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| The Evolution of Soul; Highway 61/ Cassandra Wilson_Jazz's Prima Diva | |
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| Topic Started: Feb 1 2008, 09:31 AM (825 Views) | |
| Taymanfan | Feb 1 2008, 09:31 AM Post #1 |
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Originally posted by san at the Whomp Swamp SWEET SOUL MUSIC To say that I am not qualified to discuss the roots of Soul Music is an understatement. When I want to learn about something, I often choose the old-fashioned way of reading a book! Recently, I was gifted Highway 61 Revisited, The Tangled Roots of Jazz, Blues, Rock, & Country Music, by Gene Santoro. I thought it would be interesting to share some excerpts from this narrative which the author describes as "alternate ways of seeing the evolution of American pop culture, especially music, over the last century." This is an open thread and you are encouraged to add your knowledge and thoughts on the topic. We can all learn! Edited by Taymanfan, Feb 1 2008, 09:33 AM.
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| Taymanfan | Feb 1 2008, 09:31 AM Post #2 |
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YOU HAVE TO BE YOURSELF (Sound familiar?) Author Santoro interviewed the great drum legend, Max Roach: GS: There's a story you once told me abut playing with Lester Young. You stopped by his room, figuring it had been a good night on the bandstand. And he said, "You can't join the throng till you write your own song." MR: Oh, yeah, he had that way of talking. See, playing with him, I thought I'd be doing the right thing by playing like Papa Jo Jones. That night, we finished, and I thought, "Boy, Papa Jo would be proud of me." But Prez was saying, "Look, kid, get your own signature. You've got to find your version." It's like Bird said: "If you don't live it, it can't come out of your horn." You've got to live it, then believe it. Doing what somebody else did isn't the point. In this music, you have to find out who you are, what you feel, what you want to say. That's one of the ways that it's so American. You have to be yourself. That's also one way jazz is different from classical music. In classical music, you learn to study and come up with the finest interpretation of a work that you can. That's a different way of expressing your personality. You have to learn to use what's written already to express yourself. In jazz, you have to learn to be who you are, and create the music from that. (Santoro 44) NOTE: Lester Young (Prez) was a saxophonist with Count Basie for a stint in the 1930s, well respected by many of his peers. (52) -------- In Taylor's music we have seen this philosophy personified and it has become known as "taylorizing"--staying true to who you are and making the music your own. He is following the tradition of great jazz legends who believed in "being yourself." |
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| Taymanfan | Feb 1 2008, 09:32 AM Post #3 |
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Highway 61 Revisited - The Title Here I sit so patiently Waiting to find out what price You have to pay to get out of Going through all these things twice. --Bob Dylan "The Beatles and Rolling Stones survived past the British Invasion largely because they jumped on Dylan's millennial bandwagon, adapting his Jeremiah's cry, his truthteller's story forms, his sly ironies and probing sarcasm and haunted paradoxical loves; his far-reaching grasp of forms, his impossible phrasing, his poet's fecund sense of language in play for its beauties and possibilities. They gave him back the gift of American rock and its pop and roots forebears; he gave them art. (160) "...Dylan altered the fundamental nature of what 'the kids' wanted. He had realized Woody Guthrie's dream--a true popular art. "It's a big stone to carry, but it's Dylan's..he earned it with the three classic albums...the multifaceted Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. (161) "As a friend of mine once put it, Dylan opened the toy chest of American popular music so that anyone could play with all of its contents. The remark underscores the breadth of Dylan's catalog. Only a few musical peers--Ray Charles comes to mind--have done anything as wide-ranging, have magnificently ignored the notion that genius lives, as the popular Malvina Reynolds song put it, in 'little boxes.'" (163) HIGHWAY 61 1699 miles of highway from New Orleans to the Canadian border--the north/south "Route 66"-- From Wikipedia: Highway 61, sometimes called the "Blues Highway," stretched from New Orleans through Memphis and from Iowa through Duluth (Dylan's city of birth) to the Canadian border. It was regularly featured in blues songs, notably Mississippi Fred McDowell's "61 Highway" and