Chicago. Multiple music styles were honed in Chicago We ll look at two: Jazz: 1920, 1930s Blues: 1940s, 1950s. But first why Chicago?

Transcription

1 Chicago, Illinois

2 Chicago Multiple music styles were honed in Chicago We ll look at two: Jazz: 1920, 1930s Blues: 1940s, 1950s But first why Chicago?

3 The Great Migration Post-Civil War: explain Sharecropping 6 million African Americans, , mostly after the Depression Train routes (see map next slide)

4 Train routes

5 Northern cities Chicago, Detroit, New York To a lesser extent Pittsburg, Cleveland 24 hour factories Higher wages and standard of living Less racism Chicago, 1940s and 1950s: all hours blues clubs

6 The Spread of New Orleans Jazz Many of the top N.O. jazz musicians loved to Chicago or New York By the late 1910s/early 1920, these are the biggest centres for N.O. style jazz

7 Jelly Roll Morton ( ) B. New Orleans Piano, vocals, composer, band leader 1923: moves to Chicago Piano professor Ex: Jelly Roll Morton s Hot Peppers Black Bottom Stomp (1926) Tailgate trombone: swoops, sliding sound

8 Louis Armstrong ( ) B. New Orleans Trumpet, vocals, composer 1922: Chicago Ex: Louis Armstrong and His Hot Seven Potato Head Blues (1927) Less polyphony Dixieland style but with more solos Louis on cornet (lower, mellower than trumpet)

9 Louis Armstrong (cont.) Established soloist as central figure in small jazz groups No distinguishing of artistic and entertainment Pop songs with solos Vocals and pop Ex: Louis Armstrong and his Hot Five West End Blues (1928) Pop/Jazz Solos; Call and Response

10 Louis Armstrong (cont.) Ex: Louis Armstrong and his Hot Five Heebie Jeebies (1926) Pop vocal performance Polyphonic horns Scat solo: horn solo done by the voice Ex: Louis Armstrong I Cover The Waterfront (1933)

11 Jazz s Critical Reception Discussed critically as of late 1910s Racial divide High/low art divide Racial Characteristics of jazz playing Evil influence on young people Immorality

12 Post-Ragtime Piano Styles These set the stage for jazz piano: Stride and Boogie-Woogie Both grew out of the piano professor tradition But more urban and Northern (Chicago and NYC)

13 Stride Piano Left hand like ragtime, but with more melodic runs Right hand, more improv and blues elements Ex: James P. Johnson Carolina Shout (1921) Ex: Willie The Lion Smith Fingerbuster (1964)

14 Boogie-Woogie Piano Left hand: riffs; either walking bass or the fives Right hand: riffs, more rhythmically repetitive Ex: Pinetop Perkins Pinetop s Boogie Woogie (1928) Ex: Meade Lux Lewis Honky Tonk Train Blues (1940)

15 Chicago Blues After the Great Migration to northern cities, a new electric blues style emerged, known as Chicago blues. Delta vs. Chicago

16 Muddy Waters Delta: Ex: Muddy Waters I Be s Troubled (1942) Later re-recorded in Chicago: Ex: Muddy Waters I Can t Be Satisfied (1948) What is Muddy using on his guitar? Recognize the form?

17 Chess Records Most important Chicago blues record label/studio Leonard and Phil Chess, Polish, Jewish Role of Willie Dixon

18 Influence back in the Delta

19 Ex: Muddy Waters I Just Want to Make Love to You (1954) Hyper-masculinity Classic Chess sound: Muddy (vocals and guitar) Little Walter (Harmonica) Otis Spann (Piano) Jimmy Rogers (Guitar) Willie Dixon (Bass) Elgin Evans (Drums)

20 Howlin Wolf Chester Arthur Burnett b. White Station, Mississippi Learned guitar from Charley Patton The other major Chess performer

21 Howlin Wolf 1951 recorded at Memphis Recording Service with Sam Phillips Songs licensed by Chess 1952 moved to Chicago Ex: Howlin Wolf Smokestack Lightnin (1956)

22 Muddy/Wolf Rivalry

23 Little Walter , b. Louisiana Harmonica player (harp) Amplification creates new sound: distortion Recorded and toured with Muddy Only harmonica player in Rock n Roll Hall of Fame Ex: Little Walter Juke (1952)

