Monday, November 23, 2015

S&P Show and Song Night

Headin' down that long dusty road...!
















S&P Show and Song Night
potluck and song night
thursday december 3
plan to pin-up between 5pm and 6pm-- we'll open the show and have a toast at 6pm!
invite all your friends--especially friends that will enjoy singing

IT"S IMPORTANT THAT EVERYONE HAVE THEIR WORK UP BEFORE 6PM.

*  wine-- Tony
*  cups, plates, utensils-- Tony
*  food-- potluck  (______ will organize email list and keep tabs with you)
CAN SOMEONE VOLUNTEER TO ORGANIZE THE POTLUCK (that is, contact the group so that everyone knows who's bringing what... I can provide list of everyone's email address.)
Tony will fill in with some chips and dips, but the party works best if everyone can bring something potluck...!

* song sheets (and instruments)--Tony will bring kazoos
* invite friends who will enjoy doing the songs with us. that's the focus of the evening (along with some good food and libation!) It works best when the guests are into the music!!!

* work--
bring several of your favorite projects--this is a "look-back" over the semester
give some thought to layout ahead of time so that you come ready to pin up.
class has 14 people with visual work--there are 14 panels, plus free-standing panels and south wall. that should be plenty of space.
I've asked Jeff Allen to stop in and help arrange the lights for even coverage of the walls

if you need stands, pedestals, etc. see Jeff Allen in 103 BEFORE thursday evening

* evaluations--Lida, Kiare, Hannah and Thomas-- Laila has forms for you--please be sure to fill them out during the show evening!

Digital Notebooks. I'll want you to finish them up--you can re-work any "done too quick" posts--remember, the blogs are public--and your work reflects the class as a whole! Good writing and good photos! 

Plus a summary post--your reflections on the class. I'll want you to conclude your notebook by writing something about Songs & Places--what the course (the songs, the places, the history, the stories) meant to you--how you feel you engaged them, how they changed you (or did you change them?) and maybe where they'll take you as we all "head down this long dusty road..."

Use the summary post as an opportunity to make your own sense of where we've been this semester--to put it into perspective! Due date: Tuesday, December 15.  If you finish your notebook earlier, please send me an email so that I'll know it's ready for me to review.

Monday, November 9, 2015

Week 13: CITY BLUES: Chicago


Junior Wells performing at Theresa's Lounge (Marc PoKempener photo)



















Key CHICAGO BLUES people include Muddy Waters (who arrived in Chicago in the 1940s), Howlin' Wolf, and John Lee Hooker (Hooker is associated with Detroit, but like Muddy Waters, was born in the South). And Willie Dixon, Little Walter, Magic Sam, Otis Rush, Buddy Guy, Johnny Shines... Otis Spann, Junior Wells plus many many more... It's important that you understand the dynamic between the two regions--the Mississippi Delta (Country Blues in general) and Chicago (Urban Blues in general)--and why the music sounds the way it does.

A rainy night outside Theresa's, MPK photo (late 1960s)




















The important theme to concentrate on is this Mississippi-Chicago axis. (See Robert Palmer's book, Deep Blues.) Many of the "city" players had their start in the south (Muddy Waters and Howlin' Wolf, for eample.) They took their downhome music north. Sometimes it worked the other way around. Johnny Shines, the Chicago blues artist  (who as a young man was influenced by and had traveled and played with Robert Johnson) is included here on a track called Too Wet To Plow--recorded later in his life, but at the same time a beautiful return to his southern roots.

Here's where it all started: 

Muddy Waters: Feel Like Goin' Home (Aristocrat, 1946)

Muddy Waters, Chicago,  late1940s



























Reading.  Last week's reading continued to apply. And again, for a very different view of music made by Black Americans, see Albert Murray's Stomping the Blues (which treats a much wider musical panorama, with attendant ideas as to how we should understand "the blues..."). Alternatively, make use of the week to do some online research into the bios of Chicago blues people--Muddy Waters, Howlin' Wolf, Little Walter, and the rest.