James "Son" Thomas's "Highway 61." Bessie Smith met her death in an automobile accident on that roadway; Robert Johnson was said to have sold his soul to the devil at the crossroads of Highway 61 and Highway 49 (itself the subject of a Howlin' Wolf song); Elvis Presley grew up in the housing projects built along it; and Martin Luther King, Jr. would be murdered at a motel just off Highway 61. "A lot of great basic American culture came right up that highway and up that river," Robert Shelton told a BBC interviewer. "And as a teenager Dylan had travelled that way on radio. ... Highway 61 became, I think, to him a symbol of freedom, a symbol of movement, a symbol of independence and a chance to get away from a life he didn't want in Hibbing." |
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| Taymanfan | Feb 1 2008, 09:33 AM Post #4 |
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GENE SANTORO From The Nation website: about Gene Santoro Gene Santoro, The Nation's music critic, also covers film and jazz for the New York Daily News. Santoro has authored two essay collections, Dancing In Your Head (1994) and Stir It Up (1997), as well as Myself When I Am Real: The Life and Music of Charles Mingus (2000). Bio... Gene Santoro Music Critic A former working musician and Fulbright Scholar, Gene Santoro also covers film and jazz for the New York Daily News. He has written about pop culture for publications including: The New York Times, Rolling Stone, The New Yorker, The Village Voice, Entertainment Weekly, New York Magazine, Atlantic Monthly, People, The New York Post, Spin, 7 Days and Down Beat. Santoro has authored two essay collections, Dancing In Your Head (1994) and Stir It Up (1997), which were both published by Oxford University Press, and a biography of jazz great Charles Mingus, titled Myself When I Am Real: The Life and Music of Charles Mingus (Oxford, 2000). He is currently completing Made in America, essays about musical countercultures. In addition, Santoro's writing has been included in such anthologies as Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now, Mass Culture and Everyday Life, The Oxford Jazz Companion, The Jimi Hendrix Companion and The B.B. King Companion. While contributing articles about rock to the Encyclopedia Brittanica and The Encyclopedia of New York City, he is also on the editorial advisory board of The New Grove Dictionary of Jazz. He has appeared on radio and TV shows like The Edge, Eleventh Hour, All Things Considered and Fresh Air. --------- To read more of Santoro's writings on jazz and the music culture visit: Sweet Soul Music ----------------------------------------------------------------------------------------------- From jazzscript.co Stir It Up Musical Mixes From Roots To Jazz ----------------------- Gene Santoro Oxford University Press, 1997 Hardback. 200pp £16.00 ----------------------- It's cliché that the world is shrinking. As Gene Santoro sees it in his second collection of essays, music is one arena where that cliché takes on a real, but paradoxical, life: while music criss-crosses the globe with ever-greater speed, musicians seize what's useful and expand their idioms more rapidly. More and more since the 1960s musicians, both in America and abroad, have shown an uncanny but consistent ability to draw inspiration from quite unexpected sources. We think of Paul Simon in Graceland, blending Afropop rhythms and Everly Brothers harmonies into remarkable new sound that captured imaginations worldwide. Or Jimi Hendrix, trying to wring from guitar the howling, Doppler-shifting winds he experienced as a paratrooper. Or Thelonious Monk mingling Harlem stride piano, bebop, the impressionist harmonies of Debussy, and a delight in "harmonic space" that eerily paralleled modern physics. From the startling experiments of such jazz giants as Charles Mingus, to the political bite of Bob Marley and Bruce Springsteen, we see musicians again and again taking musical tradition and making it new. The result is a profusion of new forms, media that are constantly being reinvented - in short, an art form capable of seemingly endless, and endlessly fascinating, permutations. Gene Santoro's Stir It Up is an ideal guide to this ever-changing soundscape. Santoro is the rare music critic equally at home writing about jazz (John Coltrane, Ornette Coleman, Tom Harrell, rock (Sting, Elvis Costello, P J Harvey), and the international scene (Jamaican, Brazilian, and African pop music). In Stir It Up, readers will find thoughtful but unpretentious discussions of such different musicians as David Byrne and Aretha Franklin, Gilberto Gil and Manu Dibango, Abbey Lincoln and Joe Lovano. And Santoro shows us not only the distinctive features of the diverse people who create so many dazzling sounds, but also the subtle