This artifact intrigued me not necessarily the word, “uber” which is seen nearly of every street corner of most major U.S. cities today in the form of a car. Rather, what caught my attention was the name, “Guadaljara” which is actually spelled Guadalajara today. This is where my parents were originally born, near a city with a name derived of an Arabic translation, as stated in the official Ayuntamiento de Guadalajara website.

Access: Map of Guadalajara & Zacatecas

“In its distant origins, Guadalajara was linked to Celtoberian culture, though the earliest historical references tell of its strategic military importance to the emirs and caliphs of Córdoba. It was then known as Madinat al-Faray in memory of its conqueror, and Wad al-Hayara, Arab translation of its pre-Roman name, Arriaca.” (Guadalajara.se)

La Ciudad de Guadalajara

My father actually went to college in Guadalajara, and had essentially gone through what I am experiencing now, “a home away from home.” His decision to sacrifice that education in Guadalajara in Mexico just to seek a better quality life in the United States without citizenship has allowed me to write this blog on this St. Olaf webpage for today. Had he not done so, I would not be here, in this very moment, writing this blog. Now you see why Guadalajara caught my attention. This city’s name creates an emotional response in myself because it symbolizes my family’s origins.

The map is a piece of cartography recorded in 1832 and completed in 1855 by German explorer, Carl de Berghes. One can easily (not actually) identify this source by its title, “Beschreibung der Ueberreste Aztekischer Niederlassungen auf ihrer Wanderung nach dem Thale von Mexico durch den gegenwärtigen Freistaat von Zacatecas”

According to a dear friend and Berlin, Germany native, Leander Krawinkel, the title translates into — “The Map which shows the directions and through which ways the Aztecs emigrated to Mexico” Aztecs were a group of the indigenous peoples who occupied a majority of the territory of today’s Mexico. By this account, it is fair to state that this was one explorer’s observation of how the indigenous people lived and traveled in their land. However, one may be skeptical of Berghes’s perspective on these people’s reason for migrating.

In this following image of a map titled, “Mexico, Texas und Californien” by a German explorer, Heinrich Kiepert indicates the different locations of French and German colonies near Mexico. This is significant because it is a clear reminder to all that that which makes up today’s Mexicans ethnically, around the world and especially the United States, is not just Spanish and Aztec blood, but also German and French blood, as evidenced in the presence of these European explorers in these areas. These cultural encounters were written solely from the perspective of the European explorer’s eye. This blog analysis should aid in the modern Mexican and white-American community’s understanding of their ethnic diversity and similarities as a whole, in hopes of encouraging a more united attitude rather than a separatist attitude from both cultures in a time of political and racial turmoil.

Sources:

Berghes, Carl de (1792-1869). 1832-1855. Beschreibung der Ueberreste Aztekischer Niederlassungen auf ihrer Wanderung nach dem Thale von Mexico durch den gegenwärtigen Freistaat von Zacatecas [manuscript]. [Manuscript]. At: Place: The Newberry Library. VAULT Ayer MS 1045. Available through: Adam Matthew, Marlborough, American Indian Histories and Cultures, http://www.aihc.amdigital.co.uk/FurtherResources/VisualResources/Image/Ayer_MS_1045/61# Accessed February 20, 2018.

Kiepert, Heinrich, 1818-1899. Mexico, Texas und Californien., map, 1847; Weimar. (texashistory.unt.edu/ark:/67531/metapth231410/:accessed February 20, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting University of Texas at Arlington Library.

“The history of the city, from the Celtiberian origin until today.” The history of the city, from the Celtiberian origin until today. – Ayuntamiento de Guadalajara. Accessed February 20, 2018. https://www.guadalajara.es/en/tourism/discover-guadalajara/history/.

In the March of Time archives has a short video entitled Birth of Swing. The makers of this video trace swing back to around 1917 when the Dixieland Jazz Band was formed. The narrator explains that swing music has become extremely popular at the time of its creation (1937) and dives into the history of it. The video tells the story of a Victor Talking Machine (a brand of record player) music scout visiting a cafe where the pianist was playing a “kind of swinging music.” In response to being asked what his band’s name was, the pianist replied “Dixieland Jazz Band.” The scout decided to bring them from New Orleans to New York City to the recording studio. Since then they became extremely popular across the United States. This was when jazz started to become a term commonly used in the popular music idiom. Somewhere over the course of time between then and 1937, the term jazz however, had received negative connotations as a lowly, cheap kind of music and therefore was undesirable by white audiences. A simple marketing strategy to change the word on albums from “jazz” to “swing” enabled the popularization and dissemination of the music all throughout the country. And so during the days of the production of the video swing one of the most popular music genres in the country. Swing music, it gets concluded, was simply jazz music from an earlier period in American History.

Louis Daniel Armstrong, born on August 4th 1901, has always been a staple of 20th century Black music. Growing up, he was constantly referenced as a musician, both a trumpeter, vocalist, as well as composer. His life may have seemed to be glamorous as ever, but he lived his life not without struggles, some struggles that many of us can only pale in comparison to.

Louis Daniel Armstrong

Louis Armstrong was abandoned by his father and rarely was ever in contact with his mother during his early years. He primarily raised himself growing up in a ghetto in New Orleans. He survived in those early years by singing on the street corner for tips. When he was 11, he formed his first vocal quartet, this became his source of income for this time. In January 1913, Armstrong was sent to the Colored Waifs Home after firing a gun in public. It was at this home that he joined the school’s band, playing drums. After being a part of the group, he found he was more attracted to horn instruments, so he switched to the trumpet, which is how we primarily know him as today.

During this time he was able to continue his music and get a piece published. His first public work was titled “I Wish I Could Shimmy like My Sister Kate’ which was a moderate success. He continued to grow his musicianship by joining an orchestra, even though he was unable to read music still at this time. He kept up with his composing and began to record Jazz Albums in 1924/1925. Armstrong was able to influence jazz, blues, and rock vocalists alike. Predating rap, his scat style later peaked with the piece “Basin Street Blues.”

Marijuana

Sometime during the 1920’s, Armstrong was introduced to marijuana by white jazz musician Mezz Mezzrow, Armstrong enjoyed smoking it heavily throughout his life, this is one contributor to the calm, cool demeanor that we know him by today. By 1929, Armstrong took a more commercial route, singing more popular tunes and replacing his combo with that of larger orchestras. Armstrong was always much more a featured soloist than a bandleader.

In 1934, Armstrong severely damaged his lips, so while he kept his playing to a minimum, his preference to singing took the centerpiece for his career.

Armstrong was considered an innovator for his styles, predating rap, as well as in the early 1940’s, Armstrong predicted the fall of a larger band style and began to work back to his smaller combos. He was one of the first Black musicians to “Break the Color Barrier” by performing in the largest concert halls all over the world. It is his career that defines him as an important figure.

Armstrong was considered an innovator for his styles, predating rap, as well as in the early 1940’s, Armstrong predicted the fall of a larger band style and began to work back to his smaller combos. He was one of the first Black musicians to “Break the Color Barrier” by performing in the largest concert halls all over the world. It is his career that defines him as an important figure.

Arguably his most popular number, Armstrong has held his position of international fame with the recording of the song “What a Wonderful World”. This song speaks to the good things and the joys in this world, focusing less on the negative, he attempts to paint a picture of the beautiful things that can still be found on this planet. While the initial release of this song wasn’t immediately popular, it wasn’t until after his death where this song really found its popularity in the 1988 Robin Williams movie “Good Morning, Vietnam”

https://www.youtube.com/watch?v=CWzrABouyeE

Sources

Talveski, Nick. “Louis Armstrong.” In The American Mosaic: The African American Experience, ABC-CLIO, 2017. Accessed November 15, 2017. https://africanamerican2.abc-clio.com/Search/Display/1461506.

What a Wonderful World. August 7, 2016. Accessed November 14, 2017. https://www.youtube.com/watch?v=CWzrABouyeE.

During the Depression, American concert life survived on patronage, but that was hardly enough to keep them afloat because potential audiences didn’t have the financials to attend live performances. Audiences turned to radios to listen to orchestras and the invention of sound film eliminated the need for silent film orchestras. The first half of the Depression left about 70% of all musicians unemployed, and the government was able to create the Federal Music Project to support these musicians. At its peak, the program employed 16,000 musicians and supported 28 symphony orchestras, creating more abundant access to music.

However, America’s post-Depression concert life thrived more than it had before. Thanks to the efforts of musicians during the Depression, concert halls were bringing in broader and larger audiences than ever before. The episode Upbeat in Music from Time Magazine’s The March of Time discusses America’s post-Depression concert life. One of the highlights of classical music’s growing audiences was the healthy state of 200 symphony orchestras (compared to the 28 government-backed orchestras of the Depression).

Perhaps the biggest accomplishment in concert music directly following the Depression years was the American Federation of Musicians’ efforts for royalties in 1943. Because the Depression put such an emphasis on radio broadcasts and recorded music, the AFM made a move to fully share the profits made from commercial use of recorded music. James Caesar Petrillo, AFM’s president, led these efforts; he demanded that royalties on classical recordings be paid to a union employment fund and forbade union musicians from performing for any recording company. Despite heavy public criticism, he was backed by 138,000 union members and they found success when all but the two largest recording companies of the time agreed to their terms. With the success of these efforts, the AFM used these funds for the advancement of live concert music.

