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Transcript of New York City - Carleton University · PDF fileChet Atkins (1924‐2001) • Guitar...
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New York City
c. 1940s
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Later 1930s: Changes in Jazz
1. New format: smaller combos
2. Sax becomes dominant jazz instrument
3. New approach to form: head, solos, head
4. Dance vs. listening music (like classical)
5. “Playing the changes”– Improvising around the chords not the melody
– Fresh style of extemporizing
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Later 1930s: Changes in Jazz
Ex: Coleman Hawkins – “Body and Soul” (1939)• Playing the changesEx: Benny Goodman Sextet – “I Found A New Baby” (1941)• Charlie Christian on guitar• Post‐big band jazz• Drums: rhythm carries by hi‐hat
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1940s: Bebop• Jazz becomes less commercial/pop music• 1st sub‐style to embrace this was bebop• More insular• Core of how people understand jazz today• Harlem: after hours clubs
– Minton’s Playhouse; Monroe’s Uptown House– Jam sessions and cutting contests
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1940s: Bebop
• 1942‐1944 AFM recording ban• Aimed at virtuosos
– Difficult to play– Difficult to listen to
1945: Charlie Parker and Dizzy Gillespie record together
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Ex: Dizzy Gillespie feat. Charlie Parker – “Salt Peanuts” (1945)
• All canonical features of bebop:– Form: 12 bar blues and pop standards– Drums: polyrhythms– Fast beat– Bass: consistent, basic pulse, walking bass– Piano: comping style, tricky rhythms
Ex: Charlie Parker – “KoKo” (1945)
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Ex: Charlie Parker – “Out Of Nowhere” (1950)• Typical bebop slow ballad• Rhythm section plays behind the beat
– Esp. bass
Ex: Bud Powell – “A Night in Tunisia” (1951)–Bebop piano– Latin elements in drums–Afro‐Cuban flavour (polyrhythms)
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Typical bebop story:• Racial agenda to take jazz back from mainstream white audience
• More likely: not anti‐commercial, but an attempt to be successful on one’s own terms
• Creative control• Implicitly political
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Negative reaction from older jazz musicians:Louis Armstrong• Says bebop tries too hard• Shallow, toneless, grotesque, ugly, strange, noise
• No standard to judge right from wrong
• Art vs. entertainment• Bebop: last jazz genre seen as threatening
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1970s Punk
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4‐5 waves of punk
1. Pre/Proto Punk – before there was the term “punk”
2. NYC Punk, 1974‐19753. UK Punk, London, 1976‐19774. US Indie network, 1980s, California5. Pop punk, 1990s‐present
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Punk
• Connection to avant‐garde art world• Musical simplicity
– Sometimes through choice– Sometimes lack of skill
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Roots of Punk: Velvet Underground• Mid‐late 1960s, NYC• Andy Warhol connection (EPI, and producer)• Lou Reed (connection with John Cale)Ex: Velvet Underground
– “I’m Waiting For The Man” (1967)• Simplicity as extremism• Dark themes: heroin
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Roots of Punk: The Stooges• Detroit scene• No art world connections
Ex: Iggy and the Stooges – “Search and Destroy” (1973)
• Very loud: sonic assault
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NYC mid‐70s: CBGB Scene
• NYC music club• Continuing Warhol/EPI style scene• Band with nowhere else to play• Ramones, Television, Patti Smith, etc.Ex: Patti Smith – “Gloria” (1975)• Song builds in intensity
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NYC mid‐70s: CBGB SceneEx: The Ramones
– “I Wanna Be Sedated” (1979)• First real punk band stylistically• “Can’t play” – drew attention to that• Catchy melodies, pop form• No aggressive compare to the Stooges
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UK Punk, 1976‐1977• Malcolm McLaren• Rooted in pub rock (vs. US, art music)• Class anger/political (vs. US non‐political)Ex: Sex Pistols – “God Save the Queen” (1977)• 1977 US tour, deep south• Johnny Rotten• Disaster image – totally fucked up
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Hip Hop
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Origins of Hip HopHip hop is generally said to have originated in the Bronx, New York City in the late 1970s.
There are “4 elements” to hip hop culture:1. Rapping2. DJing or Scratching3. Break dancing4. Graffiti
Any others?
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Hip Hop SourcesDJs:• Early personality DJs who speak and become MCs• DJ as musicianMCs:• The Dozens (battles)• Singing preacher• Beat poetry, Black Nationalist poets• Jamaica: yard parties, DJs try to outdo each other
– Toasting, dub and versions
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Pre‐hip hop
Jamaican music:Ex: U Roy – “Version Galore” (1970)https://www.youtube.com/watch?v=yIk3q3ZSa24
• How is this similar tohip hop, and not just rapping?