Download (same as last week):  https://berkeley.box.com/s/gwamo1pfjmeelmauzkm
Last week's download includes songs for both weeks 11 and 12. Here are the tracks especially for this week:

CHICAGO
Long Distance Call    Muddy Waters   (1913-1983)
Rollin' & Tumblin', Part Part 1   Muddy Waters
Honey Bee    Muddy Waters
Blues With A Feeling   Little Walter   (1930-1968)
Too Wet To Plow   Johnny Shines   (1915-1992)
I'm The Wolf    Howlin' Wolf   (1910-1976)
The Red Rooster (With False Start And Dialogue) Howlin' Wolf & English Rock musicians Eric Clapton, Steve Winwood, Bill Wyman, Charlie Watts)

Theresa's Lounge, Lost & Found, MPK photo






















You can also refer back these selections mentioned in last week's post:

How Long, How Long Blues  Leroy Carr (1905-1935)  (Nashville, originally)
Jet Black Snake    Roosevelt Sykes   (1906-1983)
Hoodoo Lady    Memphis Minnie   (1897-1983)
Black Snake Blues    Victoria Spivey   (1906-1976)

and these two more recent tracks:

J.T. Blues   Big Joe Turner   (1911-1985)  (Kansas City "blues shouter")
Sad Street    Bobby "Blue" Bland   (b. 1930)  (Memphis, originally)

Chicago, MPK photo


There are myriad blues styles and blues players. Concentrate on Muddy Waters and Howlin' Wolf--then move on to some of the other tracks (Roosevelt Sykes, Victoria Spivey).

Also included, back-to-back, Joe Turner, originally a "blues shouter" from Kansas City, in a late-great performance (J.T. Blues)--and (also wonderful)  Bobby "Blue" Bland singing Sad Streets...


Big Joe Turner (Kansas City)






















Plus one track from The Wild Tchoupitoulas (pure New Orleans), one from Sleepy LaBeef (of rockabilly fame), and one from the immensely curious (and powerful) Bahamian player, Joseph Spence. But Joseph Spence's music would be another story in itself...

There's also a good back-and-forth between traditional black blues musician Howlin' Wolf and a group of young English blues players. (Howlin' Wolf is basically teaching them how to play Little Red Rooster.)  I included this as a track on your download under Little Red Rooster.

Howlin' Wolf at Silvio's, Chicago (Hubert Sumlin on lead guitar, next to drummer)



















Another cut on your download, Too Wet To Plow, by Johnny Shines--a beautiful song by a southern blues musician--Johnny Shines--who moved to Chicago to make his career, but later in life again recorded some of the Mississippi Blues songs he knew from his youth. Johnny Shines as a young man traveled with Robert Johnson--and learned his style. You'll hear it in the way he plays the song, recorded decades later.

Johnny Shines, Too Wet to Plow













Hey, there are many many good traditional blues players. The download gives you a mini cross section. But here I kept the list here simple so that you could concentrate on the Mississippi Delta / Chicago (rural blue/city blues) dynamic. Which is also an acoustic instrument/electric instrument dynamic.


Muddy Waters, 1960s























Some related YouTubes with video:

MUDDY WATERS -hoochie coochie man (1960) - YouTube 

Week 12: COUNTRY BLUES-The Mississippi Delta


Son House









































Reading: Leroy Jones: Blues People Negro Music in America. Reader pps. 117-146. Reread this again to see how your understanding has changed. It's an important book. New reading: Blues from the Delta. William Ferris, Reader pps. 147-164. Two other books also apply, both in UC  Library: Mary Beth Hamilton, In Search of the Blues  (2008), and the classic, Robert Palmer, Deep Blues (1982). Also--John Swed covers Alan Lomax's blues fieldwork extensively at  various points in his biography. (See Son House references in his index, especially p. 192-3. In the iDocs link, this material starts on iDocs p. 142 and runs through 146, with references to Son House, early Muddy Waters in Clarksdale, Mississippi and Blues as part of the American folk panorama. http://www.idoc.co/read/45760/alan-lomax-john-szwed/1 ) One of Lomax's later books is The Land Where the Blues Began. For a very different view on this theme of Blues, read Albert Murray's Stomping the Blues (1972).


Songs (in your tan songset, and on the original S&P CD): 
Corrina, Corrina
Careless Love
Sweet Home  Chicago (great song--but it's not really a sing-along)

Download:  https://berkeley.box.com/s/gwamo1pfjmeelmauzkm

For the next two weeks we'll do the Blues. For Week 12, concentrate on Delta Blues--and Country Blues in general. For Week 13, concentrate on Chicago and the city blues tradition.

It's a very broad topic--but generally speaking...