Crawford, Richard. America’s Musical Life. New York: W. W. Norton & Company, 2001.

As I am researching the Lomaxes for my final paper and for future work this spring, I took this opportunity to look through March of Time for any evidence regarding Lead Belly and his interactions with John Lomax. I was not disappointed. In a video that Professor Charles Dill calls “disturbing,” Lomax and Lead Belly “recreate” their meeting and the story of their travels together through the Northeastern United States.

The March of Time series on the whole appeared quite groundbreaking in the 30’s through 50’s, when it ran. The mini documentaries of March of Time tackled some uncomfortable topics like Nazi sentiment in Hoboken, New Jersey in 1938. Though today we might see this as a shining example of forward, positive thinking and challenging the public, the series also is a little strange – many of the videos there aren’t actual film, they are in fact recreations of events. Think of a worse version of the producers of “Survivor” re-filming the players’ dramatic moments.

The video in question regarding Lead Belly and John Lomax, titled “Leadbelly,” is a recreation of the meeting of Lead Belly and Lomax. It says that Leadbelly was released from prison (where he was being held on charges of murder) due to Lomax’s influence, and that Lead Belly was so grateful that he dedicated his life to following Lomax. In real life, however, Lomax and Lead Belly’s song for the governor had no influence on his release. The myth lives on, however.

More concerning than the false story, however, is the marketing of Lead Belly and the marketing of Lomax in the film. Lead Belly, in prison clothes, speaking of murder so openly, is a man in need of a friend. Lomax, the one who acts almost as Lead Belly’s conscience in the dialogue, appears not only as a friend, but as Lead Belly’s white savior figure. Follow this link to watch the video yourself (hopefully this will be available to embed on this page if I can get WordPress to cooperate).

This is not the only instance of the media portraying Lead Belly as a big, bad, convict. In the New York Herald, they title an article of Lomax and Lead Belly “Lomax Arrives with Lead Belly, Negro Minstrel; Sweet Singer of the Swamplands Here to do a Few Tunes Between Homicides.” 

I have a lot of words to describe my reactions to that heading but I can sum all of them up with an all-encompassing “yikes.” I believe that the Lomaxes, despite whatever intentions they had to the contrary, contributed to the othering of black folk music in the way they “introduced” black folk singers like Lead Belly to the general public and made them hit sensations. I look forward to further researching this in my work this semester and this coming spring.

Here is a Lead Belly spotify playlist, for reference to his work.

For more reading on this subject, see links below:

https://www.smithsonianmag.com/smithsonian-institution/incomparable-legacy-of-lead-belly-180954390/

New York Times article 

http:// search.alexanderstreet.com.ezproxy.stolaf.edu/view/work/bibliographic_entity%7Cvideo_work%7C1792710

https://books.google.com/books?id=YywLDAAAQBAJ&pg=PT209&lpg=PT209&dq=lead+belly+march+of+time+video&source=bl&ots=L-7hTRFsBb&sig=-2GGxoYKALizBEs9K9S77gatNHc&hl=en&sa=X&ved=0ahUKEwiJ96qcm8LXAhVF2yYKHUyZC1gQ6AEIQTAF#v=onepage&q=lead%20belly%20march%20of%20time%20video&f=false

Huddie Ledbetter, or more widely known as Leadbelly, remains to this day as one of the most significant blues musicians of the 20th century, sparking inspiration in countless musicians throughout the past century like Bob Dylan, Little Richard, and Brain Wilson. His iconic singing voice and guitar playing have also been key in defining for many people a truly American “folk” music. This association as a significant music for American identity, however, did not happen by chance or solely due to Leadbelly’s virtuosity and musicianship. John Lomax, the American folk music collector, is responsible for the first recordings of Leadbelly, which happened when Lomax was visiting American prisons in search of “unadulterated” American folk music. The story of Leadbelly and Lomax’s intermingled careers is told in the March of Time episode titled “Leadbelly,” showing their first meeting and recordings at the Louisiana State Penitentiary where Leadbelly was serving time, as well as further into Leadbelly’s career and how Lomax was largely responsible for Leadbelly’s success, taking him around the country to colleges, concert halls, and to Lomax’s own home in the North. While the short film’s focus seems to be a celebration of the musicianship and career of Leadbelly, John Lomax’s immense influence on the narrative of Leadbelly seems to overshadow the musician himself.

Link to the film

The film’s awkwardness seems to come not only from the fact that Lomax and Leadbelly both seemed to be following a script to reenact their meeting and interactions together, but also from the relationship between the two that the film depicts. Specifically, it is hard to ignore the issue of race here, as the film seems to depict a sort of idealized version of a master/slave relationship. The way Leadbelly is shown to have begged to be Lomax’s “man” and his referring to Lomax as “boss” and “sir,” as well as Lomax presenting himself in a way that makes him to be the hero of the story for taking in the underprivileged minority, all give the film a tone that feels problematic, though this may be a product of viewing such a film in the 21st century.

The importance the film places on Lomax is, however, appropriate in a way that was perhaps not intended. The creation of a national identity through the folk music of particular black musicians uninfluenced by commercial music of the time was a deliberate act by John Lomax, scholar Benjamin Filene claiming that the Lomax brothers were “creators as much as caretakers of a tradition” (Filene 604). Essentially, what became known as true American folk music was shaped by people like the Lomaxes’ own visions of what that means. Viewing this film under such a lens perhaps makes John Lomax’s significance within the film make a tremendous amount of sense, even though it may take away from the incredible musician that is Leadbelly himself.

Works Cited:

Filene, Benjamin. “‘Our Singing Country’: John and Alan Lomax, Leadbelly, and the Construction of an American Past.” American Quarterly, Vol. 43, No. 4, pp. 602-624.

N.A. “Leadbelly.” March of Time, Vol. 1, Ep. 2, Home Box Office, 1935.

Though Charles Ives has gained a reputation of being one of the most private and mysterious

Charles Ives

American composers, through his many verbose writings about his own music as well as his correspondence with other musicians and publishers, many insights can be found about his unique musical processes and his own feelings about his music’s place within the larger musical world.

In particular, a letter from Ives to Franco-American pianist and composer E. Robert Schmitz from 1923, found in Selected

E. Robert Schmitz, Franco-American pianist and composer

Correspondence of Charles Ives, addresses Ives’ relationship with his own music and his interest in a modernist musical drive. The letter is in reference to an article by Ives featured in the bulletin published by Schmitz’s Franco-American Music Society about the use of quarter-tones. He writes about some parts of the article that were omitted that he decides “would probably be better left in,” parts that he feels would “bring out more fully the underlying idea that the use of quarter-tones is but one of the ways by which music may be less encaged by some of the restrictions of custom and habit” (Ives 143). This alone to me shows an interest by Ives in the ability of music to break free of norms and push forward out of tradition, an interest shared by many composers during this time in the early 20th century.

Ives, Charles. Selected Correspondence of Charles Ives. Edited by Thomas Clarke Owens, University of California Press, 2007.

Let me begin this post by apologizing for where I’ve acquired my artifact of the week. The assigned library to dig through was the Halvorson Music LIbrary, but while browsing St. Olaf’s Catalyst I found a book that I feel would be too valuable to our learning and the theme of this course not to write a post on. The Harlem Renaissance Revisited: Politics, Arts, and Letters by Jeffrey Ogbonna Green Ogbar is an amazing resource for anyone interested in looking at the Harlem Renaissance as a time period, or simply a person who wants to look at African-American identity and racial tensions in the United States in the 20th century. The book is made up of single chapters written by many different authors in order to cover a wide variety of topics and give readers a comprehensive view of the many different ways to view the problems addressed. The author divides these chapters into five different sections: Aesthetics and the New Negro, Class and Place in Harlem, Literary Icons Reconsidered, Gender Constructions, and Politics and the New Negro. Ogbar writes in his introduction of the book:

“This volume brings together fresh perspectives from recent scholarship on the Harlem Renaissance. Although it covers only part of the story, it asks again what the Harlem Renaissance was all about, especially in terms of its major figures and its arts, letters and political landscape.”

I would highly recommend to anyone looking into any related topics for their papers to visit this book as a potential resource as there are many different scholarly voices present and though music isn’t the primary focus of this book, it does touch upon popular figures such as Gershwin and Ellington, but more importantly, as is written in the introductions, the book articulates the major figures of the time as well as the political landscape in which a lot of the music we’re studying was written and produced.

Ogbar, Jeffrey Ogbonna Green. The Harlem Renaissance Revisited : Politics, Arts, and Letters. Baltimore [Md.]: Johns Hopkins University Press, 2010.

Copland and Chávez

In a letter to Mexican composer/conductor Charlos Chávez, Copland wrote “I am terribly afraid of what you will say of the Salon Mexico–perhaps it is not Mexican at all and I would look so foolish,” which shows his concern regarding appropriation. He may have gone ahead with orchestrating and publishing the piece, but he was well-meaning in the same way that Dvorak was with his New World Symphony. Some differences here are that Copland interacted mostly as a tourist in Mexican culture and drew on more accurate sources for Mexican folk melodies.

