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Author: Charles Keil Publisher: University of Chicago Press ISBN: 022622340X Category : Music Languages : en Pages : 276
Book Description
Charles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Author: Charles Keil Publisher: University of Chicago Press ISBN: 022622340X Category : Music Languages : en Pages : 276
Book Description
Charles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Author: Robben Ford Publisher: WWW.Fundamental-Changes.com ISBN: 9781789332346 Category : Languages : en Pages : 96
Book Description
Robben Ford's Urban Blues Guitar Revolution teaches you the rhythm and soloing language of authentic blues guitar, chord by chord, lick by lick, then takes you on a journey through increasingly more modern ideas.
Author: Stuart L. Goosman Publisher: University of Pennsylvania Press ISBN: 081220204X Category : Music Languages : en Pages : 306
Book Description
In 1948, the Orioles, a Baltimore-based vocal group, recorded "It's Too Soon to Know." Combining the sound of Tin Pan Alley with gospel and blues sensibilities, the Orioles saw their first hit reach #13 on the pop charts, thus introducing the nation to vocal rhythm & blues and paving the way for the most successful groups of the 1950s. In the first scholarly treatment of this influential musical genre, Stuart Goosman chronicles the Orioles' story and that of myriad other black vocal groups in the postwar period. A few, like the Orioles, Cardinals, and Swallows from Baltimore and the Clovers from Washington, D.C., established the popularity of vocal rhythm & blues nationally. Dozens of other well-known groups (and hundreds of unknown ones) across the country cut records and performed until about 1960. Record companies initially marketed this music as rhythm & blues; today, group harmony continues to resonate for some as "doo-wop." Focusing in particular on Baltimore and Washington and drawing significantly from oral histories, Group Harmony details the emergence of vocal rhythm & blues groups from black urban neighborhoods. Group harmony was a source of empowerment for young singers, for it provided them with a means of expression and some aspect of control over their lives where there were limited alternatives. Through group harmony, young black males celebrated and musically confounded, when they could not overcome, complex issues of race, separatism, and assimilation during the postwar period. Group harmony also became a significant resource for the popular music industry. Goosman interviews dozens of performers, deejays, and industry professionals to examine the entrepreneurial promise of midcentury popular music and chronicle the convergence of music, place, and business, including the business of records, radio, promotion, and song writing. Featured in the book's account of the black urban roots of rhythm & blues are the recollections of singers from groups such as the Cardinals, Clovers, Dunbar Four, Four Bars of Rhythm, Five Blue Notes, Hi Fis, Plants, Swallows, and many others, including Jimmy McPhail, a well-known Washington vocalist; Deborah Chessler, the manager and songwriter for the original Orioles; Jesse Stone, the writer and arranger from Atlantic Records; Washington radio personality Jackson Lowe; and seminal black deejays Al ("Big Boy") Jefferson, Maurice ("Hot Rod") Hulbert, and Tex Gathings.
Author: David Grazian Publisher: University of Chicago Press ISBN: 9780226305899 Category : Art Languages : en Pages : 332
Book Description
The club is run-down and dimly lit. Onstage, a black singer croons and weeps of heartbreak, fighting back the tears. Wisps of smoke curl through the beam of a single spotlight illuminating the performer. For any music lover, that image captures the essence of an authentic experience of the blues. In Blue Chicago, David Grazian takes us inside the world of contemporary urban blues clubs to uncover how such images are manufactured and sold to music fans and audiences. Drawing on countless nights in dozens of blues clubs throughout Chicago, Grazian shows how this quest for authenticity has transformed the very shape of the blues experience. He explores the ways in which professional and amateur musicians, club owners, and city boosters define authenticity and dish it out to tourists and bar regulars. He also tracks the changing relations between race and the blues over the past several decades, including the increased frustrations of black musicians forced to slog through the same set of overplayed blues standards for mainly white audiences night after night. In the end, Grazian finds that authenticity lies in the eye of the beholder: a nocturnal fantasy to some, an essential way of life to others, and a frustrating burden to the rest. From B.L.U.E.S. and the Checkerboard Lounge to the Chicago Blues Festival itself, Grazian's gritty and often sobering tour in Blue Chicago shows us not what the blues is all about, but why we care so much about that question.
Author: Lars Nemeth Publisher: GRIN Verlag ISBN: 3638466302 Category : Literary Collections Languages : en Pages : 23
Book Description
Seminar paper from the year 2005 in the subject American Studies - Culture and Applied Geography, grade: 2, Carl von Ossietzky University of Oldenburg (Anglistik), course: The Afro - American Blues, language: English, abstract: The Urban Blues is a form of blues music that developed in the big cities in the U.S.. The one city that dominated this development is Chicago. That is why, often the Chicago Blues is meant when talking about Urban Blues. There is probably no other blues style with such a high quality of recognition considering form, feeling and sound like the Chicago Blues. It is based on the rough and direct Delta Blues which came in contact with urban life. Besides, Urban Blues is the first blues style that reached a mass audience. Not just in the bigger cities of the U.S. but also worldwide. One of the most popular musicians of those days is a man called Muddy Waters. He helped to transform a style and technique which guided bluesmusic into a new dimension. He adopted the rural delta blues sound and combined with the feeling of the new living conditions of the Afro Americans. But the urban blues became more popular, left the black quarters and ghettos and was absorbed by the mainstream very soon. Urban blues, released from the subcultural status, a white mass audience and economy started to control the buisness. In the mid fifties the blues hybrid Rock`n Roll took over public attention and Blues and Rock `n Roll were delivered from the Afro American identity. At the end of this development there was a huge lack of authenticity for ‘black’ audience although it once was the Afro-American culture through which they expressed themselves. Consequently most parts of the afro american audience disappeared and started searching for a new musical home. I will try to work out the development from the Urban Blues as an Afro-American identification and its rise until the downfall and alienation for the ‘black’ audience. I will proof this development by the example of the live and career of Muddy Waters and his record company Chess. His roots in the Mississippi Delta Blues, his reputation as one of the heads in Urban Chicago Blues and how he lost his native base and audience. Why did the Afro-Americans turn away from the blues? Why did they leave their cultural roots and where did they arrive, where did the Afro-American culture find their new home? First of all I will concentrate on the demographic, social and cultural changes the Afro American population caused to move in the big cities and how their life and living conditions changed. There were three social changes taking place in the first half of the twentieth century that led to urban blues.
Author: Don Michael Randel Publisher: Harvard University Press ISBN: 9780674011632 Category : Music Languages : en Pages : 1020
Book Description
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.
Author: The New York Times Publisher: Macmillan ISBN: 9780312376598 Category : Reference Languages : en Pages : 1340
Book Description
Introducing a comprehensive update and complete revision of the authoritative reference work from the award-winning daily paper, this one-volume reference book informs, educates, and clarifies answers to hundreds of topics.
Author: Reiland Rabaka Publisher: Lexington Books ISBN: 1498531792 Category : Social Science Languages : en Pages : 273
Book Description
While there have been a number of studies that have explored African American “movement culture” and African American “movement politics,” rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American “movement music,” and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. “Movement music” experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages—some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.
Author: Charles Keil
Author: Charles Keil
Author: Wiley A. Hall
Author: Robben Ford
Author: Stuart L. Goosman
Author: David Grazian
Author: Lars Nemeth
Author: Iain Chambers
Author: Don Michael Randel
Author: The New York Times
Author: Reiland Rabaka