You can think of the Blues in terms of it's rural origins, in the early 1900s--from the Mississippi Delta and elsewhere in the South--East Texas, for example. There's also the Piedmont blues from the Carolinas, and blues styles from places like Memphis, Kansas City, St. Louis. Gradually the music was carried up the Mississippi River and by rail  to Chicago--where city blues took off. This shift followed emigration patterns--black southerners moving to northern cities for work beginning in the period of  WWI. Chicago blues came into its own during WWII and the post-war years. A very good book on this topic is Robert Palmer's Deep Blues. Note that the terms Country Blues, Delta Blues and Downhome Blues are used somewhat interchangeably.

Skip James























Key DELTA BLUES people include Charley Patton, Son House, Skip James, and slightly later, Robert Johnson, and Muddy Waters (in his very early years)--along with MANY others... Mississippi John Hurt is sometimes called a blues player (and he did record some key blues songs--his version of Stagger Lee is classic) but in many ways MJH represents an earlier Songster era. There's also the important early Texas blues player Blind Lemon Jefferson, whose recordings in the 1920s became widely popular. Other Texas players, from the next generation include Lighting Hopkins and Mance Lipscomb. And not to forget the early players Memphis Minnie... and singer Victoria Spivey. (Later came Sister Rosetta Tharpe and Big Mama Thornton...)

Note that the Delta Blues/Country Blues are very different from recordings by Bessie Smith, Ma Rainey, Ida Cox and others--primarily women, whose songs were performed with jazz band accompaniment and in many ways represent an extension of the vaudeville tradition. (Think about why women blues singers were cast in this light.) Country Blues emphasizes the solo voice with a solo acoustic guitar. The two answer each other--and the power of the music comes from this. (Listen to Charley Patton, Son House,  Skip James, Robert Johnson...) The Delta style is unique in the way the guitar is linked to the voice...always expressive, always from within...

Robert Johnson (recently discovered photo)





















When southern blacks began moving north--first to places like Memphis and St. Louis, then to Chicago and Detroit, what was in essence a rural (and acoustic) music took on the attributes of the city--amplifiers, for one. Muddy Waters is key here. (We'll concentrate on Chicago  next week.)

Here are the tracks on your download that correspond to the Country and Delta Blues:

DELTA BLUES
34 Blues     Charley Patton  (1887?-1934)
Lonesome Road Blues    Sam Collins (1887-1949)
Cross Road Blues    Robert Johnson  (1911-1938)
Come On In My Kitchen    Robert Johnson
Milkcow's Calf Blues    Robert Johnson
I'm So Glad   Skip James  (1902-1969)
Hard Time Killin' Floor Blues   Skip James
Parchman Farm Blues    Bukka White  (1909-1977)

And some related early recordings, also on your download (moving beyond Delta Blues):

How Long, How Long Blues  Leroy Carr (1905-1935)  (Nashville, originally, and a smoother stylist)
The World Is Going Wrong   Mississippi Sheiks  (recorded 1930's)
Jet Black Snake    Roosevelt Sykes   (1906-1983)
Hoodoo Lady    Memphis Minnie   (1897-1983)
Caught Me Wrong Again   Memphis Minnie
Black Snake Blues    Victoria Spivey   (1906-1976)

Memphis Minnie


Here are some key YouTube recordings for the Country Blues /Delta Blues tradition. Some include film/video (made in more recent years, obviously, mostly from the 1960s).

YouTube - Charley Patton - Spoonful Blues (Delta Blues 1929) (audio only)
'Some These Days I'll Be Gone' CHARLEY PATTON, 1929 Delta Blues Guitar Legend (audio) 

▶ Son House - Field Recordings 1941 & 1942 - YouTube (Delta Blues, audio only)
▶ Son House "Death Letter Blues" - YouTube  (video of Son House performing, 1960's)

Skip James -- "Devil Got My Woman" by Skip James - YouTube  (video early 1960's)
YouTube - Skip James sings "Crow Jane"

Blind Lemon Jefferson, record advertisement















▶ Black Snake Moan - Blind Lemon Jefferson - YouTube (very early Texas Blues, audio)

▶ Lightin' Hopkins - YouTube  (Texas Blues, next generation--video, 1960's)
And another classic Lighting Hopkins recording -- Trouble in Mind (audio only):
Lightnin Hopkins ~ Trouble in mind - YouTube

▶ Mance Lipscomb - Jack of Spades - YouTube (Mance Lipscomb playing Texas blues, video. Originally a Blind Lemon Jefferson song.)
Mance Lipscomb - Motherless Children - YouTube (from the Les Blank film, 1972, a beautiful video clip.) Compare Mance Lipscomb and Lightnin' Hopkins as personalities...

and finally, a very early Muddy Waters audio recording, from his Mississippi beginning's (this from Alan Lomax fieldwork):
McKinley Morganfield - Burr Clover Farm Blues - YouTube


The young Muddy Waters, in Mississippi





















 Next week--we'll follow Muddy Waters north, to Chicago and City Blues...