Copland’s October 1934 letter to Chávez

In addition, Copland published The Story Behind My El Salón México in the quarterly journal Tempo. He discusses that the music he heard during his two summers in Tlaxcala, isn’t what inspired this piece as much as the spirit of Mexico, specifically regarding “their humanity, their separate shyness, their dignity and unique charm.” He, like many other composers writing in this style, relied on the use of folk melodies, but his goal was never to quote them directly, instead choosing to heighten without falsifying the natural simplicity of the songs.

On the subject of whether this was good or bad appropriation, I would argue that this was good appropriation because of his genuine approach to the piece; Copland never claimed or exploited Mexican folk traditions. Additionally he was aware of his position as a white man composing in a Mexican style (even calling himself a gringo) and was completely taken aback by the support that he received from the Orquesta Sinfónica de México (who premiered the work with Chávez in 1937). The group viewed his composition as a foreigner finding their melodies as worthy in the world of Western repertoire which gave him affirmation regarding his fear that the piece would be perceived as a foolish attempt of claiming Mexican culture.

Crist, Elizabeth B. and Wayne Shirley. The Selected Correspondence of Aaron Copland. New Haven: Yale University Press, 2006.

Copland, Aaron. “The Story Behind My El Salón México.” Tempo, no. 4 (1939): 2-4. http://www.jstor.org/stable/943608

Copland, Aaron. Letter from Aaron Copland to Carlos Chávez, October 15, 1934. Manuscript/Mixed Material. Retrieved from the Library of Congress, https://www.loc.gov/item/copland.corr0191/. (Accessed November 07, 2017.)

Schaal, Eric. Aaron Copland and Carlos Chávez. , . Photograph. Retrieved from the Library of Congress, https://www.loc.gov/item/copland.phot0014/. (Accessed November 06, 2017.)

“My favorite tune? The next one. The one I’m writing tonight or tomorrow, the new baby is always the favorite”    -Duke Ellington

The opening words from Duke Ellington’s autobiography: Music is my Mistress. This autobiography was considered by Duke to be “more of a performance than a memoir”. Ellington never wanted to write an autobiography about himself, and he hasn’t. Divided into 8 separate acts (or sections) this book is an account of the people he has met, the experiences he has had, and the music that he has made throughout his life.

Duke Ellington

Ellington was born just before the turn of the 20th century in Washington D.C. and raised primarily in New York city. With a career spanning over 50 years, Ellington is considered to be one of the most influential Jazz composers of all time. Being a pianist, composer, and bandleader, Ellington primarily gained fame with his orchestra’s performances in the Cotton Club in Harlem as well as the touring of Europe. He was an essential figure in the world of Jazz by redefining what was considered to be American Music. He considered himself an American Composer, not simply a composer and performer of Jazz music. Having over 1000 cataloged works, Ellington has certainly made his mark on history.

One particular correspondence that I feel really draws the character of Ellington was a passage describing Dizzy Gillespie, Miles Davis, and John Coltrane. Ellington does on to describe how it was working with these 3 men and how privileged he felt. It is a real glimpse into the humble person that was Duke Ellington.

“The only time I had the privilege of working with John Coltrane was a record date… John Coltrane was a beautiful cat, I am proud to say that I loved every minute of it”

Works Cited

Ellington, D. (1973). Music is my mistress (1st ed., African American music reference). Garden City, N.Y.: Doubleday.

Mercer Ellington was the son of Duke Ellington. Mercer was born in Washington D.C. in 1919. It is fitting that Edward Kennedy Ellington had the nickname of “Duke,” (and for that matter perhaps Mercer should have been nicknamed the Earl) because their family became jazz royalty. Duke, a fantastic and prolific composer, brought a lot of attention from white audiences to the jazz community. Duke wrote an autobiography titled Music is My Mistress, and Stanley Dance also wrote a strong biography on Duke titled The World of Duke Ellington. In 1979, Mercer Ellington wrote Duke Ellington in Person: An Intimate Memoir hoping to strike a balance between these two previous works on the Duke. Mercer said,

I should like to think that [this biography] sheds light on the relationship between father and son, and in such a way that each person can be seen as the other’s alter ego.

I value Duke Ellington in Person for the incredible insights it can give into the personal life that it can give on a figure steeped in a pre-written historical tradition.

If you are unfamiliar with the works of Mercer, it is perhaps because he continued on the Duke Ellington Orchestra after Duke passed away. Duke Ellington’s name went onto a lot of Mercer’s works, but here are a few great tunes to check out:

Duke Ellington in Person highlights, perhaps better than other sources, the racial tensions that Duke constantly dealt with in his career. In a section on Irving Mills, Duke Ellington’s front man for a number of years, Mercer discusses how Duke and Irving were both interested in reaching white audiences with their music. In the writing of the hit, “Mood Indigo,” the title of the song was manufactured for a clean reception. Mercer highlights the process when he states that Duke

originally titled it “Dreamy Blues,” which described its character; but the other title [of Mood Indigo] had a more sophisticated sound to the public of that era. Irving understood the importance of adding prestiege to the produce, almost, I would say, of packaging it. So did Ellington.

Anecdotes like these are incredibly important from Mercer’s perspective because they can help clear some of the tone behind the racial issues that Ellington dealt with on a daily basis. As you ponder this, I will leave you with several popular renditions of Mood Indigo. I hope you are able to view this piece within the context it was created.

–Brock Carlson

Works Cited

Ellington, Mercer, and Stanley Dance. Duke Ellington in person: an intimate memoir. New York: Da Capo Press, 1979.

Thelonious Monk is referenced in 5 Manitou Messenger articles. In each, he is referred to as a “great” or treated as a hallmark of sound to which campus bands strive. However, he was not always well known. For years, Monk’s cabaret card was revoked because of a narcotics charge. This meant that Monk could not play in any club in New York that served alcohol, which was all of them. But instead of giving up, Monk sat in his room and practiced.

When Monk finally got another break, it was 16 years later. He had been left behind and was no longer considered a forefather of “modern music,” which would become bebop. The reason Monk made it back into the mainstream was largely due to a favorable review by jazz critic Nat Hentoff (who just passed away this last January). With his comeback, Monk started recording for Riverside Records. The St. Olaf Library had Monk’s 10th album with Riverside on vinyl. It is Five by Monk by Five.

The rhetoric is that of a lost opportunity for Monk, with his review saying that he “has only in the past few years begun to receive the general acclaim he has long deserved.” However, the rest of the album review praises Monk’s intellectuality. The liner notes suggest that Monk’s two new compositions for the album were fresh. However, there is even more emphasis on the fact that Monk’s three older songs do not lack ingenuity with their rediscovery of “his own neglected earlier material.” In fact, Monk is praised for his approach to each recording session, “regarding each as a fresh challenge and a fresh opportunity to speak his mind.” You can hear such ingenuity for yourself in this Spotify playlist of the album.

Monk certainly was to become known as a musician who speaks his mind. Five by Monk by Five was recorded in New York on June 1st and 2nd in 1959. In just 9 months time ,the Greensboro Lunch Counter Sit-ins would occur. Monk and his friends would get together (normally an apolitical group), and hold a benefit concert to support the sit-ins (Monson). Monk, however, had always been pouring his voice into his music. Here is a youtube vide to demonstrate what the lunch counter sit-in meant to the individuals who started it.

I can only imagine to someone like Monk, who had been put out of his career for several years due to issues surrounding racism and segregation, would have felt being around these brave people. I encourage you to go back to the 1959 recordings on the above Spotify playlist and listen to the stories and experiences Monk’s quintet screams into the music. Even when he tried, Monk could not be completely apolitical, because his work was nothing but intellectual.

Works Cited

Monson, I. T. (2010). Freedom sounds: civil rights call out to jazz and Africa. New York: Oxford University Press.

History channel Website on the  Greensboro sit-ins.   http://www.history.com/topics/black-history/the-greensboro-sit-i

What on earth could Steely Dan, The Doobie Brothers, and St Olaf all have in common?The band “Judd.” The Judd Group found popularity in the 1970’s with their original songs and covers of the music of Steely Dan and the Doobie Brothers. They toured for 10 years, had two hit singles, and opened for Lynard Skynyrd, The Beach Boys, and Tina Turner. A group of a few white, midwestern young men, their sound, which infused black music traditions into their rock sound (such as blues, soul, jazz, and folk), stands as a hodge podge representation of more popular bands of the time.

Article on Judd by S. Crumb in The Manitou Messenger (1916-2014), No. 8, Vol. 91, November, 1977

On Sat., Nov. 12th, 1977, Judd played a gig at St. Olaf College in Skoglund Auditorium. As the equivalent of the current St Olaf MEC fall concert, it was quite an event. Their covers of the Doobie Brothers’ “It keeps you Runnin” and Jeff Beck’s “Freeway Jam” were well received.The Manitou Messenger covered the group and praised their playing and overall entertaining.

