Module 3

Our listenings this week focused on the blues, early country music, and the swing era.  Our first major example was the “St. Louis Blues”, written by W.C. Handy and performed by Bessie Smith.  Songs such as Bessie Smith’s 1925 version of St. Louis Blues helped to create a bridge between the black and white communities in America.  St. Louis Blues is a fusion of the blues and Tin Pan Alley songs and depict a love gone wrong and wanting to escape the situation.  I enjoyed the Bessie Smith version of this song.  It was very real and soulful, and it sounded like it was really her seeing, rather than simply for entertainment purposes.

The next three examples were considered to be Country Blues songs.  They were Tom Rushen Blues, written and performed by Charley Patton, That Black Snake Moan, written and performed by Blind Lemon Jefferson, and Cross Road Blues, written and performed by Robert Johnson.  In Tom Rushen Blues, Patton sings in a 12 bar form, with a rough, heavy voice which is typical to the Delta blues style.  There was also a large emphasis on the guitar playing throughout the song.   Blind Lemon Jefferson singing That Black Snake Moan is the opposite of Patton’s song in that Jefferson’s voice has more of a moaning quality, often sounding like speaking instead of singing.  Jefferson’s vocal quality for generally more nasal and clear, and his guitar was used more as an accompaniment than as a feature instrument.  Cross Road Blues was more similar to Tom Rushen Blues, following the Mississippi Delta Style of blues.

In learning about the pioneers of country music, we listened to three recordings by Jimmie Rodgers: Blue Yodel No. 2 ., Waiting for a Train, and Dreaming with Tears in my Eyes.  Jimmie Rodgers the biggest recording start of early country music.  We also listened to Gospel Ship, performed by the Carter Family, and “The Sun Didn’t Shine”, performed by the Golden Gate Quartet.  These two recordings were prime examples of Southern Gospel Music.  The Carter Family was an example of a white, family group performing southern gospel music, and the Golden Gate Quartet, though not a family act was an example of southern black gospel music.  I enjoyed all five of these recordings.  It was interesting to hear the difference between what used to be considered country music compared to what is considered country music now.

We then moved on to the Swing Era, which I think was my favorite part of this week’s listenings.  Our first example was Wrappin’ It Up, performed by Fletcher Henderson and His Orchestra.  Henderson’s Orchestra was considerably larger than most dance bands at the time, and their recording of Wrappin’ It Up is an example of the difference between dance band music and swing music.  Dance band music of the 1920’s had more of a two-beat feeling whereas Wrappin’ It Up is more of a smooth, continuous flow.  Taking a Chance on Love, performed by Benny Goodman and his Orchestra is also an example of this newer swing style of music.  As an arrangement done by Fletcher Henderson, Taking A Chance On Love shows a common theme among big band music at the time.  It was simply instrumental versions of famous Tin Pan Alley songs.  This particular example though, also includes the crooner Helen Forrest singing.  I think this was my favorite example this week.  I have always been partial to any music by Benny Goodman.

The next three examples were Caravan, performed by Duke Ellington and His Orchestra, One O’Clock Jump, performed by Count Basie and His Orchestra, and In The Mood, performed by Glenn Miller and His Orchestra.  Of the three, Caravan was definitely the most unique.  With it’s minor-key melody, and interesting instrumental sound effects such as a growling bari sax and trumpet wah-wah, this song had a mysterious feel throughout.  One O’Clock Jump was the opposite in that it has an emphasis on jazz improvisation and consists of ten 12 bar blues choruses.  There is not much in terms of a melody, but rather, involves the use of riffs, call and response patterns, and improvised solos.  The last example of these three was easily the biggest hit record of the Swing Era.  Still considered a classic today, In the Mood alternates between 12 bar blues and an 8 bar bridge similar to Tin Pan Alley songs.  Though predictable, this song gives listeners a sense of familiarity and comfort. 

During the Swing Era, there were also many vocal harmony groups that were popular such as The Mills Brothers recording of Paper Doll.  This song was their biggest hit, selling 6 million copies and staying on the charts for 36 weeks, although part of this success can be attributed to the ban on instrumental music records for a period during the war.

There was also a home for country music in the Swing era, including favorites such as Great Speckled Bird, performed by Roy Acuff and His Crazy Tennesseans, Cool Water, performed by Sons of the Pioneers, and New San Antonio Rose, performed by Bob Wills and His Texas Playboys.  Great Speckled Bird was considered to be the national anthem of country and western music.  It follows the tradition of gospel performance and has a religious theme.  Cool Water, also a bestseller in the country market, tells a tale of two cursed souls crawling through the desert, praying for water.   New San Antonio Rose, another bestseller, follows the 32 bar Tin Pan Alley form, and has an interesting blend of styles and instrumentation, including a string band, banjo, three guitars, and a big band.  The A section holds a bouncy dance rhythm, while the B section channels a Mexican mariachi band style.

Our final two listening examples were about Latin Music in the Swing Era.  Brazil, performed by Xavier Cugat and His Waldorf-Astoria Orchestra, was made famous with American audiences through a Disney animated feature and a Hollywood Musical.  Brazil was one of the most recorded songs of all-time.  Our final example was Nague, performed by Machito and His Afro-Cubans.  Though not a big hit,  it shows the sense of intensity and rumba-based percussion music that would eventually be known as salsa music.