and often surprising connections between them. With effortless authority and a rich sense of music history, he reveals, for instance, how Ornette Coleman was influenced by a mystical group in Morocco - the Major Musicians of Jou-jouka - whom he discovered via Rolling Stone Brian Jones, how John Coltrane's unpredictable, extended sax solos influenced The Byrds, The Grateful Dead, and, most significantly, Jimi Hendrix, and how Bob Marley's reggae combined Rastafarian chants with American pop, African call-and-response, and Black Nationalist politics into a potent mix that still shapes musicians from America to Africa, Europe to Asia. A former musician himself, Santoro is equally illuminating about both the technical aspects of the music and the personal development of the artists themselves. He offers us telling glimpses into their often turbulent lives: Ornette Coleman being kicked out of his high school band for improvising, Charles Mingus checking himself into Bellevue because he's heard it was a good place to rest, the teenaged Jimi Hendrix practising air-guitar with a broom at the foot of his bed, Aretha Franklin's Oedipal struggle with her larger-than-life preacher-father. Throughout the volume, Santoro's love and knowledge shine through, as he maps the rewarding terrain of pop music's varied traditions, its eclectic, cross-cultural borrowings, and its astonishing innovations. What results is a fascinating tour through twentieth-century popular music; lively, thought-provoking, leavened with humour and unexpected twists. Stir It Up is sure to challenge readers even as it entertains them. GENE SANTORO is music critic for the New York Daily News and The Nation, and is pop-music editor of Fi. His previous collection of essays is entitled Dancing in Your Head: Jazz, Blues, Rock, and Beyond. His writing has appeared in Rolling Stone, The Village Voice, The New York Times, The Washington Post, and many music publications To read more about jazz, visit: JAZZSCRIPT |
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| Taymanfan | Feb 1 2008, 09:34 AM Post #5 |
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LOUIS ARMSTRONG “From 1925 to 1928, Louis Armstrong made an astonishing series of recordings, the jazz-creating the legacy of his Hot Fives and Hot Sevens, a succession of studio groups that virtually never performed live. “Black and Blue made him a star. Originally written as a lament by a dark-skinned gal for her man, who’s attracted to high-yellow types, Armstrong’s brilliant, forceful reading renders it as mini-tragedy… “Armstrong always claimed he was born on July 4, 1900, and who could blame him? As one of America’s primary declarers of cultural independence (and independence), he should have been. But in his rich biography Satchmo, Gary Gibbons both insists that all American music emanates from Armstrong and proves he was born on August 4, 1901. “Armstrong and his sister were born in The Battlefield, a hard district of New Orleans; their father left before either could remember him. In his early years Armstrong was raised by his grandmother, whom he credited with the Emersonian values—hard work, self-reliance, artistic daring coupled with personal amiability—that guided him. When Louis was 12, he was busted for firing his stepfather’s pistol and sentenced to the Colored Waifs Home. Here he joined the band and got his first musical training, which he characteristically never forgot. “Little Louis danced in second-line parades, following coronetist Joe “King” Oliver (Papa Joe) in the Onward Band as they wound thought he Crescent City streets. Armstrong always insisted that he learned his stuff from Papa Joe. Certainly Oliver mentored him…and Louis was led to the riverboats plying the Mississippi and Fate Marable in 1920-21. Marable hired him for his riverboat band and one of his sidemen trained the youngster to read and write music. When the riverboat docked in Davenport, Iowa, Armstrong met a young white kid named Bix Biederbecke, who decided after hearing Armstrong and Marable, to make jazz his life. He would perfect his craft by jamming with Armstrong regularly, an exchange that led to mutual respect and friendship. “Armstrong’s multifaceted legacy, his music, would create a new subculture—the jazz milieu—where white and blacks in America could meet on something like equal grounds, thanks to artistic respect. “Armstrong pioneered so many firsts in jazz (and America) that a list can seem unbelievable. Here’s a sample. He invented the full-fledged jazz soloist and scatsinging. He introduced Tin Pan Alley and Broadway tunes as jazz’s raw material. And her performed in interracial settings, sometimes for multiracial audiences. “No one knows for sure how many recordings Louis Armstrong made during the course of his half-century recording