They drew inspiration from Steely Dan’s incorporation of jazz into rock, and from the Doobie brother’s use of folk and later soul music into their work. These groups all help represent a movement from the 60’s and 70’s of incorporating black music genres into rock music. As we can see, this movement was quite popular, and I think we should consider the implications from this.

Since popular rock bands incorporated certain genres in their sound, they essentially bridged a gap between their sound and genres often associated with black Americans, like jazz, soul and blues. They labelled themselves as “folk rock” – but more accurately, it was “black folk rock” – though it was more often than not sung by white musicians.

This could be seen as a good thing – a way to expose these genres (which admittedly had exposure already from plenty of other white performers and POC’s) to a crowd which was perhaps more concerned with rock and newer genres. However, I believe that it also helped erase some of those older black folk genres and create impressions of these genres that weren’t necessarily true.

In the Manitou Messenger article above, for example, the reviewer refers to the percussion of the Judd group as “Latin” inspired, but on listening to examples of the group’s work from their website, it isn’t “Latin” inspired at all – the reviewer falsely attributed a different (but also marginalized) culture to the music because they weren’t familiar enough with the black folk genres they were hearing to tell a difference between that and something else. They perpetuated their stereotype of what they thought Latin percussion to be instead of relaying what actually was in the music. The video below shows the group performing some original works and covers, and here you can listen for yourself to hear the inaccuracies in the Manitou article.

While the Judd group is not quite popular enough to merit a space in the St Olaf vinyl collection, they do have records of the Doobie Brothers and Steely Dan – both of which I believe would be excellent additions to our exhibit as we explore the implications of white performers incorporating and appropriating black music genres into their works.

St Olaf owns vinyl of “Best of the Doobies,” which includes “It Keeps You Runnin'” and “Black Water”

While Judd’s work cannot be found at the St Olaf Library, I think that the records St Olaf does have of the Doobie Brothers could be a nice addition to our library exhibit here at St. Olaf. It would display a group that used black folk elements in their rock sound, like in “It Keeps You Runnin” and “Black Water,” where they incorporate blues and soul and say “like to hear some funky Dixieland, pretty mama come and take me by the hand.” Particularly in “Black Water,” the pitch bending, dialect, and instrumentation all point to folk genres in the black tradition. I also think that this would accurately represent what St. Olaf Students at the time were listening to, and it would be nice to do a snapshot portion of the exhibit to look at St Olaf Student’s perception and reception of black folk music and its incorporation into rock.

While browsing the Manitou Messenger archives, I came across an interesting article from March 12, 1965 entiteld Pop Concert Features ‘Rhapsody in Blue.’ The article is essentially an advertisement for a cabaret-style concert performed by the St. Olaf Band, Chamber Band, and several soloists from a then upcoming performance of the musical Camelot. According to this article, St. Olaf put on an annual concert of pop music which leads me to ask the question: what happened to it? Surely this event would have been popular among students within and outside the music department, by definition it surely was. The highlight of the concert during this year was a performance of George Gershwin’s Rhapsody in Blue. The piece was performed during the second half of the evening, in which the audience members sitting at tables with refreshments would switch places with audience members sitting in the bleachers. The final section of the concert was a performance from the Manitou Singers featuring The March of the Siamese Children from the musical The King and I.

St. Olaf’s Halvorson Music Library contains numerous copies of George Gershwin’s Rhapsody in Blue on vinyl records. I believe that this would be a great contribution to our museum exhibit. George Gershwin’s music was hugely influential as he was a central figure in the United States who combined the realms of jazz and classical art music in ways that provoked many to reconsider what they consider the boundaries of these two musical genres. It interesting to see how St. Olaf decided to feature this work during a pop music concert, clearly taking a strong stance that it does not belong in the typical art music world that St. Olaf has built its traditions on. Not that I necessarily agree with this decision, but I felt it was an important fact to point out. Although, any opportunity to perform Rhapsody in Blue is an opportunity worth taking, right?!

original article: http://stolaf.eastview.com/search/udb/doc?art=0&id=46103667&hl=Rhapsody

Today, in the twenty-first century, musicians and scholars struggle just as much with how to define the abstract umbrella term that is “folk music” as they did at the beginning of the twentieth century when the importance and recognition of such music started to become accepted in the US. Even more difficult is recognizing what folk music counts as “authentic” within its respective context, a difficulty extending well beyond folk music but into any category of music with enough history behind it, such as early Renaissance music, jazz, and these days even hip-hop.

Such a conversation was even had here at St. Olaf during the 1960’s, a time when folk music rose into the popular sphere and was embraced by a wide variety of musicians and listeners. An article published in the campus newspaper The Manitou Messenger on February 15, 1963, entitled “Whatever folks are singing…that’s what makes it folk music” after a Pete Seeger quote, discusses this popularization of folk music and the various ways of defining it, as well as the conversations had on campus about the authenticity of various folk musicians. It specifically mentions student Jan Clausen’s KSTO radio program in which she played what she defined as “authentic” folk music, a word which, according to the article, “represents an argument which has arisen with the commercial popularity of folk singers.” Some of the artists that Jan would play, artists whom she defined at authentic folk musicians, included people like Pete Seeger, Lead Belly, and Erik Darling.

The inclusion of these particular artists leaves interesting questions about what this woman in particular defined as “authentic” in respect to folk music. Lead Belly, the nickname of Huddie Ledbetter, was a black blues and folk guitarist and singer from the early twentieth singer from Louisiana who was recorded by the Lomaxes for their Library of Congress archive recordings, and influenced later popular folk artists like Bob Dylan. Lead Belly’s race and place of birth point toward what many would consider “authentic” folk as the image of folk is often associated with minorities from more rural areas who generally have little access to the more commercial or “art” music worlds at the time. Next, we look at Pete Seeger, a white folk musician of urban origin with almost no connection by birthright to any sort of folk tradition. However, he did in fact mentor under the prominent folk music revival figure Woody Guthrie. Oral tradition is a key aspect of folk music, and such a musical mentorship almost certainly entailed passing down music orally. Pete Seeger was also part of the movement of urban folk musicians that strongly opposed commercial music and sang of political themes focused on “the people.” So perhaps Jan’s definition of authentic folk music is more complex than solely based on race or origin or tradition, but instead takes these into account as well as intention, musical philosophy, and legacy.

Below are recordings off of Lead Belly’s Lead Belly’s Last Sessions and Pete Seeger’s self titled album, both of which are available on vinyl in the music library.

Works Cited:

Hare, Steve and Jan Newbury. “Whatever folks are singing…that’s what makes it folk music.” The Manitou Messenger. 15 Feb 1963: 6. East View. Web. 30 October 2017.

As I was perusing the Manitou Messenger archives, I stumbled upon a very provocative and passionate article written by first-year student Catherine Mckenzie in the year 1989.  In her article, entitled “Music department needs diversity,” Mckenzie decries the lack of representation among music students and professors at St. Olaf, as well as the conspicuous absence of a jazz music degree program.  She feels that, as a music student of color, she has no role models to look up to and no way to learn about her cultural heritage.  

Pondering Mckenzie’s words, I can’t help but feel that nothing has changed since 1989.  There is still no jazz program.  There are still astonishingly few music professors of color.  There is still no one to teach students like Catherine Mckenzie about their musical and cultural heritage.  Mckenzie, writing in 1989, might just as well be describing the college I attend today.  Despite the many outraged cries for help from diverse members of the student body, St. Olaf remains a bastion of whiteness and privilege.

“It would benefit all to see how diverse the music field is becoming”

-Catherine Mckenzie

 

Despite the egregious lack of representation among students and faculty, the college does present a wide array of music by black artists in its collections of audio LPs and CDs.  In Mckenzie’s article, she lists several artists of color who have inspired her and paved the way for other artists, including Jessye Norman and Wynton Marsalis.  Both are represented in the collections at Halvorson.

In this way, it seems as though St. Olaf College, like white America as a whole, at once embraces black art and distances itself from that art’s creators.  There is black music in our record bins and there are black spirituals on our concert programs, but are there black students at our desks?  Black professors behind our lecterns?  Celebrating great artists like Norman and Marsalis is a good place to start, surely, but St. Olaf has a long way to go before it can truly call itself a diverse institution.

Sources

Marsalis, et al. “Wynton Marsalis Plays Handel, Purcell, Torelli, Fasch, Molter.”  New York, CBS Record Masterworks, 1984.

Mckenzie, Catherine. “Music department needs diversity.” Manitou Messenger, 28 Apr. 1989.

Weber, et al. “Euryanthe: [Romantic Opera in Three Acts. Libretto by Helmina Von Chezy].” Angel Records, 1975.  

Amidst the vast collection of Vinyl records found within the Halverson music collection, one album that stands above so many is “A Love supreme” by  John Coltrane. This album, recorded in January of 1965, has become one of the most popular and well known records ever created. The release of this album brought John Coltrane to a new level of recognition and fame and it serves as a staple of Hard Bop and free form Jazz and spiritual music. Being a 4 part “suite” the album is divided up into multiple movements, beginning with the “Acknowledgement” then moving to the Resolution”, “Pursuance”, and “Psalm”. This album, which was intended to be a spiritual album, makes a direct connection to Coltrane’s mindset that his talents and abilities come not from himself, but rather, from a spiritual higher power.

