Crazy Blues by Chuck Harris
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The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
A Case of Complete Misidentification the Original Jazz Hounds
A Case of Complete Misidentification The Original Jazz Hounds K.-B. Rau with Dave Brown and Michael Rader Among the recordings of early Harlem Jazz of the 1920s are quite a number of recordings that have been organized and directed by Perry Bradford. Only a small part of them bear Bradford´s name on the record label as they are mostly accompaniments to singers by Perry himself or by an accompanying band under his aegis. But there are also some that are made by groups lead by Perry. The best known of these certainly is the single record by Perry Bradford´s Jazz Phools of November 1925 which features a fantastic All-Star-Band of Fletcher Henderson alumni with an out-of-this-world young Louis Armstrong on cornet, “blowing his ass off”. There are also groups with names as the Georgia Strutters, the Gulf Coast Seven, Perry Bradford and his Gang, or – as accompanying groups – Perry Bradford´s Mean Four. They all owe their existence to Mr. Bradford´s restless talent for finding new talent, organizing, in a lesser way his compositional abilities and even less his own musicianship, let alone his singing efforts. Yet, for the record collector all these recordings have their own charm and offer a very interesting insight of what had been happening in Harlem in the 1920s behind the bright surface of theatres, ballrooms and night-clubs. Here we can listen to units exemplary for the music that had been played in taxi-dance-halls, after-hours-joints and other cheap venues. As it has been my observation for a very long now leave their listings in the discographies on hand – Rust in all his editions resp. -
The Gulf Coast Seven
THE RECORDINGS OF THE GULF COAST SEVEN A Tentative Personnelo-Discography This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors. - Documented, most certain and aurally absolutely obvious identifications are listed thus: Perry Bradford - Probable, generally agreed, but not documented identifications are listed in italics, thus: Perry Bradford - Not attributable identifications – although the musician in question might be an otherwise well-known person – are listed thus: unknown - If a possible identification for an otherwise unknown musician is suggested by the author without the possibility to prove the factual evidence, it is listed thus: (Perry Bradford) When feeling certain without a musician´s documented presence, I have not refrained from altering Rust´s statements without using italics. In any case, my statements are open to discussion and I would appreciate any contribution - pro or contra! As always in my discographies on this website I have written recording sessions with their headings, dates, titles and names of musicians in italics, whenever I am convinced that the eponymous musician of this discography is not part of the accompanying group of this session! Documented names of musicians if known – in recording ledgers or on record labels – are listed in bold letters. This discography still is - and will certainly be - a work in progress for a long time, if not eternally. Yet, on the way to a definite discography of all jazz recordings before 1942 - which certainly will never be possible - it is intended to fill some gaps that have not been treated before. -
The Society of American Archivists / Performing Arts Roundtable News
PERFORMANCE! The Newsletter of the Society of American Archivists’ Performing Arts Roundtable Issue for Fall 2005 _____________________________________________________________________ [The Performing Arts Roundtable: Encourages the exchange of information on historical and contemporary documentation of music, dance, theater, motion pictures, and other performance media. (from the SAA Web site)] _______________________________________________________________________ Roundtable Co-Chair (2006): Roundtable Co-Chair (2007): Karen Spicher Helice Koffler Beinecke Library Wilson Processing Project Yale University New York Public Library New Haven, CT 06520 New York, NY 10036-4396 203/432-4205 212/714-8527 [email protected] [email protected] Newsletter Editor: Web Master: George Bain Ashley Yandle Archives & Special Collections Information Technology Branch Ohio University Libraries North Carolina State Archives 740/593-2713 919/807-7329 [email protected] [email protected] Visit the Roundtable Web Site: www.archivists.org/saagroups/performart/ Table of Contents • Messages from the Roundtable Co-Chair………………….