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Blues People: Negro Music in White America

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I have to admit that my ignorance of jazz and jazz players meant some of this book was lost on me. I understood the points Baraka made but it would have communicated more if I was familiar with the recordings he referenced. Storytelling was the primary means of education within the slave community, and folk tales were a popular and useful means of passing down wisdom, virtues, and so on from the elders to the youth. These folk tales also became integrated into their music and American culture, and later began to appear in the lyrics of blues songs. Moore, Allan F. (2002). The Cambridge Companion to Blues and Gospel Music. Cambridge University Press. p. 32. ISBN 978-0-521-00107-6. Dicaire, David (1999). Blues Singers: Biographies of 50 Legendary Artists of the Early 20th Century. McFarland. ISBN 978-0-7864-0606-7. For the blues are not primarily concerned with civil rights or obvious political protest; they are an art form and thus a transcendence of those conditions created within the Negro community by the denial of social justice. As such they are one of the techniques through which Negroes have survived and kept their courage during that long period when many whites assumed, as some still assume, they were afraid.

Reverend Gary Davis". 2009. Archived from the original on February 12, 2009 . Retrieved February 3, 2009. Oliver, Paul (1984). Blues Off the Record:Thirty Years of Blues Commentary. New York: Da Capo Press. pp. 45–47. ISBN 978-0-306-80321-5. After the assassination of Malcolm X (1965), Jones left his wife and their two children and moved to Harlem. His controversial revolutionary and then antisemitic. A Jazz Improvisation Almanac, Outside Shore Music Online School". Archived from the original on September 11, 2012.Poems and plays, such as Dutchman (1964), of American writer Amiri Baraka originally Everett LeRoi Jones focus on racial conflict. This book should be taken as a strictly theoretical endeavor. Theoretical, in that none of the questions it poses can be said to have been answered definitively or for all time, etc. In fact, the book proposes more questions than it will answer." ~ Amiri Baraka from the Introduction to "Blues People"

Keil, Charles (1991) [1966]. Urban Blues. Chicago: University of Chicago Press. ISBN 978-0-226-42960-1. Early music p23>> A song whilst song on the corn fields- ‘five can’t ketch me and ten can’t Lead Belly Foundation". Archived from the original on January 23, 2010 . Retrieved September 26, 2008. Early country bluesmen such as Skip James, Charley Patton, Georgia Tom Dorsey played country and urban blues and had influences from spiritual singing. Dorsey helped to popularize Gospel music. [130] Gospel music developed in the 1930s, with the Golden Gate Quartet. In the 1950s, soul music by Sam Cooke, Ray Charles and James Brown used gospel and blues music elements. In the 1960s and 1970s, gospel and blues were merged in soul blues music. Funk music of the 1970s was influenced by soul; funk can be seen as an antecedent of hip-hop and contemporary R&B. a strictly theoretical endeavor. Theoretical, in that none of the questions it poses can be said to have been answered definitively or for all time, (sic!) etc. In fact, the whole book proposes more questions than it will answer. The only questions it will properly move to answer have, I think, been answered already within the patterns of American life. We need only give these patterns serious scrutiny and draw certain permissible conclusions.Brozman, Bob (2002). "The Evolution of the 12-Bar Blues Progression". Archived from the original on May 25, 2010 . Retrieved May 2, 2009. It is a useful warning and one hopes that it will be regarded by those jazz publicists who have the quite irresponsible habit of sweeping up any novel pronouncement written about jazz and slapping it upon the first available record liner as the latest insight into the mysteries of American Negro expression. Not everyone was convinced. In his 1964 book of essays Shadow and Act, novelist Ralph Ellison wrote that "[t]he tremendous burden of sociology, which Jones would place upon this body of music, is enough to give even the blues the blues." The idea of a white blues singer seems an even more violent contradiction of terms than the idea of a middle-class blues singer. The materials of blues were not available to the white American, even though some strange circumstance might prompt him to look for them. It was as if these materials were secret and obscure, and blues a kind of ethno-historic rite as basic as blood."

Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. [20] Tampa Red and Georgia Tom's " It's Tight Like That" (1928) [21] is a sly wordplay with the double meaning of being " tight" with someone, coupled with a more salacious physical familiarity. Blues songs with sexually explicit lyrics were known as dirty blues. The lyrical content became slightly simpler in postwar blues, which tended to focus on relationship woes or sexual worries. Lyrical themes that frequently appeared in prewar blues, such as economic depression, farming, devils, gambling, magic, floods and drought, were less common in postwar blues. [22] A hugely important yet undervalued figure, Patterson was cutting blues records with bandleader, and eventual husband, Chris Barber when British kids were still listening to skiffle. For a fuller account of Patterson’s life and career, read William Stout’s tribute and portrait of the Northern Irish singer. a b Devi, Debra (2013). "Why Is the Blues Called the 'Blues'?" Huffington Post, 4 January 2013. Retrieved November 15, 2015.

Early traditional blues verses often consisted of a single line repeated four times. However, the most common structure of blues lyrics today was established in the first few decades of the 20th century, known as the "AAB" pattern. This structure consists of a line sung over the first four bars, its repetition over the next four, and a longer concluding line over the last bars. [12] This pattern can be heard in some of the first published blues songs, such as " Dallas Blues" (1912) and " Saint Louis Blues" (1914). According to W.C. Handy, the "AAB" pattern was adopted to avoid the monotony of lines repeated three times. [13] The lyrics are often sung in a rhythmic talk style rather than a melody, resembling a form of talking blues. The basic 12-bar lyric framework of many blues compositions is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12-bar scheme. They are labeled by Roman numbers referring to the degrees of the progression. For instance, for a blues in the key of C, C is the tonic chord (I) and F is the subdominant (IV). Intro- LeRoi Jones states that: ‘the path the slave took to ‘citizenship’ is what I want to look at. And I Oliver, Paul; Wright, Richard (1990). Blues Fell This Morning: Meaning in the Blues. Cambridge University Press. ISBN 978-0-521-37793-5. The 1999 reprint begins with a reminiscence by the author, then aged 65, titled " Blues People: Looking Both Ways", in which he credits the poet and English teacher Sterling Brown with having inspired both him and his contemporary A. B. Spellman. Baraka does not here discuss the impact his book has had.

Little Walter, Sonny Boy Williamson (Rice Miller) and Sonny Terry are well known harmonica (called " harp" by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were known for their deep, "gravelly" voices.

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Comentale, Edward (2013). Sweet Air. Chicago, Illinois: University of Illinois Press. p.31. ISBN 978-0-252-07892-7. Perhaps this explains why Jones, who is also a poet and editor of a poetry magazine, gives little attention to the blues as lyric, as a form of poetry. He appears to be attracted to the blues for what he believes they tell us of the sociology of Negro American identity and attitude. Thus, after beginning with the circumstances in which he sees their origin, he concludes by questioning what he considers the ultimate values of American society: Blues people is not only a fresh, incisively instructive reinterpretation of Negro music in America, but it is also crucially relevant to Negro-white relationship today." Sylviane A. Diouf, "What Islam Gave the Blues", Renovatio, June 17, 2019. Retrieved August 17, 2023

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