24 The Blue Note 12 tone system Other ways to divide notes Demo Africanism Crush notes on piano

25 Chuck Berry b. 1926, St. Louis, Missouri Chess Records First recording 1955 Ex: Chuck Berry Maybellene (1955) Top 10 R&B and Pop (significance)

26 Chuck Berry Ex: Chuck Berry Johnny B. Goode (1957) How is this blues? Or is it something else? (guit. demo) How is it different from the Robert Johnson and Muddy Waters songs we heard? John Lennon: If you had to try and give rock n roll another name, you might call it Chuck Berry

27 Bo Diddley AKA Ellias McDaniel b. McComb, Mississippi Blues to rock n roll Chess Ex: Bo Diddley I m A Man (1955) see lyrics

28 Bo Diddley The Bo Diddley Beat: Clave (Sub-Saharan Africa and Afro-Cuban music) demo Ex: Bo Diddley Bo Diddley (1955) Self-mythologizing Beatles and Stones

29 Detroit, Michigan

30 b. Coahoma County, Mississippi Detroit 1943 Difficult to play with John Lee Hooker One chord, boogie-rhythm style (demo) Ex: John Lee Hooker Boogie Chillen (1949)

31 Regional Centers for R&B/Soul Stax in Memphis, and Memphis sound generally Motown in Detroit: pop crossover Chicago sound: Curtis Mayfield Fame Studios in Muscle Shoals, Alabama Atlantic Records, NYC: Distribution Smaller: Philadelphia, Cincinnati

32 Gospel Fisk Jubilee Singers ( s) Fisk U, Nashville, est European and Northern tours African-American religious songs influenced by Western Classical tradition

33 Gospel John Alexander s Sterling Jubilee Singers Continues Concert Spiritual Tradition Gospel quartet sound (but 5) Marketing, crossover both ways Ex: John Alexander s Sterling Jubilee Singers Jesus Hits Like an Atom Bomb (late 1940s)

34 Gospel Rev. CL Franklin ( ) b. Sunflower County, Mississippi Started preaching at 16 Detroit Ex: Two Fish and Five Loaves of Bread

35 Soul Music Starts same time as Rock n Roll Gospel: Divine love, God R&B: Human love, sex Taboo mix of blues and gospel Very connected to R&B: labels, audience, performers, and releases and re-releases

36 Ray Charles ( ) b. Albany, Georgia, grew up in Greenville, Florida Blind by 6 Crooner since late 40s Often credited with starting Soul ( I Got a Woman ) Atlantic, 1954 Ex: Ray Charles I Got a Woman (1954)

37 Aretha Franklin (1942-) b. Memphis, Detroit at 5 Gospel with Dad Teen Gospel records 18: Columbia lush pop 1967: Atlantic (grittier, FAME band) Ex: Aretha Franklin I Never Loved A Man (The Way I Love You) (1967)

38 Detroit, Michigan: LA: Modern re-launch/use of name Berry Gordy, Jr. African-American-owned Crossover intention

39 Independent label, run like a major: Division of labour, Professional songwriters, arrangers, etc.

40 Motown (cont.) Charm School: etiquette, choreography, vocal coaches, etc. Competitive atmosphere: hits and you re in Deliberately aimed at crossover, white clubs

41 Funk Brothers Hidden house band at Motown in Detroit More technically-oriented, jazz background (compared to Stax) Marvin Gaye s What s Going On (1971): First time Motown credited backup musicians Standing in the Shadows of Motown (Film)

42 Motown Sound Pop production style: Orchestration, strings Horn and vocal arrangements Prominent tambourine Flawless performance, groove not as central Little improv Process: Division of labour Ex: The Temptations My Girl (1964)

43 Martha Reeves & The Vandellas (various names); 2010-Present Girl Group Holland-Dozier-Holland Pop values, orchestral brass Less funky, less improv Ex: Martha Reeves & The Vandellas Nowhere to Run (1965)

44 Marvin Gaye ( ) Session musician Early pop style Social consciousness What s Going On (1971): Berry Gordy s No to politics, esp. black politics Atypical jam style, spacey, less pop-oriented Ex: Marvin Gaye What s Going On (1971)

45 Stevie Wonder (1950-) Motown at 11 Multi-instrumentalist Clavinet: Ex: Stevie Wonder Superstition (1972)