Album Cover for “A Love Supreme”

One of the things that makes this album so unique is that it was recorded in a single studio session, in a single day of January 1965. The group was a single quartet featuring pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones. Coltrane was featured solely on Tenor Saxophone. The piece was recorded at Van Gelder Studio. Rudy Van Gelder is regarded as the most important Jazz recording engineer of all time who had worked with other Jazz legends such as Thelonious Monk and Miles Davis. This album was a representation of Coltrane’s person struggle with faith and purity, expressing his deepest gratitude for the spiritual gifts he had been given.

A Love Supreme: https://www.youtube.com/watch?v=clC6cgoh1sU

The only recorded live performance of the “Love Supreme” suite, was from a July 26, 1965, performance at the Festival Mondial du Jazz Antibes, Juan-les-Pins, France. This performance was also remastered and released in a 2002 two-CD set by Impulse! Records with the original album and additional studio outtakes.

Sources

Falsariochicote. “1964 – John Coltrane – A Love Supreme.” YouTube. February 27, 2014. Accessed October 30, 2017. https://www.youtube.com/watch?v=clC6cgoh1sU.

Moon, Tom. “Music Review: ‘ A Love Supreme: The Complete Masters,’ John Coltrane.” Music Review: ‘ A Love Supreme: The Complete Masters,’ John Coltrane. December 21, 2015. Accessed October 30, 2017. http://www.npr.org/2015/12/21/460602057/music-review-a-love-supreme-the-complete-masters-john-coltrane.

Over the summer of my freshman year, which consisted of using a large portion of my small paychecks on vinyl, I stumbled upon a Roberta Flack and Donny Hathaway record at a good old fashioned Maple Grove garage sale. Aptly named “Roberta Flack and Donny Hathaway” the 1972 album pins together two young R&B artists from Howard University and consists of an intimate and diverse collection of covered and original songs. While at the time of my purchase I didn’t think much of the record (besides the fact that I knew Hathaway’s famous cover of John Lennon’s “Jealous Guy” and a limited knowledge of Flack’s discography), I quickly fell in love with the ten sweet and sombre duets.

From the perspective of race, identity, and representation of “American music,” this album is a great representation of the assorted genres and influences that existed in the ever increasingly rich world of R&B, soul, and gospel in the ’70s. With a brief glance at the repertoire of covers, this notion immediately becomes apparent.

Track two, the initial recording by the pair, is a gospel tinged, lightly orchestrated cover of Carole King’s “You’ve Got A Friend.” Released around the same time as James Taylor’s sparse, singer songwriter version of the same piece, the song captures the initial spirit of the bohemian middle class that King set up, but extends it to the inner city, lower class communities, by use of the passionate call and response between chemically driven Hathaway and Flack, the driving wurlitzer electric piano base, and the tambourine infused percussion section. Similarly, “You’ve Lost that Lovin’ Feelin’,” a Righteous Brothers cover, replaces the standard Spector “wall of sound” orchestration with wild harmonica lines, funk bass, and ever-increasingly mellifluous harmonies, and adds an extra layer of genre bending licks and sections. With a moody ostinato bass-line  that melds into an exotic verse fully equipped with a traditional Indian sitar and an undeniable trope of Bach’s Toccato and Fugue in D Minor played on harmonica (around 5:40 in the track for all you musical nerds out there), this tune blends a fair amount of culture-crossing musical practices and influences.

You’ve Got A Friend: https://www.youtube.com/watch?v=7cOqfGPYc-E

You’ve Lost that Lovin’ Feelin’: https://www.youtube.com/watch?v=c0m812CC4kg

Having only given two of the ten tracks a brief genre-based analysis, this blog post can’t conceivably capture the scope and range of this record. Whether it’s “Be Real Black for Me,” a song that served as an anthem for the 1960’s “black is beautiful movement,” “Come Ye Disconsolate”, a traditional sacred song-turned-gospel arrangement of a well known Thomas Moore hymn, or “Mood,” a breathtaking seven minute classically infused piano duet, Hathaway and Flack’s album of undeniable chemistry demonstrates the far-reaching influence and diversity found in R&B music of the 1970’s.

Sources

Flack, Roberta, Donny Hathaway, Eric Gale, and Billy Cobham, writers. Roberta Flack & Donny Hathaway. Recorded May 6, 1972. East West Records, Vinyl recording.

Koollatter. “Roberta Flack & Donny Hathaway – You’ve Got A Friend.” YouTube. February 01, 2014. Accessed October 30, 2017. https://www.youtube.com/watch?v=7cOqfGPYc-E.

“Music – Review of Roberta Flack & Donny Hathaway – Roberta Flack & Donny Hathaway.” BBC. Accessed October 28, 2017. http://www.bbc.co.uk/music/reviews/q6cg/.

77GhetooD. “Donny Hathaway & Roberta Flack – You’ve Lost That Loving Feeling (1972).” YouTube. April 3, 2011. Accessed October 29, 2017. https://www.youtube.com/watch?v=c0m812CC4kg

From the perspective of St. Olaf, our institution has supported the oppression of marginalized composers, and it is evident when looking through the archives of the Manitou Messenger. For example, when searching Amy Beach’s name, only one article comes up: Month showcases women’s work. The 2008 article discusses a student recital of works by female composers as well as a faculty recital honoring Amy Beach’s work.

Extending the search to female composers, 3 articles appear, only 2 of them holding relevant information in support of female composers. The 2002 article Cecilia’s Circle visits discusses the four-woman ensemble Cecilia’s Circle, who came to St. Olaf for a week-long visit in order to honor female composers from the Middle Ages, Renaissance, and Baroque eras. St. Olaf was lucky to have the opportunity to have a group like this come to give recitals, masterclasses, and guest lectures, but it’s also very disappointing that there has only been one other major occasion in which female composers have been celebrated on our campus in 15 years. In addition, the Halvorson music library only has six LPs that feature her works, five of them compilations with other composers and just one focusing on her piano works (The Piano Music of Mrs. H. H. A. Beach).

On the other hand, there are no results in the Manitou Messenger archive when searching “William Grant Still,” and only one article from 1979 when searching “black composers.” The article Lecturer to appear for Black History Month discusses St. Olaf guests William Nelson (Ohio State University political scientist) and Raymond Jackson (pianist) and Jackson’s recital of piano music by black composers. To me, this seems like an enthralling event that is long overdue to be done again on this campus. The article also cites the composers whose pieces Jackson played, so it is possible to use that as a starting point when searching for music by black composers. When turning to Halvorson’s LP collection, we only have two compilation albums that feature Still’s work, and no albums of only his works.

Mitchell, Elizabeth. “Month showcases women’s work.” The Manitou Messenger, No. 14, Vol. 121 (2008): 1.

Dion, Laurie. “Cecilia’s Circle visits.” The Manitou Messenger, No. 13, Vol. 115 (2002): 14.
Unknown. “Lecturer to appear for Black History Month.” The Manitou Messenger, No. 12, Vol. 92 (1979): 3.

A push to remove confederate monuments has swept the news in the past few months. This has sparked debate and dialogue across the nation, drawing attention to civil war history. The conversation extends from what the monuments themselves represent to the intention behind the civil war. It is important to acknowledge these issues today, and therefore it is also valuable to see how far back this conversation extends.

The Civil War lasted from 1861-65. While groups like the Sons of Confederacy try to push the message that the war was fought over states’ rights, historians cannot deny the major role that slavery played in the war (Dew). This debate and the attempted historical erasure is important to recognize at the heart of the monument debate. The question that remains difficult to answer is if Confederate monuments represent a system of oppression or simply the fallen soldiers in battle. In Portsmouth Virginia, Trinity Church put up a stained glass window that can be seen here.

This window tries to pay homage to soldiers fallen in battle. However, the Union did not like the wording on the window, so they made the church take it down in 1872. This action elicited a response from composer, George Camp. He wrote the song “Memorial Window” for the congregation of Trinity Church. The inscription on the cover page for the printed music gives a brief history, saying that

“the congregation of Trinity Church at Portsmouth, Va. placed an appropriate window in their church edifice if memory of Virginians slain during the war, which they were forced to remove, in consequence of offense taken by the U.S. Authorities.”

Camp’s disgruntled tone carries over into his lyrics as well. To camp, this monument was respectful of the soldiers who gave their lives in battle. However, it is clear that others saw the monument as a symbol that individuals were so invested in systems of oppression that they were willing to give their lives for it. This connotation casts monuments such as these in a different light.

Unfortunately, a recording of Camp’s “Memorial Window” does not exist. Nevertheless, I felt compelled to write about this object because of the political parallels that it seems to cary through to today. It has been 145 years since the 1872 debate of the window in Portsmouth Virginia, but the citizens are still trying to decide what to do with similar objects. In the past few weeks, the Mayor of Portsmouth has voiced a desire to move a civil war monument from the center of town. The story is covered here. I hope that highlighting examples such as these shows that efforts to combat racism and oppression need to be constantly pursued. These issues have been discussed in our country for a long time now.

