Jump Blues and Chicago Blues Musical Analysis
Jump Blues and Chicago Blues are derivatives of Blues music that arrived in the 1940’s although they arguably reached their peak in the 1950’s. Being Blues genres they both have similarities that tie themselves together such as time signature, chord and song structure but there are differences in tempo, lyrical content and instrumentation that set them apart.
The song ‘Enjoy Yourself’ by Louis Prima has a tempo of 109 BPM which is typically fast for Blues music but is stylistically representative of the faster paced and upbeat
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The electric guitar is front and center throughout the entirety of the song, playing the main harmony. The guitar is heavily accented on the last note of the chord and played with finger vibrato thus giving it a very resonant and bright sound. In the later verse and refrains of the song, a second guitar is much more noticeable and plays polyphonically with the lead …show more content…
Jump Blues is characterized by optimistic, humorous and lively lyrics and this type of lyricism is strongly represented in Enjoy Yourself. The main hook of the song ‘enjoy yourself, it’s later than you think’ alongside lyrics such as ‘how far can you travel when you’re six feet underground’ is trying to reason with the listener to not get caught up in things like just working to make money and being trapped in serious matters and that they should consider having some fun and enjoying life. Another point of difference when compared to Manish Boy is that the songs lyrics are borderline shouted during the refrains, this is another common trait with Jump Blues due to the additional instrumentation. On top of this, backup vocalists sing the ‘enjoy yourself, it’s later than you think’ lyrics during the refrain. Additionally there are also spoken parts in the song with Louis Prima and a female vocalist. The female vocalist also sings a verse and later joins alongside Louis Prima to sing the vocals in the refrain.
Dippermouth Blues" is a song first recorded by King Oliver's Creole Jazz Band for Gennett Records in April 1923. The song is a strong example of the influence of the blues on early jazz. There is a twelve-bar blues harmonic progression, with frequent bent notes and slides into notes. Personnel’s are King Oliver, Louis Armstrong, cornets Honore Dutrey, trombone Johnny Dodds, clarinet Lil Hardin Armstrong, piano Bill Johnson, banjo Baby Dodds, drums. The ensemble it starts it rolling in New Orleans Collective improvisation. All the player play their parts and play together both the trumpet and the trombone are muted, and the rhythm is carried by the banjo, with the clarinet in the registers. The second chorus also collective improvisation both
Sonny’s Blues By James Baldwin Sonny’s Blues the author is presenting the past from the perspective of the present in order to understand his own feelings concerning the role of a father. The two brothers in the story had different life choices. Both Sonny and the narrator have found their own mode of escaping the violence and harshness of the ghetto, different though those modes might be. After the death of the mother the narrator feels he is his brother’s keeper, because of the promise he made to the mother. He is not exactly happy about it and especially Sonny’s life style. Nevertheless, this is his only brother and he made a promise not to turn his back on him. Sonny was more like his uncle a music lover. Before the mother died she told him about his father and the pain he went through after the death of his brother. His father’s brother was a music lover and somewhat like Sonny. So, by telling this story it would help the narrator to understand Sonny. Now he knows a little about his family background and roots. At the end the narrator was finally able to see and understand what music did for Sonny; it allow him to be himself and express himself to other. Explore the implications of the allusion to the Book of Isaiah 51:17-23 in the concluding sentence. What has the narrator learned as the result of his experience? All of the desolation, destruction, famine, sword things that we (the narrator) go through in this life, are learned through other who have shared these same experiences. Our oppressor (Satan spiritually, mankind physically) causes a trembling in our lives; but just like Jerusalem, who was and still is oppressed; God has already taken our “cup of trembling”. We are delivered through the sharing of our experiences with one another, freeing ourselves from one who causes the trembling.
Like mentioned before, blues did evolve around early jazz in which it from bands and gospel choirs. Also, when the bands of country blues moved around to different cities, it took on very different characteristics. Blues started spreading everywhere, are there were different kinds of blues in which many people inhabited. There was Memphis blues, St. Louis blues, and the Louisiana blues, in which many people took on different styles of the blues. This shows that the style of blues had peregrinated to all over the United
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.
Thesis Statement: Men and women were in different social classes, women were expected to be in charge of running the household, the hardships of motherhood.
Musicologists have dated the ‘birth’ of blues to be around 1890 as a West African tradition involving blue indigo in which mourners at ceremonies would wear blue dyed attires to resemble their suffering . Although, blues derived from times of slavery, the Prohibition Era (1920’s), World War Two (1939-1945), and during the Vietnam War (predominantly 1960’s to 1970’s), it has been a continuously evolved form of music in America, in which the similarities have always remained; melancholy and protest.