career. All agree, however, that he helped create both the art and the industry. ...Through the phonograph Armstrong made infinite numbers of disciples, dispensing his vision and shaping what jazz would become. The phonograph transformed evanescent musical moments of improvisation into captured pieces of time, endless duplicable and repeatable, able to be studied and savored as well as experienced immediately. What the phonograph provides us is a series of windows—imagine peering out an express train passing through a station—into Armstrong’s world and art." Santoro remembers Armstrong: “Like most postwar babies, I grew up knowing Louis Armstrong as the guy who sang ‘Mack the Knife’ and, most famously, ‘Hello Dolly.” It was only later I’d discover the old blues stuff with singers like Bessie Smith, the Hot Fives, Ella and Louis, Fletcher Henderson, and—one of my faves—Armstrong’s accompaniment on early hillbilly star Jimmie Rodgers’s ‘Blue Yodel No. 9.’ But even as a kid I felt strangely drawn to the little black guy singing and grimacing on TV, wiping his perspiring brow with his trademark handkerchief…..I could tell Armstrong was real because he filled the little blue TV screen so overwhelmingly that he made everything around him look, as it should have, fake.” To download Louis Armstrong's classics, go to: HELLO DOLLY! AS TIME GOES BY NOTE “Early jazz musicians often refused to record because they felt competitors could steal their best licks from their records.” |
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| Taymanfan | Feb 1 2008, 09:34 AM Post #6 |
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AN AMERICAN TROUBADOR-WOODY GUTHRIE  “Both Armstrong and Guthrie began as folk musicians performing for small marginal groups. … Guthrie kept his talents deliberately rude, at least on the surface, because he wanted to dissolve the stage’s fourth wall by not seeming any more professional than his listeners; he smelled bad and dressed like the hobo he’d been, dynamited mass success whenever it got to near him, and became famous anyway, the catalytic icon energizing the wavelike resurgences of American roots music that have punctuated every decade since. In1944, Woody Guthrie and his sidekick, Cisco Houston, who played guitar and sang cowboy harmonies, wandered into the small recording studio of Moe Asch on West 46th Street off New York’s Times Square. “The duo sounded raw and homey, as if they spent their time playing saloons or roadhouses or dockside taverns. And that, along with a dizzying clutch of union and political rallies, is a lot of what Guthrie had been doing. Bumming around by himself, with Houston, with young Peter Seeger, he incarnated American’s mythical wanderlust and noncomformity, lighting out for the territory in ways that inspired generations of road warriors, hitchhikers, trainspotters, pop starts, Beatniks, folk heroes, buddy-movie makers, and con artists. “By the time Guthrie surfaced at Asch’s place, he’d long since been enshrined as the minstrel of the American left. He found his calling in Los Angeles, the highly polarized magnet for Okies during the Dust Bowl. Dust hadn’t driven him to LA; family ties and ambition to be an entertainer did…. (he) could reach these folks, speak to them and for them. …He had discovered himself at age 25. He would be an American troubadour.” Guthrie’s idol was the yodeling godfather of country music, Jimmie Rodgers. He also adored the Carter Family and spent hours learning Maybelle’s guitar technique of picking out riffs on the bass strings while strumming. When he was urged to report on conditions at Okie camps for a liberal newspaper, Guthrie started writing the sort of tunes collected in 1940 on his first commercial album, Dust Bowl Ballads. Woody Guthrie: The Asch Recordings Vol. 1-4 gathers 105 tracks in well-wrought fashion to outline the breadth, heights, depth, and limits of Guthrie’s genius. Each CD has a loose theme. This Land Is Your Land includes Woody’s greatest hits: most he wrote the lyrics for, setting them to existing tunes in the way oral minstrels do. “But what endures about Guthrie’s best work is its ambition and scope. He reminds us how music existed before Walkmen or MP3 players or Internet radio, how people made music for themselves to accompany daily life, remember events and deeds and characters, speak back to power and carry the news. “Ever wonder how Bruce Springsteen got an Okie drawl? The next Woody Guthrie is always in the wings. Ask John Mellencamp or Steve Earle. “Bob Dylan played and wrote songs for Woody, as if he were seeking a kind of benediction from the songster, the poetic gift, the human touch. After his 1966 motorcycle accident, Dylan’s first public appearance was at the benefit-tribute for Guthrie.” To download Woody Guthrie - Railroad Blues, go to: Woody Guthrie - The Railroad Blues -------- “Moe Asch is one of those independent label heads who played vital roles in postwar American music. At Folkways, Asch recorded culture that was vanishing beneath urbanization and the growing mass media. He first recorded Lead Belly in 1941, then watched his circle of artists expand: Pete Seeger, Josh White, Burl Ives. From this grew Folkways Records, whose treasures are regularly reissued on Smithsonian/Folkways. “ |