Works Cited

Dew, Charles B. Apostles of disunion: southern secession commissioners and the causes of the Civil War. Charlottesville: University of Virginia Press, 2016.

Trinity Episcopal Church: HISTORY. (n.d.). Retrieved October 24, 2017, from http://www.trinity-portsmouth.org/anniversary-info

The cover for Amy Beach’s 4 Sketches, Op. 15, from the Americana Sheet Music Collection

It is without question that Amy Beach was among the early influential American composers, with a decorated career of both composition and performance. Her career took place during the late 19th century and the first half of the 20th, which was prime time for white male hegemony, yet Beach still found great success. She was privileged to have taken music lessons and married young, which in turn allowed her to hone in on her compositional and piano performance skills. With the death of her much older husband in 1911, Beach was able to go abroad to Europe for a performance tour, returning to the States in 1914 because of World War I. This did not stop her from performing though, since she took on a cross-country tour of the United States. Beach often took her performance opportunities to play her own pieces, which is clearly shown with her extensive piano repertoire. Featured below is a the fourth sketch titled Fireflies, from her 4 Sketches, Op. 15.

A 1915 opinions article by the Morning Oregonian defends not only Beach’s piano skills, but her compositional feats as well. Discussing how major composers of the time such as Claude Debussy or Hugo Wolf didn’t write a single symphony like Beach did, the author claimed that hers was one that demanded the highest respect. Despite sexism of the time, Beach was still regarded as a great composer, but why don’t we hear about her music anymore?

In September 2017, the New York Times honored Amy Beach’s 150th birthday with an article on her life and works. The biggest takeaway I found in this article was that her “Gaelic” Symphony shot her to compositional fame, but no orchestras have programmed hersymphony or any of her orchestral works for this season. While Beach experienced sexism at the height of her career, it is clear that sexism in classical music is still alive and well when none of our major orchestras will honor her works on this anniversary.

Robin, William. “Amy Beach, a Pioneering American Composer, Turns 150.” The New York Times. September 01, 2017. Accessed October 24, 2017. https://www.nytimes.com/2017/09/01/arts/music/amy-beach-women-american-composer.html.

“Capacity House Greets Kathleen Lawler in New York Recital. Tom Dobson, Also, among Oregonian Singers to Occupy Limelight.” Morning Oregonian (Portland, Oregon), March 28, 1915. (found on America’s Historical Newspapers)

Amy Beach was a prominent composer of American music during her lifetime. While I was browsing UCLA’s Sheet Music Consortium I was led to some interesting findings. However, much to my disappointment all of the artifacts I found were not accessible online and therefore I felt the need to search outside sources. I browsed the library of congress for Beach’s works. In it I found a sound text that I was familiar with, but in a different musical context. Because of this I was intrigued by it and decided to take a closer look at it. This artifact is Beach’s setting of the Shakespearian text Take, O Take Those Lips Away. This score is the second of three scores from a collection of Shakespearian texts set by Beach. The first and third being O, Mistress Mine, and Fairy Lullaby.

Beach was not only significant because she was a composer of American music, but that she was the first female composer of American music to gain success and recognition in the art music world. She was a musical prodigy. According to Grove Music Online

“At the age of one she could sing 40 tunes accurately and always in the same key; before the age of two she improvised alto lines against her mother’s soprano melodies; at three she taught herself to read; and at four she mentally composed her first piano pieces and later played them, and could play by ear whatever music she heard, including hymns in four-part harmony.”

As a vocalist, it’s hard to believe that these statements aren’t exaggerated, but it certainly emphasizes the point that Beach was an amazing musician who is definitely worthy of our attention as musical scholars.

Bibliography

Beach, H. H. A., Mrs, and William Shakespeare. Take, O take those lips away. Op. 37, No. 2. Arhut P. Schmidt, Boston, 1897. Notated Music. Retrieved from the Library of Congress, <https://www.loc.gov/item/ihas.200215426/>.

Adrienne Fried Block and E. Douglas Bomberger. “Beach, Amy Marcy.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 23 Oct. 2017.<http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2248268>.

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When slavery was abolished in 1865, it did not simply disappear overnight, rather, it evolved. Racism and Discrimination became the new form of slavery in the united states and has continued to be a pressing issue, even in 2017. The middle of the 20th century brought the beginnings of people standing up against this injustice and speaking out a message of hope for the future. Two of these people were Mahalia Jackson, and Marian Anderson. Both of them, around the same time period, used their musical influence to stand up and peacefully strive for equality.

Marian Anderson

What these two woman have in common was their use of song to make a statement against political opposition and oppression. In an article from 1939, it discusses Marian Anderson sinning American Folk Songs, as well as Gospel on the steps of the Lincoln Memorial. Anderson was to have a performance at Constitution Hall in D.C. but the “Daughters of the American Revolution” (DAR) refused to allow her to perform to an integrated audience This performance was a demonstration of her strength and unwillingness to back down. Closing her performance with a performance of the spiritual “Nobody knows the trouble I’ve seen” gave a solid stance of her strength.

https://search.proquest.com/docview/492549785?accountid=351.

Mahalia Jackson was a gospel singer who also used her voice in  a similar way to

Mahalia Jackson

Anderson. While she herself was not considered an opera singer, she was considered to be the “queen of gospel” and known as…

“the single most powerful black woman in the united states” -Harry Belafonte

In a quote from Jackson she describes her singing: “I sing God’s music because it makes me feel free”

Jackson once said about her choice of gospel, adding, “It gives me hope. With the blues, when you finish, you still have the blues.” The power to which this woman sang was an obvious representation of her pride and hope for peace. In a world where even with all of her fame she was still considered a “colored” person. To have such strength and an the attitude to fight for what you believe in so strongly is incredibly commendable and admirable. Their connection to Americana Folk music, while still sticking to their gospel traditions was their attempt to bridge the gap between races and to sing for an America that is equal and free. 

https://www.youtube.com/watch?v=as1rsZenwNc

Sources

“MARIAN ANDERSON SINGS TO 75,000 IN OPEN AIR RECITAL.” 1939.The Chicago Defender (National Edition) (1921-1967), Apr 15, 1. https://search.proquest.com/docview/492549785?accountid=351.

Thejazzsingers. “MAHALIA JACKSON PRECIOUS LORD TAKE MY HAND.” YouTube. June 18, 2009. Accessed October 17, 2017. https://www.youtube.com/watch?v=as1rsZenwNc.

While browsing the Chicago Defender archives I discovered a newspaper article in which the author writes a short tribute to the legendary B.B. King. The author acclaims B.B. as well as other popular blues artists’ musical performance style saying that they communicate “simple and beautiful truth” that “touch[es] the inner core of black lives leaving us only to say, ‘he knows, he knows.'” In the poetic tribute, the author refers to B.B. as if he were a great king at the top of a royal ladder. He “beg[s] for forgiveness” and wishes to “further dedicate ourselves to the spirit of life and love that is ours and yours (B.B.’s).”

In the Popular Culture in Britain and America, 1950-1975 database I found another article praising B.B. King. The article in fact, was actually a response to comments made in a Mick Hutchinson interview. The author clearly has a strong opinion from the very first sentence in which he writes “In an interview with MickHutchinson (MusicIT/73) it was said among other stupidities, that BB King’s style lacked originality.” Clearly offended by these remarks, the author dives into an analysis of Mick Hutchinson’s musical ability in which he claims Hutchinson “can’t MOVE people, he hasn’t anything to lay on them.” The argument made is that though B.B. King is known for using simpler melodies and licks, he conveys far more meaning in it than Mick Hutchinson ever could. And if that wasn’t enough, the author even finishes the paragraph with an aggressive “(So UP YOURS Mick Hutchinson!!).”

Little Richard achieved international fame in 1955 with the release of his hit single “Tutti Frutti.”  His unique sound, blending aspects of rhythm and blues and boogie woogie, came to be known as “rock and roll,” and marked the beginning of an exciting new trend in American popular music.  Despite Little Richard’s extraordinary success and far-reaching influence, he experienced significant resistance when trying to create a music that was palatable to white audiences.  

In an interview with Andy Gill, Richard described some of the frustrations he had with  record companies early on in his career: “They wanted me to sound like other people, to be a blues singer. I had this other thing, they’d never heard nothin’ like it, so they was afraid of it. But when I went to Specialty with Awopbopaloobopalopbamboom! they said, ‘OK!’ ” (Rip It Up). Hesitancy on the part of record companies to endorse Little Richard’s unique new style illustrates a racial bias in the popular music industry: they believed that a African-American popular musicians could only sing the blues, and that a black artist singing anything else would not be financially successful.  When Specialty published “Tutti Frutti” in 1955, however, the exact opposite proved to be true, with the track rocketing to No. 2 on Billboard’s Rhythm and Blues chart and No. 17 on Billboard’s Hot 100.

Little Richard also had to combat racist attitudes when crafting his band’s public image.  White audiences oftentimes stereotyped black men as lascivious sexual predators, and white men often discouraged their wives from attending concerts by black artists such as Little Richard.  To subvert this harmful and untrue stereotype, Richard cultivated an effeminate, androgynous image, attempting to convince audiences that he and his bandmates were gay.  He wore heavy makeup and hairspray and donned flamboyant clothing, all in the name of crafting an image that was “palatable” to white audiences.