Music of the 1950’s went through three different fazes making it the mark of the century when it came to genres that were influenced by many individual record labels. Out of the many artists that contributed; one stood out. Elvis Presley, the international speaker and song writer, promoted the early pop era into becoming a world mainstream according to Rolling Stones Magazine. Presley’s famous recordings, crazy dance moves, positive attitude, and sense of style earned him the number one best singer in the 20th century state by BBC radio. His music was greatly influenced by African American Blues, Christian Gospels, and Southern Country singers. By the way he lived his life
Play a popular grunge song such as Nirvana’s “Smells Like Teen Spirit” next to a classic Delta blues song like “Rollin’ And Tumblin’” by Muddy Waters and disregard the lyrics and you will hear two types of music that seem to be polar opposites. Grunge has a harsh, loud, almost obnoxious sound with heavy distortion on the instruments and the lead singer is usually screaming into the microphone. The Delta Blues on the other hand has a softer more melodic folksy sound that uses basic instruments and the vocals are relaxed. At first glance, or listen rather, there seems to be nothing that these two genres have in common. Having been born and raised in the Seattle area I am well acquainted with grunge music and grunge culture. Although I was born in ’96, which was a couple years after the height of grunge, I can still see the after effects of this music and can even still hear it on the radio. However in regards to the Delta blues, I have absolutely no exposure. This music was well before my time and I have never been any where near the south. What little I did know about the blues certainly did not strike me as being similar to grunge. That is until further research and analysis on the topics caused me to change my opinion. Although from different times and ethnic groups, the culture that formed these musical groups, the popularization and demise of the genres, and the message that the music from these genres bring share striking similarities.
“My Papa 's Waltz”, by Theodore Roethke shows how important a young boys connection to his father really is. Every image in this poem shows overwhelming joy for the boy, whether it be spending time with the father or a late night wrestling session with each other. “Sonny’s blues”, by James Baldwin shows an untold brotherly love throughout each others lives. No matter how difficult the situation may be or how many fights they have, at the end of the day they both truly care about each other. The similarities with their love on both stories show that they always hang onto each other through thick and thin, both showing they cannot live in this world without each other. The differences with love on each other’s story shows a father-and-son bond,
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
The main influence of blues music was African music which has a strong and steady beat using drums or other instruments. Its beat and singing showed in the blues. Work songs and field hollers were an influence on blues. They were mostly made up as the musicians were singing.
Jazz is the best-known artistic creation of the Harlem Renaissance. “Jazz is the only pure American creation, which shortly after its birth, became America’s most important cultural export”(Ostendorf, 165). It evolved from the blues. In the formally standardized, instrumentally accompanied form of “city blues”(as opposed to the formally unstandardized and earlier “country blues”), the blues was to become one of the two major foundations of 1920s jazz (the other being rags). City blues tended to be strophic songs with a text typically based on two-line strophes (but with the first line of each strophe’s text repeated, AAB) and a standard succession of harmonies underlying each strophe’s melody.... ...
There are numerous aspects to the writer Beverly Daniel Tatum. She has written a few books over the years like Assimilation Blues: Black families in a White Community and Can we talk about race? She was born on September 27, 1954 in Tallahassee, Florida with both parents. Later Tatum would go on to receive her B.A degree in psychology from Wesleyan University in 1975. She attended the University of Michigan, Ann Arbor and received her M.A. degree in clinical psychology. Tatum would eventually achieve her PhD in clinical psychology in 1984. She would begin her career in higher education as lecturer in the subject of Black Studies at the University of California. Over the years Tatum would teach as several schools including Westfield State and
The soft strokes of the guitar set a mood off sheer relaxation and euphoria. The songs slow flowing sound and constant low and slow tempo lets the beat almost sedate the ears of the listener. Throughout the entire song the intensity of the music never became loud or bold enough to wake a baby that was sleeping in the arms of her father just inches away from an amplifier. This song was similar to the first performed by Real Jazz. The slow soft beat introduced all instruments calmly set a mood romantic mood that was enhanced by the lighting above the patio along with the moonlight shining down on to the guests and the band. However unlike Dindi, Song1 developed into a progressively faster song. This was done by the drummer speeding up the beats and the intensity of the performers increasing, thus making the music louder. Randy Freeman did however speed up the tempo with his last song Sunny by Bobby Hebb. Throughout the song i was able to sense some extra improvisation put into the music, this for me increased the intensity partially because i was sitting so close to Randy and i was able to see how rapidly his fingers were moving throughout calm parts of the song. The mood changed at that moment and the focus of the individuals in the patio shifted to the area where Randy was sitting. A similar instance of the shift in focus occurred when the song “Make you another” was performed by Real Jazz. The previous song had ended on a somber slow note. Thus the band picked up a slow piano tune that introduced the drums by means of slowly intensifying the symbols. The predominant piano kept a somber sad but romantic mood in the air. However when the saxophone solo came in discretely and softly along with the subtle high strings of the guitar. The saxophone overpowered all when it came in with is sweeping tune. People in the audience began to whistle and clap while
Then once the chorus come on it gets more exciting in a more upbeat jumpy beat. It sounds as if someone is clapping or singing in the background. This is a song that I could see people listening to and also being able to dance too because the chorus is catchy with bouncy, driving beats. “Bounce back bounce back b-bounce back, I'm about bounce back bounce b-bounce back,” is the chorus to this magnificent piece. I think he’s trying to say that if a struggle arises he’s going to bounce back from it in a way that it shows perseverance through all the hard elements that surrounded him on a daily