…………..…….2 • News Notes…………………………………………………………………......4 • Reports from the Field…………………………….…………….….…….…...4 o “Gathering the Blues: Collection Development in the Blues Archive” by Greg Johnson…………………………………..….….5 • International Notes……………………………………………………………7 • News of Roundtable Members………….…………………………………….9 • Editor’s Corner……………………………………………………..……...…..9 Message from the Roundtable Co-Chair Roundtable Updates By Karen Spicher Thanks to everyone who attended and contributed to our meeting in New Orleans in August. The devastating hurricane, which struck so soon after the conference, was a shock to everyone. Rachel Lyons, New Orleans Jazz and Heritage Festival archivist, and our speaker in New Orleans, is now back at work in New Orleans (see update below). Meanwhile, SAA and other professional organizations are leading efforts for assistance and recovery. -
Perry Bradford
THE RECORDINGS OF PERRY BRADFORD A Tentative Personnelo-Discography BRADFORD, ‘Mule’ John Henry Perry born: Montgomery, Alabama, 14th February, 1893; died: Queens, New York, 20th April, 1970 Family moved to Atlanta, Georgia, when Perry was six. By 10906 was working with minstrel shows, joined Allen´s New Orleans Minstrels in 1907. Left to work as a solo pianist, played in Chcago (1909), etc. Visited New York in 1910. Toured theatre circuits for several years, as a soloist, in double acts, etc., began prolific composing. Settled in New York, became musical director for Mamie Smith, and was responsible for Mamie´s recording debut – generally accepted as the first recording featuring a Negro blues singer. Mamie´s 1921 recording of Bradford´s composition ‘Crazy Blues’ sold over a million copies. He toured with Mamie Smith during the early 1920s, also led own recording bands featuring Louis Armstrong, Buster Bailey, Johnny Dunn, James P. Johnson, etc., etc. Ran own publishing company in New York, also pioneered use of Negro performers on commercial radio. Composed many big-selling numbers including ‘You Can´t Keep A Good Man Down’, ‘Evil Blues’, ‘That Thing Called Love’, etc., etc. For a full account of Perry Bradford´s many activities the reader is advised to consult the autobiography ‘Born With The Blues’, by Perry Bradford. First published in 1965. (J. Chilton, ‘Who´s Who Of Jazz’) STYLISTICS STYLE Perry Bradford´s piano performances are mediocre only and restricted to sub-standard accompaniments for singers and occasional band duties at own recording dates. Bradford´s piano style is influenced by early blues pianists, using simple single-note bass technique with early boogie/blues elements, yet also containing elements of Harlem stride in his right hand, but not a chordal left hand. -
Crazy Blues”—Mamie Smith (1920) Added to the National Registry: 2005 Essay by Ed Komara (Guest Post)*
“Crazy Blues”—Mamie Smith (1920) Added to the National Registry: 2005 Essay by Ed Komara (guest post)* Mamie Smith Original label Perry Bradford The African American newspaper “The Chicago Defender” in October 1916 expressed its certainty that “records of the Race’s great artists will be placed on the market” once the record companies realized how many African Americans owned Victrolas and other record players. During the next four years, some African American styles did appear on shellac, but performed by white musicians, including the Original Dixieland Jass Band who made the first commercial jazz records in 1917. The breakthrough record by an African American performer came in November 1920, with the release of Mamie Smith’s performance of “Crazy Blues” on OKeh Records. What was a sensational hit for Mamie Smith that fall was, in truth, long in being developed in African American urban show culture, certainly back to the time of the “Defender’s” statement. The pianist on that record, Willie “The Lion” Smith, later remembered the tune as “an old bawdy song played in the sporting houses” titled “Baby, Get That Towel Wet” circulating before 1916, when the composer James P. Johnson adapted it for his song “Mama and Papa’s Blues.” Another composer, Perry Bradford, made use of the same tune for several songs for himself, namely “The Broken Hearted Blues” (1917), “The Wicked Blues” (aka “The Nervous Blues,” 1918, 1921), and “Harlem Blues” (1918). It was by the last title that Mamie Smith learned the song from Bradford in 1918, for a New York stage show called “The Maid of Harlem.” Smith’s success with the song encouraged Bradford to pester recording firms to record her, an African American singer, in the style of African American blues. -
