest kjent fra sin tid i Stax Records, som en del av husbandet Booker T & the MGs. Takk til veileder, professor John Howland, for verdifulle innspill og tips, utømmelig faglig kunnskap, og en genuin interesse for temaet. Takk også til Stine og Frans for all tålmodighet og støtte i prosessen med å fullføre denne oppgaven. Magnus Hoem, juni 2018, Trondheim. 1 2 Innhold INNLEDNING .................................................................................................................................................... 5 TROMMESLAGEREN I AKADEMIA ..................................................................................................................... 9 2.1 FORHOLDET MELLOM MUSIKK OG KONTEKST I MUSIKKFORSKNING .......................................................................... 10 2.2 FRAVÆRET AV TROMMEFORSKNING I AKADEMIA ................................................................................................ 13 2.3 UTFORDRINGER MED TROMMETRANSKRIPSJON ................................................................................................. 16 2.4 HVORDAN FORSKE PÅ TROMMESLAGERE – HVA GJØR EN TROMMESLAGER KREATIV? ................................................... 17 Differensiering ....................................................................................................................................... 18 Utvalg ................................................................................................................................................... 20 Kommunikasjon ..................................................................................................................................... 22 Evaluering ............................................................................................................................................. 22 2.5 HVORDAN FORSKE PÅ TROMMESLAGERE OG VIKTIGHETEN AV TIMING OG GROOVE ...................................................... 25 Groove................................................................................................................................................... 28 2.6 RYTMESEKSJONEN ..................................................................................................................................... 32 SOUL OG STAX RECORDS ................................................................................................................................ 35 3.1 STAX RECORDS – SOUTHERN SOUL ................................................................................................................ 37 3.2 KONKURRANSEN MED MOTOWN ................................................................................................................... 39 3.3 BOOKER T & THE MGS ............................................................................................................................... 42 STAX SOUNDET .............................................................................................................................................. 45 4.1 RYTMESEKSJONEN – ROLLER I BOOKER T & THE MGS ........................................................................................ 45 4.2 STUDIOPRODUKSJON VED STAX ..................................................................................................................... 48 4.3 TROMMELYDEN ........................................................................................................................................ 52 ANALYSE AV MUSIKKEN ................................................................................................................................. 57 5.1 GREEN ONIONS (1962) .............................................................................................................................. 58 5.2 SOUL DRESSING (1964) .............................................................................................................................. 65 5.3 BOOT-LEG (1965) ..................................................................................................................................... 70 5.4 HIP HUG-HER (1967) ................................................................................................................................. 74 5.5 SOUL LIMBO (1968) .................................................................................................................................. 77 5.6. HANG ´EM HIGH (1968) ............................................................................................................................ 82 5.7 TIME IS TIGHT (1969) ................................................................................................................................ 85 5.8 OPPSUMMERING: ARVEN ETTER JACKSON ........................................................................................................ 90 OPPSUMMERING ........................................................................................................................................... 93 LITTERATURLISTE............................................................................................................................................. 95 INTERNETTSIDER ............................................................................................................................................. 96 FILMER ......................................................................................................................................................... 98 LYDKLIPP....................................................................................................................................................... 99 VEDLEGG 1: DISKOGRAFI, BOOKER T & THE MGS ................................................................................................. 100 VEDLEGG 2: TROMMENOTASJON ...................................................................................................................... 101 3 4 Kapittel 1 Innledning I soulmusikkens gullalder på 1960- og 1970-tallet lagde Al Jackson Jr. malen på hvordan trommespill i sjangeren skulle høres ut. Med solide, drivende og tilsynelatende enkle groover tuftet på god timing og «feel», fikk han kallenavnet «den menneskelige metronom».1 På starten av 1960-tallet ble han endel av Stax Records´ husband Booker T & the MGs, som spilte for artister som Otis Redding, Wilson Pickett, Sam & Dave, Rufus og Carla Thomas, Albert King og mange fler. På 1970-tallet utvidet Jackson sitt studiovirke også utenfor Stax. Hans trommespill med Al Green er verdt å trekke frem, med hitlåter som «Tired of being alone» (1971), «Let´s stay together» (1972) og «I´m still in love with you» (1972). Jackson spilte også på «Ain´t no sunshine» og «Grandma´s hands», fra Bill Withers´ første plate Just as I am (1971), i tillegg til å gjøre studioarbeid for artister som Elvis Presley, Leon Russell, Eric Clapton, Donny Hathaway og mange fler. I 1975 ble Jackson tragisk nok skutt og drept av en innbruddstyv i sitt eget hjem, og med det mistet vi en av de beste trommeslagerne som har levd, og kanskje den aller viktigste eksponenten for soultromming. Denne oppgaven vil med utgangspunkt i Al Jackson Jr. forsøke å vise hvordan en kan forske på trommeslagere i en akademisk kontekst. Sentrale aspekter som hvordan trommeslageren skaper en groove, og hvordan den formes i interaksjonen med resten av rytmeseksjonen, vil bli diskutert og analysert i sammenheng med konkrete musikalske eksempler. Jackson spilte såkalt «groove-orientert» tromming, og dette fremmer en rekke spørsmål knyttet til hvordan en kan analysere, tolke og forstå repetitivt trommespill som ofte oppleves som «enkel». En del av dette handler om å se på de små nyansene i trommespillet, og hvordan dette kan danne utgangspunkt for en større diskusjon rundt musikken. Med sitt virke i sjangeren soul tok Jackson del i en musikkstil som resonnerte med den svarte borgerrettighetsbevegelsen, og vi vil se på hvilken rolle denne musikken hadde for rasediskursen. Gjennom ulike intervjuer med involverte musikere og andre fra Stax Records vil oppgaven forsøke å skape en helhetlig forståelse av Jacksons betydning i relasjon til bandet Booker T & the MGs, Stax Records, og utviklingen av soul på 1960-tallet. 1 Sentrale begreper som knytter seg til trommespill, som f.eks. “groove”, “feel” og “time”, vil forklares nærmere i kapittel 2. 5 Oppgaven er delt inn i seks kapitler som vil se på teoretiske aspekter, historisk kontekst, og ikke minst musikalsk analyse med utgangpunkt i trommespillet. Kapittel 2 vil starte med å adressere fraværet av forskning på trommeslagere i akademia. Dette henger blant annet sammen med hvordan musikk og kontekst tradisjonelt sett har blitt ulikt vektlagt i studier av kunst- og populærmusikk, og jeg vil her vise til William Bruford, som trekker frem trommeslagere som lite utforsket i studier av musikkutøvelse. Han peker videre på ulike årsaker til hvorfor trommeslageren ofte er misforstått og fraværende i musikkforskning, og det vil her rettes et spesielt fokus på den historiske diskursen
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