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History of the blues music genre
History of the blues
The blues music history
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McKinley “Muddy Waters” Morganfield left Stovalls plantation outside Clarksdale for Chicago in 1943, drawn by the wartime boom in factory jobs. By the late 1940s his electrified rural delta style brought him success as a blues musician with hits such as “I Cant Be Satisfied” (1948). Having signed to Chess records, Waters’ started to enjoy the commercial success that his music allowed him. The audience responded, Marshall Chess recalled to R&B historian Arnold Shaw that “Waters hit the local crowds like Elvis Presley hit the rock n roll scene. .. On Saturday they’d line up ten deep”.(1) Working in the fields of Mississippi Delta, Water’s was brought up surrounded by the “field hollers” that provided blues with its distinctive vocal textures. Amongst these were also a number of musicians who were able to begin to break free from the confines of working the fields. Arguably the most notable being that of Robert Johnson who created a body of work which summed up the Delta culture and sound. At first this received little attention outside of Delta but it did influence other blues musicians in the area such as Muddy Waters and this is evident in his early acoustic recordings such as “Country Blues”. Johnson’s recordings also inspired Alan Lomax to visit Delta on behalf of the Library of Congress in search of similar artists. After recording some early acoustic tracks with Lomax, Water’s was able to hear himself back and he later recalled that the experience of hearing himself on these records convinced him he could be a serious professional.(2) Following this Water’s moved to Chicago where in the noisy and raucous clubs and nightspots, his country style had to change. The rural and acoustic sound of Delta was transformed into the edgy ... ... middle of paper ... ...te King, S. 2011. I’m Feeling the Blues Right Now: Blue Tourism in the Mississippi Delta. University press of Mississippi. Lawson, R. A. 2010. Jim Crows Counterculture: The Blues and Black Southerners, 1890-1945. Louisina State University 6. Press Max Jones review of “Rolling Stone Blues” b/w “Walkin’ Blues” by Muddy Waters. Melody maker. 10th May 1952 7. Schwartz, R.F. 2008. How Britain Got The Blues: The Transmission and Reception of American Blues Style in the United Kingdom 8. V. Bogdanov, C. Woodstra, S. T. Erlewine. 2003. All Music Guide to the Blues: The Definitive Guide to the Blues. Pages 700-2. 9. Palmer. R. 1981. Deep Blues. Penguin Books 10. Cushing. S. 2009. Blues Before Sunrise: The Radio Interviews. University of Illinois Press 11. Kim-Cohen, S. 2009. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art
As time progressed, music had to continue to evolve to keep up with the ever-changing styles. Blues slowly began to morph into Rock and Roll to engage people of a new era. While many changes occurred in creating Rock and Roll, it continued to carry undertones of the Blues. This can be heard while comparing Son House’s, “Walking Blues” and Elvis Presley’s, “Blue Moon of Kentucky.” These two songs show many similarities, while also having their own identities.
Blues refers to the music genre that originated from the African-American societies mainly from the deep southern region of the United States in the late 19th century. The blues form of music is characterized by notes that are played gradually bent or flattened. The blues notes comprised 12 measures or bars. These notes are used in jazz music, rhythm and blues. The inventors of the blues included slaves and the descendants of the slaves. There is a general belief that the blues originated from African folk songs. The blues spread out significantly from the south in the late 1930s and early 1940s. The music quickly progressed into various styles according to regions. Well-known pioneers of blues music in the 1920s include Blind Lennon Jefferson, W.C. Handy, Robert Johnson, Charlie Patton and Son House. Blues exist in popular music in many areas today.
Baldwin, James. "Sonny's Blues." Miller, Quentin and Julie Nash. Connections: Literature for Composition. Boston, New York: Houghton Mifflin Company, 2008. 984-1006.
The blues emerged as a distinct African-American musical form in the early twentieth century. It typically employed a twelve-bar framework and three-lined stanzas; its roots are based in early African-American songs, such as field hollers and work songs, and generally have a melancholy mood. The blues can be divided into many sub-genres, including Classical, Country, and Urban. The purpose of this paper is to focus on the careers of two of Classical blues most influential and legendary singers: Ma Rainey and Bessie Smith.
Baldwin, James. “Sonny’s Blues.” The Jazz Fiction Anthology. Ed. Sascha Feinstein and David Rife. Bloomington: Indiana UP, 2009. 17-48.