Detroit Blues Women Michael Duggan Murphy Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2011 Detroit blues women Michael Duggan Murphy Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the African American Studies Commons, Music Commons, and the United States History Commons Recommended Citation Murphy, Michael Duggan, "Detroit blues women" (2011). Wayne State University Dissertations. Paper 286. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. DETROIT BLUES WOMEN by MICHAEL DUGGAN MURPHY DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ DEDICATION “Detroit Blues Women” is dedicated to all the women in Detroit who have kept the blues alive, to the many friends, teachers and musicians who have inspired me throughout my life, and especially to the wonderful and amazing family that has kept me alive. Many thanks to Lee, Frank, Tom, Terry, Kim, Allison, Brendan, John, Dianne, Frankie, Tommy, Kathy, Joe, Molly, Tom, Ann, Michael, Dennis, Nancy, Mary, Gerry, Charles, Noranne, Eugene, Maegan, Rebecca, Tim, Debby, Michael Dermot and Angela. ii ACKNOWLEDGMENTS I would first like to thank my advisor and committee chair John J. Bukowczyk for his friendship, his editing skills, and his invaluable guidance through all stages of this dissertation. Throughout my graduate career, Dr. Bukowczyk has been generous mentor with a great deal of insight into the workings of the University and the world at large. -
A Tommy Ladnier Discography Bo Lindström
A Tommy Ladnier Discography Bo Lindström Stockholm, February 24, 2015 PREFACE 4 LEGEND USED FOR SOLO DESCRIPTION 5 TEXT CONVENTIONS AND ABBREVIATIONS 5 PART 1 - VERIFIED TOMMY LADNIER RECORDING SESSIONS 7 1. MONETTE MOORE CLARENCE JONES, PIANO, AND PARAMOUNT TRIO 7 2. JELLY ROLL MARTON AND HIS ORCHESTRA 7 3. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 8 4. IDA COX AND HER BLUES SERENADERS 8 5. IDA COX AND HER BLUES SERENADERS 8 6. OLLIE POWERS' HARMONY SYNCOPATORS 9 7. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 10 8. ALBERTA HUNTER AND HER PARAMOUNT BOYS (CONTRALTO WITH ORCHESTRA) 10 9. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 10 10. MADAME “MA” RAINEY WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 10 11. EDMONIA HENDERSON WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 11 12. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 11 13. MADAME »MA» RAINEY ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS 11 14. EDMONIA HENDERSON ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS (VOCAL BLUES) 12 15. GERTRUDE »MA» RAINEY WITH LOVIE AUSTIN'S BLUES SERENADERS (VOCAL BLUES) 12 16. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 13 17. EDNA HICKS ACC. BY LOVIE AUSTIN AND HER BLUES SERENADERS 13 18. MA RAINEY AND HER GEORGIA BAND 13 19. ETHEL WATERS WITH LOVIE AUSTIN BLUES SERENADERS 13 20. GERTRUDE »MA» RAINEY WITH LOVIE AUSTIN'S BLUES SERENADERS 14 21. IDA COX WITH LOVIE AUSTIN AND HER BLUES SERENADERS 14 22. -
Georgia Strutters
THE RECORDINGS OF THE GEORGIA STRUTTERS A Tentative Personnelo-Discography This personnelo-discography is based on RUST, JAZZ AND RAGTIME RECORDS 1897 - 1942. Personnels are taken from this source, but modified in the light of earlier or subsequent research or on the strength of my own listening, discussed with our listening group or other interested collectors. - Documented, most certain and aurally absolutely obvious identifications are listed thus: Perry Bradford - Probable, generally agreed, but not documented identifications are listed in italics, thus: Perry Bradford - Not attributable identifications – although the musician in question might be an otherwise well-known person – are listed thus: unknown - If a possible identification for an otherwise unknown musician is suggested by the author without the possibility to prove the factual evidence, it is listed thus: (Perry Bradford) When feeling certain without a musician´s documented presence, I have not refrained from altering Rust´s statements without using italics. In any case, my statements are open to discussion and I would appreciate any contribution - pro or contra! As always in my discographies on this website I have written recording sessions with their headings, dates, titles and names of musicians in italics, whenever I am convinced that the eponymous musician of this discography is not part of the accompanying group of this session! Documented names of musicians if known – in recording ledgers or on record labels – are listed in bold letters. This discography still is - and will certainly be - a work in progress for a long time, if not eternally. Yet, on the way to a definite discography of all jazz recordings before 1942 - which certainly will never be possible - it is intended to fill some gaps that have not been treated before. -