Although Little Richard was clearly one of the first rockers, white artists like Elvis Presley are more frequently celebrated as the early leaders of the genre.  To this day, Little Richard’s legacy continues to struggle against the racist structures that he struggled with during his life.  It is important that we keep these structures in mind when we study the popular music of America.

Sources

Brown, David P. Noise Orders: Jazz, Improvisation, and Architecture. University of Minnesota Press, 2006. ProQuest Ebook Central, accessed 17 Oct. 2017.

https://open.spotify.com/track/4ZnqFqoT9TFKWR6fUmrmhoGaines, Grady. I’ve Been Out There: On the Road with Legends of Rock ‘n’ Roll. Texas A&M University Press, 2015. ProQuest Ebook Central, accessed 17 Oct. 2017.

Little Richard. Mirrorpix Photographic Archive, 1966. Popular Culture in Britain and America, 1950-1975, accessed 17 Oct. 2017.

“Little Richard Scores Triumph.” The Chicago Defender (National edition) (1921-1967): 14. 02 Jun. 1956. ProQuest, accessed 17 Oct. 2017 .

“‘Little Richard’ Wows Way to Top.” The Chicago Defender (National edition) (1921-1967): 17. 12 May 1956. ProQuest, accessed 17 Oct. 2017 .

Rip it Up: The Black Experience in Rock ‘n Roll. Edited by Kandia Crazy Horse. Palgrave Macmillan, 2006. ProQuest Ebook Central, accessed 17 Oct. 2017.

Marian Anderson was an incredibly accomplished African American opera singer, having performed for European royalty, even garnering a song written specifically for her by Finnish composer Jean Sibelius. Her success in Europe was welcomed back home in the States with a debut at Carnegie Hall in 1935. However, her decorated performance history was not invincible to America’s racism. Like any other African American, Anderson was restricted to use of “colored only” waiting rooms, hotels, and train cars.

The Chicago Defender reported on Marian Anderson’s iconic performance on the steps of the Lincoln Memorial. Howard University and Anderson’s manager arranged for her to perform at Constitution Hall in Washington D.C., but were met with common racial bias of the time. The Daughters of the American Revolution owned the hall and refused to host her, likely because of her race. In response, Eleanor Roosevelt and the Marian Anderson Committee made alternative arrangements for Anderson to perform on the steps of the Lincoln Memorial on Easter Sunday of 1939.

Her first set of songs opened with “My Country ‘Tis of Thee,” followed by standards from the classical repertoire. However, the real defiance came after intermission, in which Anderson performed a set of spirituals. Because of the history that spirituals hold, Anderson was essentially making a political statement that she would not let the barriers of racism hold her back from performing for the masses (in fact, there were 75,000 people at this performance). Having built a career off of opera, singing spirituals and closing the concert with an encore of “Nobody Knows de Trouble I’ve Seen” showed her strength in her refusal to be held back by racial bias of the time.

“MARIAN ANDERSON SINGS TO 75,000 IN OPEN AIR RECITAL.” 1939.The Chicago Defender (National Edition) (1921-1967), Apr 15, 1. https://search-proquest-com.ezproxy.stolaf.edu/docview/492549785?accountid=351.

“Marian Anderson: Musical Icon.” PBS, Public Broadcasting Service,
www.pbs.org/wgbh/americanexperience/features/eleanor-anderson/.

On the subject of authenticity, I think it is fair to say that one should deeply understand the context of the music they are performing in order to reproduce it in a manner that respects and preserves its roots. For example, spirituals come from an African American slave tradition, and several people reproduce spirituals outside of the gospel.

Elvis Presley – Joshua Fit the Battle (1966)

The jazz setting of Green’s recording is pretty appropriate for the song, especially when the history of jazz is taken into account. In our readings, we have learned that a large part of the African musical tradition includes improvisation, which appropriately takes places in spirituals, the blues, and jazz. In other words, Green’s performance furthers the tradition of African music in America.

A small comparison between the two recordings is that Green’s album lists the song as Joshua Fit de Battle of Jericho while Presley’s is listed as Joshua Fit the Battle of Jericho. The subtle change of “de” and “the” actually show the difference between how the two artists likely absorbed the song for the first time. The fact that Presley’s album lists it as “the” buys into the idea that “de” is not proper English, and should therefore be corrected, while Green leaves it as is because that is how slaves created and sang the song.

Grant Green – Feelin’ the Spirit (1963)

Lastly, I think a big fault in Elvis’ recording is that he decided to sing this spiritual in a major mode, which fails to pay true homage to the origins of the piece. I’m not trying to say that every spiritual must be in a minor mode to depict the anguish of the tradition that it comes from, but I think that altering the mode of specific songs poses a problem, especially when the performer will never experience the context in which these spirituals were originally sung in. In addition, it seems that Elvis recorded spirituals because he enjoyed them, which was not the reason why they existed in the first place. Spirituals were a means of consolation for the suffering of slavery, and Green’s album, Feelin’ the Spirit (1963), captures this in his time-appropriate era of the Civil Rights Movement. Green did not necessarily want to reproduce the music in its original context, but to bring this music to the nation at a time when they needed the same hope for equality that slaves did.

With its beginnings in the late 19th century, the Cakewalk has become a staple of the early African American dance culture in the United States. This style of dance first found popularity on black slave plantations came about during forms of “prize-walks” in which people would dance or “walk” to receive prizes. It is called a Cakewalk because at the end of the dance, the winning couple would be presented with a cake as a reward for their dancing efforts. This dance began as a part of minstrel shows and was exclusively danced by men until the 1890’s when women were allowed to participate. 

With this dances beginnings, it was done primarily by small ensembles of either brass or piano and banjo. This recording from the album “Rusty Rags: Ragtime, Cakewalks & Stomps” shares with us a prime example of an early cakewalk. While the original

recording date is unknown, what we can hear is an example of a simple melody and chord structure with a small brass ensemble.

http://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C1037073

An Advertisement for a Cakewalk

As this dance develops from a minstrel dance into a full fledged art form, we begin to hear transitions in its structure and instrumentation. Here is a recording by pianist Lincoln Mayorga from 1937. In this recording we have just a solo piano, but the rhythmic and harmonic structure are beginning to become more complex while still maintaining its jaunty and consistent driving motion.

http://ezproxy.stolaf.edu/login?url=https://search.alexanderstreet.com/view/work/1019889

In modern times, the Cakewalk is not a regularly performed, but modern interpretations have led to this style of music being continued mostly in forms of Jazz, which also has roots in black culture. A prime example of this is this recording by the Oscar Peterson Trio on their album “Nigerian Marketplace”. This takes the final evolution of the Cakewalk. This recording from 1988 keeps the same style with adding a large influenced jazz flair to the music, while still keeping the piano prominent.

http://ezproxy.stolaf.edu/login?url=https://search.alexanderstreet.com/view/work/597040

Sources

Cakewalk. 1898. Prints and Photographs, Library of Congress, Washington D.C.

No Cakewalk On The Program For the State Convention of Afro-American Leagues–A Haytian Lecturer’s. March 5, 1890. New York. New York, NY: NewsBank/Readex, 1890. Accessed October 9, 2017. America’s Historical Newspapers.

Rusty Rags: Ragtime, Cakewalks & Stomps. Recorded July 1, 2009. Qualiton – Saydisc, 2009, Streaming Audio. Accessed October 9, 2017. http://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C1037073.

Pianist On Tour. Recorded October 17, 2006. TownHall Records, 2006, Streaming Audio. Accessed October 9, 2017. http://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C1019879.

Oscar Peterson Trio: Nigerian Marketplace. Recorded January 1, 1988. Pablo, 1988, Streaming Audio. Accessed October 9, 2017. http://search.alexanderstreet.com/view/work/bibliographic_entity%7Crecorded_cd%7C597035.

In her Los Angeles Tribune article published in 1959, Almena Lomax reviews the newly released debut album Little Girl Blue by Nina Simone. In this review, she traces Simone’s influences to several big-name jazzers at the time including, but certainly not limited to Duke Ellington, Billie Holiday, and Louis Armstrong. The article also notes of how Simone draws upon her classical piano studies and how she freely dances across the lines of classical and jazz styles, combining them in such a way as to never stray too deep into one of those musical territories, but consciously being aware of the genre mixture she was playing with. In this respect she also can be compared to George Gershwin, from who she also draws much inspiration, this is evident by her cover of “I Loves You, Porgy” from Gershwin’s Porgy and Bess. The article further goes to suggest that Nina Simone is “ an ethnic American Negro who is so ‘ethnic American Negro’ that we feel like the expression was coined for her. Already ecstatic about her quick rise to fame, little did the author know that Nina Simone would eventually become a common household name and her music a staple in the American Jazz idiom. Now we face the question: was Lomax right? On the one hand, to say that Nina Simone’s music is a holistic representation of African American music is certainly inaccurate. However, Simone’s influence over not only African American music but all of American popular music from the time she first released her Little Girl Blue even to the present day still goes strong. We can see this through numerous recordings and live performances of her music put on by contemporary jazz and popular musicians today.