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| Taymanfan | Feb 1 2008, 09:35 AM Post #7 |
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LEAD BELLY In 1935 the country languished in the worst depression of its history after severe drought, catastrophic dust storms and failed crops. The plight of those who had lost everything and migrated to the “golden west” spawned the songs of folk artists like Woody Guthrie and writers like John Steinbeck. President Franklin D. Roosevelt responded with the New Deal, innovative programs to put people to work and get the country back on its feet. “Under the New Deal, the government sent out squadrons of researchers, writers, artists, and collators to document and disseminate local American folkways and history. This was part of the broader push to put to work the armies of unemployed… “Alan Lomax worked with his ex-banker father, John A. Lomax from age 17, crisscrossing the South making irreplaceable field recordings of black inmates, adding oral histories and interviews that nest among the jewels of the Library of Congress. …all he and his father agreed on was that the music was a singular American art form. “The biggest prize the Lomaxes snared on their 1933 Library of Congress trip to Louisiana’s Angola State Penitintiary was Huddie “Lead Belly” Ledbetter. Lead Belly spent most of his life in prison for crimes like shootings and attempted murder. He learned to work The System: he entertained guards for special perks, even won a pardon in 1925 from a 30-year sentence by singing for Texas governor Pat Neff. …The Lomaxes were enthralled. With their help and his own (this time he wrote a song for Gvoernor O.K. Allen of Louisiana) he was released and retained as John Lomax’s chauffeur and traveling companion; he joined the Lomaxes on their southern travels. He built an audience via weekly New York radio shots….his commercial recordings sold poorly, and he went to work with Moe Asch, the head of independent label Folkways. “Lead Belly was the first folk artist Asch recorded, and his songs fed a powerful underground stream into folk and rock music in the 1950s and 1960s: songs he claimed to write (in an oral tradition, authorship is hazy, since change and adaptation are constant) include “Goodnight Irene” and “Cottonfields,” which were covered by everyone from Seeger to Creedence Clearwater Revival, and defined others like “House of the Rising Sun.” “Bourgeois Blues” is his scathing portrayal of racism in the nation’s capital. According to Asch: “He was one of the most formal human beings that ever existed. His clothing was always the best pressed, the best. His shoes were $60 shoes—in 1947! Where he might not have much money to come home to, he had to have a cane. Lead Belly treated himself as a noble person.” Please, Governor Neff, Be good 'n' kind Have mercy on my great long time... I don't see to save my soul If I don't get a pardon, try me on a parole... If I had you, Governor Neff, like you got me I'd wake up in the mornin' and I'd set you free Lead Belly |
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| Taymanfan | Feb 1 2008, 09:35 AM Post #8 |
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MORE HISTORY OF JAZZ Contributed by Allyn: The music called Jazz was born sometime around 1895 in New Orleans. It combined elements of Ragtime, marching band music and Blues. What differentiated Jazz from these earlier styles was the widespread use of improvisation, often by more than one player at a time. Jazz represented a break from Western musical traditions, where the composer wrote a piece of music on paper and the musicians then tried their best to play exactly what was in the score. In a Jazz piece, the song is often just a starting point or frame of reference for the musicians to improvise around. The song might have been a popular ditty or blues that they didn't compose, but by the time they were finished with it they had composed a new piece that often bore little resemblance to the original song. Many of these virtuoso musicians were not good sight readers and some could not read music at all, nevertheless their playing thrilled audiences and the spontaneous music they created captured a joy and sense of adventure that was an exciting and radical departure from the music of that time. The first Jazz was