Waters' success was related to her style of singing. She could sing like other classic blues singers with plenty of passion and fire, but she had a unique approach. She was not a shouter but was able to hold the attention of the audience with her low and sweet voice. According to Jimmy McPartland, who saw her in the 1927 show Miss Calico, "We were enthralled with her. We liked Bessie Smith very much, too, but Waters had more polish, I guess you'd say. She phrased so wonderfully, the natural quality of her voice was so fine . . ." Waters introduced a new style of the blues, one that was influenced by her grandmother who always told her "You don't have to holler so.
He had exposure to several different genres growing up in his St. Louis, MO hometown. He heard country from the whites, rhythm & blues (R&B) from mostly blacks, even Latin music. His family environment set him up well for future success while growing up in a middle class home in the middle of the Great Depression of the 1930s. His parents sun...
McKinley Morganfield or better known as Muddy Waters, was a blues musician who is often called the “father of modern Chicago blues”. Waters’ influence on blues was tremendous, as well as on R&B, rock and roll, hard rock, folk music, jazz and country music. Growing up in Issaquena County, Mississippi, Waters grew up immersed in the Delta blues, and in 1943, he moved to Chicago and began playing in clubs. A record deal followed, and his major hits like "I'm Your Hoochie Coochie Man" and "Rollin' Stone" made him an iconic Chicago blues man. (Deming, Mark. “Muddy Waters | Biography & History.”) He was given the nickname "Muddy Waters" because he liked to play in the swampy puddles of the Mississippi
The man known as Muddy Waters was born McKinley A. Morganfield on April 4, 1913 in Jug's Corner, Issaquena County, Mississippi. Settling in Chicago in the 1940s, he would change the year to 1915 in an effort to look younger for showbiz, and the place to Rolling Fork, Sharkey County -- simply because Rolling Fork was where the train stopped, the nearest place "on the map". Although his now-famous nickname does date back to his childhood, the 's' at the end of Waters was only added in 1948, on the label of his first hit record "I Can't Be Satisfied"/"I Feel Like Going Home".
It would be an understatement to say that Miles Dewey Davis III was one of the greatest jazz musicians of all time. Widely considered one of the most revolutionary and influential figures in the history of music of the twentieth century, Miles Davis has played an integral role in shaping the sounds of jazz, one of the few uniquely and entirely American genres. Needless to say, the brilliant artistry that coolly flowed from his trumpet speaks for itself and clearly shows what a phenomenally inventive and talented musician he was. One could go on and on discussing, analyzing, and meticulously scrutinizing his music, as has been done readily in the past, but the purpose of this paper is to examine his rare appearances on television and the impact his music had on American culture.
Rural blues, being simple and unorganized, and rhythm and blues, being more complex and beat oriented, both portray the same song in virtually opposite ways. Both were entertaining in their own ways, and both of the artists were able grasp and hold the audience’s attention. Johnson’s rural blues version of “Crossroad” was heartfelt and story like with his little instrumental influence and his simple organization. When listening, the audience is able to hear his pure emotion and connection to the lyrics through his raw vocals. Clapton’s rhythm and blues version of “Crossroad” felt rehearsed and preformed; his use of strong beats, strict musical structure, and improvisation made the experience entertaining but very instrumentally focused. By comparing the two types of jazz, the listener is able to comprehend how much jazz has evolved throughout the years. Although one might prefer a specific style over the other, both are intriguing in their own ways and emphasize the strong influence jazz has in our
Schuster-Craig, J. (2011). The Blue Moment: Miles Davis's Kind of Blue and the Remaking of
But the Delta Blues wasn’t created until 1903, when W.C. Handy overheard a traveler on a train platform in Mississippi. W.C. Handy, considered the “father of blues”, was born in Florence, Alabama, on November 16, 1873. Handy’s love for music showed at an early age. African American folk traditions inspired the blues Handy contributed in.. He had a few up and downs in his life, but his big break came in 1896 when he joined the W. A. Mahra’s Minstrels as it’s bandleader. He stayed with that group for many years until he grew tired of life on the road.
Cahoon, B. (2004, January 1). Rhythm and Blues Music: Overview. . Retrieved May 28, 2014, from http://www.georgiaencyclopedia.org/articles/arts-culture/rhythm-and-blues-music-overview.
The blues of that time was called country blues. It was a mixture of African