Nina Simone For Lovers. Cond. Hal Mooney and Horace Ott. Rec. 25 Jan. 2005. Verve Records, 2005. Music Online: Jazz Music Library. Web. 9 Oct. 2017. 

TY  - NEWS
N1  - Provider: NewsBank/Readex, Database: America's Historical Newspapers, SQN: 12C5FE5C375C5530
TI  - Notes for Showfolks by Almena Lomax an Ethnic American Negro
PY  - 1959/12/04
JF  - Los Angeles Tribune
VL  - 19
IS  - 43
SP  - 19
CP  - Los Angeles, California
ER  -

[Stavin’ Chain playing guitar and singing the ballad “Batson,” Lafayette, La.]

Often times, stories that exemplify this mix come out in African American blues tunes. Coming from the African American work song tradition, a crucial part of these tunes is that they tell a story. One blues, in particular “Stavin’ Chain” tells the story of a train engineer. He was hailed as strong and powerful. This figure was so strong and unique that Wilson Jones, one of the artists who recorded a version of “Stavin’ Chain” also went by the nickname, “Stavin’ Chain.”

This begs the question for the story how Wilson Jones came to adopt “Stavin Chain.”

[Stavin’ Chain playing guitar and singing the ballad “Batson,” Lafayette, La. (fiddler in the background)]

Nevertheless, Wilson Jones became “Stavin Chain,” a figure of strength and prominence. This term may refer to the American tradition of arms manufactures in the late 19^th century utilizing chains to hold barrel staves together, or perhaps it refers to chains used to bind ankles on chain work gangs (Americanbluesscene.com). I believe that this term could easily have come from a blend of the two stories, as African American folk so heavily relies upon cultural blending.

–Brock Carlson

[Portraits of Stavin’ Chain and Wayne Perry performing, Lafayette, La.]

Works cited

Lomax, A., photographer. (1934) [Stavin’ Chain playing guitar and singing the ballad “Batson,” fiddler also in shot, Lafayette, La]. Lafayette Louisiana United States, 1934. June. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2007660068/.

Lomax, A., photographer. (1934) [Stavin’ Chain playing guitar and singing the ballad “Batson,” Lafayette, La]. Lafayette Louisiana United States, 1934. June. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2007660069/.

Lomax, A., photographer. (1934) [Stavin’ Chain playing guitar and singing the ballad “Batson,” Lafayette, La. fiddler in the background]. Lafayette Louisiana United States, 1934. June. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2007660070/.

Baraka, A., & Harris, W. J. (2000). The LeRoi Jones/Amiri Baraka reader. New York: Thunders Mouth Press.

In Amiri Baraka’s Blues People: Negro Music in White America, he regards African music in terms of its intent, saying that one of its stark differences from Western music was that it was purely functional; it wasn’t meant to exist as art. We see that this African tradition appears in the life of the slave, with work song and spirituals existing as a means of necessary expression that called to God for freedom.

Zora Neale Hurston’s also discusses slave song in Spirituals and Neo-Spirituals, and how they never remain in their original form regardless of publication because each rendition depicts a different mood. For example, the spiritual “Gospel Plow” was originally a work song, but it was performed in during the Civil Rights Era, changing its context, which proved her statement that spirituals are not confined to slavery. In this situation, lyrics have been altered to fit the context of the performance. Looking at “Keep Your Eyes on the Prize” we see the lyrics of “Gospel Plow” change to fit the context of freedom marches. The tunes stayed the same but the verses changed as folks improvised them. In addition, the lyrics vary between each recording, so the side by side comparison is only one example of the lyrical change.

Gospel Plow and Keep Your Eyes on the Prize with commentary

Keep Your Eyes on the Prize

So when Hurston says “Each singing of the piece is a new creation,” the Civil Rights Era literally made a new creation out of this spiritual to adapt to special events such as freedom marches. This also connects back to Baraka’s argument that work song and spirituals were a necessary means of expression because these songs gave a message of perseverance during the freedom marches, no matter what they protesters were faced with.

Slavery has had roots in this country almost as long as the country itself. Prior to 1865, the majority of Africans who were brought to this country were as slaves. These people were forced to labor under harsh conditions without any freedoms or graces. It was during this time where workers were allowed to sing songs and attend church, either with the gospel given by a white male, or while being supervised by a white mediator. Both in the congregation and in the fields, workers would sing songs that became known as “Negro Spirituals” to express personal feelings, and to cheer for one another.

This picture above is from the Library of Congress’ Alex Loman Collection. This picture is from a congregation at an all Black Baptist church on the Alma Plantation in False River, Louisiana 1934. This shows a small congregation that would sing these songs together to praise the lord and look for a brighter future. As well, these songs would help to give strength to those were tired and weak.

Music was such a vital part of survival for these people. Many of these black people would use and create instruments for their worship and singing times. The picture below is an example of a few instruments that were created between 1934-1950. These instruments were mostly horn-like instruments designed to use in singing and creating music together.

In 1865, Slavery was abolished. It was after this time that some African Americans were allowed to go to school to become educated. One such establishment – Fisk University, was one of the first universities for African Americans in Nashville Tennessee. It was here that the “Fisk Jubilee Singers” were founded. This group was organized in 1871 with the intention of sharing African American spirituals with the world on several tours. This group recognizes the significance of singing and performing these songs, not for fame or recognition, but rather to use their music as a lens to glimpse at what the life for these slaves could have been like and how their music affected them and their lives. The mistreatment of these people were horrid, and their music reminds us of their struggles and the raw emotion that was poured into this singing.

http://http://www.loc.gov/jukebox/search/results?q=spirituals

Sources

Lomax, Alan, photographer. Baptist congregation, Alma Plantation, False River, La. False River Louisiana United States, 1934. July. Photograph. Retrieved from the Library of Congress, https://www.loc.gov/item/2007660048/. (Accessed October 02, 2017.)

[Folk Musical Instruments Including Homemade Horns]. , None. [Between 1934 and 1950] Photograph. Retrieved from the Library of Congress, https://www.loc.gov/item/2007660366/. (Accessed October 02, 2017.)

American Missionary Association, Black, James Wallace, photographer. Jubilee singers, Fisk University, Nashville, Tenn. / negative by Black. Nashville Tennessee, 1872. [Place not identified: Publisher not identified, ?] Photograph. Retrieved from the Library of Congress, https://www.loc.gov/item/2015650289/. (Accessed October 02, 2017.)

Fisk University Jubilee Quartet — Vocal group, Noah Walker Ryder — Bass Vocal, Alfred Garfield King — Bass Vocal, John Wesley Work II — Tenor Vocal, and J. A. Myers — Tenor Vocal. “Swing low, sweet chariot.” Browse All Recordings | Swing low, sweet chariot, Take 3 (1909-12-01) | National Jukebox LOC.gov. December 01, 1909. Accessed October 03, 2017. http://www.loc.gov/jukebox/recordings/detail/id/1797.

This photograph from the Lomax photography collection, depicting a group of African-American prisoners singing while working in the Darrington State Farm woodyard in Texas, interested me upon first sight as it seemed to me to be familiar to what we have learned about slave-era music and musical functionality despite being shot in 1934. In this photograph is featured “Lightnin’” Washington, an African-American prisoner during this time whose singing was recorded multiple times alongside his group who usually accompanied him in these recordings, also pictured here. The act of physical labor accompanied by singing is a type of functional music very familiar to slave music, specifically work songs, in which slaves would sing to the rhythm of physical labor to keep a consistent work pace and pass the time working, among other things. This photograph shows that such musical tradition had not died out after slavery had ended and likely retained its musical functionality to some extent.  

Field Recordings CD

Washington and his group were some of many African-American musicians during the early twentieth century to have been recorded for the Library of Congress by John Henry Faulk. In 1933, Faulk recorded the group performing a call-response song called “The Grey Goose,” which is featured alongside other of Faulk’s recordings of African-American music on this CD collection entitled “Field Recordings Vol. 10-11; 1933-1941.” These CDs, released in 1998, contains interesting narratives and images along with the cover and descriptions, as it talks of how slavery was “a scathing indictment of human rapacity and greed,” while also featuring on the cover a slightly shocking image of an antiquated advertisement for buying slaves alongside large instances of the word “Negroes.” The narrative is clearly intended to be a condemnation of the evils of slavery and racism, but certain imagery as well as the fact that it is intended to advertise to people to buy the CD makes it a bit complicated. 

*While I was not able to find a insertable recording of the mentioned song, here is a link to a page containing a recording. Just press “Listen” on the top right of the page. http://kodaly.hnu.edu/song.cfm?id=616#analysis

Sources:

Field Recordings Vols. 10 & 11, 1933-1941. Web. 3 Oct. 2017. <http://search.alexanderstreet.com/view/work/bibliographic_entity%7Cliner_notes%7C313399#page/null/mode/1>.

Lomax, Alan, photographer. [“Lightnin'” Washington, an African American prisoner, singing with his group in the woodyard at Darrington State Farm, Texas]. Apr. Photograph. Retrieved from the Library of Congress, <https://www.loc.gov/item/2007660013/>.