played by African-American and Creole musicians in New Orleans. The cornet player, Buddy Bolden is generally considered to be the first real Jazz musician. Buddy Bolden is generally considered to be the first bandleader to play the improvised music which later became know as Jazz. He was the first "King" of cornet in New Orleans, and is remembered by the musicians of that time period as one of the finest horn players they had ever heard. He is remembered for his loud, clear tone. His band started playing around 1895, in New Orleans parades and dances, and eventually rose to become one of the most popular bands in the city. In 1907 his health deteriorated and he was committed to a mental institution where he spent the remainder of his life. Trombonist Frankie Dusen took over the Bolden Band and renamed it the Eagle Band and they continued to be very popular in New Orleans until around 1917. Bolden made no recordings, but was immortalized in the Jazz standard "Buddy Bolden's Blues" (I Thought I Heard Buddy Bolden Say) which is based on Bolden's theme song "Funky Butt". Several early Jazz musicians, like Sidney Bechet (as a child musician) and Bunk Johnson, apparently played in Bolden's bands occasionally. From: [SIZE=1]In Search of Buddy Bolden by Donald M. Marquis, Louisiana State University Press, 1978 Buddy Bolden And The Last Days Of Storyville by Danny Barker, Continuum, 1998 Buddy Bolden Says by E.W. Russell, Candence Jazz Books, 2000[/SIZE] |
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| Taymanfan | Feb 1 2008, 09:36 AM Post #9 |
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M’BOOM TO RAP – Max Roach Update/August 16, 2007: Today the great Max Roach died in New York at the age of 83. Drum legend, Max Roach began showcasing drum solo compositions in the late 1940s, presenting percussions as more than just accompaniment. In the 1970s he formed M’Boom, an all-percussion ensemble intended to highlight the rounded possibilities he had nurtured for the drums. (Gene Santoro interviewing Max Roach) GS: M’Boom and your solo pieces, like “Drum Conversation,” have long been vehicles for you to foreground what the drums can do besides just accompany. MR: You know, Gene, you just hear so much in New York. When I heard Segovia do a concert and saw him deal with that instrument alone onstage, I felt that this could be done with a drum set. …So in the back of my mind I felt that the technique and knowledge of how to create form—in other words, how to take music and look at it architecturally—is the key to the drums. You build. Of course, you’re not dealing with melody and harmony, but certainly you can relate to poetry and sentences, you can ask yourself questions and answer them, and you can do the same kind of things writers do to make what they’re doing make sense. M’Boom came about because I needed some people who felt about percussion the way I did. The front line has always been the horns, the second line was the rhythm section. So I got some people who felt like, “Okay, we’re gonna be the front line, the second line and every other thing too.” …This was the basic idea: we wanted percussion to do the whole damn thing. .. See, the drum set is an innovation that comes out of the United States. Nowhere else that I know of do percussionists play with all four limbs. So a new language is being developed here. As each generation starts dealing the music, the drums take on a more prominent role, as in bebop, as in rhythm and blues, and in roc, as in rap now. GS: A few years ago, you created some controversy by championing hip-hop and working the Fab Five Freddy. MR: One of the things that fascinated me when I first heard rap was that there were no melodies or harmonies, just rhythm and poetry, rhyming. It was exciting to me. I think it was the most revolutionary sound out there as far as people of the inner cities are concerned, the ones left out of society. Okay. So first what the rappers have done is rejected what everybody else says is the proper way to deal with sound—that you must have a perfect balance between melody, harmony, and rhythm. They took rhythm and made it into something else; the obliterated melody and destroyed harmony. They spoke to their neighborhoods, to the life led there. And they came up with something that people are relating to all over the world. -------- MR: That's exactly what this music we call jazz is about, Gene--exploration. Max Roach -There Will Never Be Another You Edited by san, Feb 2 2008, 10:16 PM.
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| Taymanfan | Feb 1 2008, 09:37 AM Post #10 |
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After silence, that which comes the closest to expressing the inexpressible is music. Aldous Huxley |
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