Two Steps from the Blues: Creating Discourse and Constructing Canons in Blues Criticism
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2001 Two steps from the blues: Creating discourse and constructing canons in blues criticism John M. Dougan College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, Mass Communication Commons, and the Music Commons Recommended Citation Dougan, John M., "Two steps from the blues: Creating discourse and constructing canons in blues criticism" (2001). Dissertations, Theses, and Masters Projects. Paper 1539623381. https://dx.doi.org/doi:10.21220/s2-nqf0-d245 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. TWO STEPS FROM THE BLUES: CREATING DISCOURSE AND CONSTRUCTING CANONS IN BLUES CRITICISM A Dissertation Presented to The Faculty of the Department of American Studies The College of William & Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy by John M. Dougan 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3026404 Copyright 2001 by Dougan, John M. All rights reserved. UMI___ ® UMI Microform 3026404 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. -
Music: Popular by Carla Williams
Music: Popular by Carla Williams Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Gay, lesbian, bisexual, and transgendered persons have had tremendous influence on popular music. As artists, muses, producers, composers, publishers, and every role in between, gays and lesbians have left an indelible impression upon the popular consciousness through their contributions to music. Their presence can be found everywhere, from out lesbian Vicki Randle playing percussion and singing in the Tonight Show band, to two men dressed as cops and kissing in a Marilyn Manson music video. Top: A photograph of k. d. lang by Jeri Heiden. Popular music has always had a gay and lesbian presence, but it has not always been Above: Rob Halford of out in the open. Nor has there been an entirely linear progression from total Judas Priest on stage in Birmingham, England in repression to today's relative openness. For example, several well known gay men, 2005. Photograph by bisexuals, and lesbians of the 1920s who lived their lives openly were forced back into Andrew Dale. the closet when social mores shifted. For decades, their sexuality was obscured and Image of k. d. lang hidden. courtesy Sacks and Company. In the music industry, it is not only the "talent" who are homosexual: for example, David Geffen, founder of Geffen Records, is one of the most successful producers in recording history and one of the wealthiest men in entertainment. Similarly, Jann Wenner, founder of Rolling Stone magazine, long considered the rock and roll bible, is now involved in a homosexual relationship. -
California State University, Northridge the Blue Note: A
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE BLUE NOTE: A GREATER TEXAS REGIONAL BLUES HEARTH A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Geography by Daniel Geringer Summer 2013 The thesis of Daniel Geringer is approved: __________________________________ __________________ James Craine, Ph.D. Date _________________________________ __________________ Ron Davidson, Ph.D. Date _________________________________ __________________ Steven Graves, Ph.D., Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS The author would like to thank his wife, Rowena, and his two children Clarissa and Colin for their unrelenting support during this project. The author would like to thank Professor Graves for his support, inspiration and interest in geographically centered musical studies and this particular thesis. Further thanks are given to Professors Craine whose assistance over the last year is greatly appreciative and without this assistance; this thesis would never have been completed and Professor Ron Davidson. Additional thanks are given to Ed Jackweicz, David Hornbeck and James Allen, whose influence and support were influential to my studies. iii TABLE OF CONTENTS Signature Page ________________________________________________ ii Acknowledgements ____________________________________________ iii Abstract______________________________________________________ vi CHAPTER 1. Introduction and Research Question ____________________ 1 CHAPTER 2. Geographic and Theoretical Context ____________________