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Pre‐hip hop
New York Jazz Poetry (“Jazzoetry”):Ex: The Last Poets – “Black Is” (1971)
‐ Lyrics‐ BlackConsciousness
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Generally regarded as the first hip hop song (it’s not)
Ex: The Sugarhill Gang – “Rapper’s Delight” (1979)Unusual backing track‐Mood and themes typical of early rap‐ Controversy in hip hop community
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Another important early rap songEx: Grandmaster Flash and the Furious Five –“The Message” (1982)Describes social conditions of poor areas of NYC• Context and photos
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Bronx, NYC, circa late 1970s
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Bronx, NYC, circa late 1970s
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What is Djing?• Records (Vinyl)• Breaks/Break beats• Beat Juggling• https://www.youtube.com/watch?v=YEKRAn‐ZleM
• Ex: Scratch (film 2002)• 17:00‐19:30 demo• 15:00 – new song out of old• 28 – beat juggling example• 62:30 – creating your own vinyl
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Wild Style (1982)
• The first hip hop film• “Acting”/Documentary Narrative • Examples of all 4 elements of hip hop
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Ex: Public Enemy – “Black Steel in the Hour of Chaos (1988)
• Chuck D’s rhythmic approach and flow• Hard to predict the next accent, often on offbeat, continues to next phrase
• Rhythmically similar to jazz• Nation of Islam (Black Panther outgrowth)• Punk politics, rebellion• Sampling started around this time (mid/late 80s)
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Nashville, Tennessee
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Origins of Country MusicRalph Peer• Publishing house owner, talent scout• 1920s: coined term hillbilly and race records• One of the first to see commercial potential of this music
• In it for the $$ ‐ he was embarrassed by the “low” music he produced
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“Hillbilly Records”• Performers generally urban, played many styles, and used this as a shtick
• Performers either went with the stereotype or against it (well dressed, dignified)
• Hillbilly: generally South, but also rural North• AKA Old Time Music• Southern radio shows (live variety shows)
–Most famous: Grand Ole Opry
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String Bands and Fiddle MusicThis was the core of the hillbilly concept:• Fiddles, banjos, guitar, dulcimer, bass
– Guitar still secondary instrument
Ex: Uncle Eck Dunford– “Old Shoes and Leggins” (1928)
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Country Music• Bristol Sessions, 1927• Before this, hillbilly records sold well, but no stars• Ralph Peer• Jimmie Rodgers• Carter Family
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The Carter FamilyEx: The Carter Family – “Wildwood Flower” (1928)• Started as a husband‐wife‐cousin team, but grew (2nd generation)
• Clean cut, wholesome values‐look• Maybelle Carter guitar style• Ballads, country/folk/gospelEx: The Carter Family – “Keep On the Sunny Side” (1928)
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Jimmie Rodgers (1897‐1933)Ex: Jimmie Rodgers – “Waiting for a Train” and “Blue Yodel” (1930) from The Singing Brakemanhttps://www.youtube.com/watch?v=iyHulWOZBpk
• Layers of manhood: daddy at home; womanizer• “Blue Yodels”
Ex: Tau Moe Family – “Mai Kai No Kauai” (1920s style)
• Slide guitar and yodeling – influences country
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Country Brother Duos
• Vocal harmonies• More polished, complex than Carter Family
Ex: The Monroe Brothers – “What Would You Give In Exchange” (1936)
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Cowboy Image• Emerges as country music and Hollywood image simultaneously
• JR: all the elements• Cowboy poetry, Southwest motif, slide guitar
Ex: Gene Autry – “Home on the Range”• Hollywood cowboy, late 20‐30s• Very poppy• Icon of the singing cowboy
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By the 1940s…• Folk and Country are 2 separate genres• But they came from the same starting point of “old time music” from 1920s
• Country followed the Hollywood lead towards pop
• Mid‐30s/40s: Western Swing, Honky Tonk• 1945: Bluegrass
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Western Swing
• Country dance with big band style arrangements• Bob Wills: Early 30s‐40s band leader• Leon McAuliffe – popularized steel guitar
Ex: Bob Wills and Leon McAuliffe – “Steel Guitar Rag” (1936)
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Honky TonkEx: Ernest Tubb
– “Walkin’ The Floor Over You” (1941)• Drinkin’, breakin’ up, being sad
– Stereotypes of country sadness–Hurtin’ Songs
Ex: Ted Daffran & His Texans – “Born To Lose” (1942)
• Electric, acoustic and steel guitars, and bass
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Bluegrass• Invented tradition, mid‐40s• String band style
– Old time songs and/or instruments
• 1930s Brother duo style– Vocal harmonies
• Jazz– Solos, virtuosic, speed, excitement
Ex: Bill Monroe & His Blue Grass Boys –“Nobody Loves Me” (1945)
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Grand Ole Opry• Est. 1925• Longest‐running radio show in US• Peak 1945‐1965• Saturday nights• Amateur to professional• Led to Nashville as the centre of country music
– Music City, USA
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Hank Williams (1923‐1952/3)
• 35 Top 10 singles• One of most important country singers and songwriters
Ex: Hank Williams – “Hey Good Lookin’” (1951)• Many cover versions
• Back pain, alcohol, drug abuse
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Merle Travis (1917‐1983)
• B. Kentucky• Learned his virtuosic guitar style from local coal miners
• Lived in California, 1944‐50s• Nashville, 1968Ex: Merle Travis – “Cannonball Rag” (1952)
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Chet Atkins (1924‐2001)
• Guitar virtuoso • Nashville, 1950• Session musician• Solo artistEx: Chet Atkins – “Mister Sandman” (1955)• Producer: “neutral sound”
– Crossover
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“Nashville Sound”• Pioneered by producers: Chet Atkins (RCA), Owen Bradley (Decca), Don Law (Columbia), andKen Nelson (Capitol)
• Strings and horns (not typically written out)• Vocal choruses• CrossoverEx: Patsy Cline – “Crazy” (1961)• Produced by Owen Bradley
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Patsy Cline (1932‐1963)• Iconic country vocalist• Crossover• Grand Ole Opry, Johnny Cash Touring Show• American Bandstand, Hollywood Bowl, Carnegie Hall
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Johnny Cash (1932‐2003)• Sun Records, Memphis, mid‐50s• Married June Carter, 1968• Large crossover appealEx: Johnny Cash – “Folsom Prison Blues” (1968, Live at Folsom Prison)• Rick Rubin –American Recordings, ‘94‐death