Thursday, November 5, 2015

Week 11: WOODY GUTHRIE







































DOWNLOAD: Woody Guthrie on BOX: https://berkeley.box.com/s/ivaxn1cuzyz6y23xra0m


READING: We can pick up again with the READER--there's a chapter included from Woody Guthrie's autobiography--Bound for Glory (pps. 57-91, with a good introduction by Studs Terkel). With drtawings by Woody Guthrie. Also see the section on his life, which starts on Reader p. 244. It's from Phil Hood, Artists of American Folk Music.  (There are other good sections from that book--on Pete Seeger, John Lomax, Odetta Carter Family, Elizabeth Cotten... I've included some of these in the Reader as well.)

Bound for Glory, cover, 1943






















Also: Read this key chapter in John Szwed (Alan Lomax bio): Bohemian Folklorist (exploring the question of folksongs in the city), pps.141-167, particularly the section on Woody Guthrie in New York, pps. 157-167.  Posted on iDocs:   http://www.idoc.co/read/45760/alan-lomax-john-szwed/1  Note that in the iDocs version, Chapter 7 (Bohemian Folklorist) starts on iDoc p. 112; the last pages of that chapter focus on Alan Lomax and Woody Guthrie.

SONGS: Here are the main songs for this week (all in your tan songsheets). They're ALL good songs to sing...

This Land Is Your Land  (also--compare the way Dylan recorded it early on, included in YouTube section, below)
Roll on Columbia
Blowin' Down the Road
we can also do
Do Re Mi
So Long It's Been Good to Know You (Dusty Old Dust)


Here are the (supplemental) titles on your Woody Guthrie download. I included some of his Dust Bowl ballads, (The Great Dust Storm, Tom Joad)  a "talking blues," his high-spirited version of Go Tell Aunt Rhody, some topical songs (Philadelphia Lawyer, Lindberg, and Jarama Valley) plus several other--to give you a good taste. There's of course lots more on YouTube, but this is a start (and the sound will be better...)

The Great Dust Storm (Dust Storm Disaster)
John Henry
Talking Dust Bowl Blues
Dusty Old Dust (So Long, It's Been Good To Know You)
Go Tell Aunt Rhody
Dust Bowl Blues
Blowin' Down The Road (I Ain't Going To Be Treated This Way)
Lindbergh
Tom Joad - Part I
Pastures Of Plenty
Tom Joad - Part II
Do Re Mi
Dust Bowl Refugee
Philadelphia Lawyer
Gypsy Davy
Hobo's Lullaby
Roll On Columbia
Jarama Valley
This Land Is Your Land
When That Great Ship Went Down
Long John



Woody Guthrie, Alan Lomax,and friends, New York, early 1940s






















YOUTUBE:
There are a number of great YouTube things as well. The first with Woody Guthrie live in an old film clip. These film clips of him are apparently rare. Can you find better? The first two are for LOOKING (so watch them carefully!!!); the next three, for listening:

http://www.youtube.com/watch?v=G5NJKx8ObDY
Woody Guthrie performing, film fragment

http://www.youtube.com/watch?v=HbulO_FB2ZI&feature=related   
This Machine Kills Fascists  (A short Summary of the Year 1941). Sets Woody Guthrie's work in a historical context--what he (and his peers) were dealing with in the world. Good visuals...

http://www.youtube.com/watch?v=wxiMrvDbq3s
This Land Is Your Land. Woody Guthrie's own version
 

Bob Dylan - (Rare The Minneapolis Party Tape) - This Land Is Your Land - YouTube 
The Bob Dylan's version I wanted you to hear is no longer on YouTube  (although I'm sure you can find it elsewhere). The one above (even earlier, from Minneapolis in 1961, will give you a good idea of how he did the song.)

http://www.youtube.com/watch?v=TM54-ZRd-9k&feature=related
Red River Valley. Woody Guthrie, early Asche recording. Compare with out S&P version (The Texian Boys, who were--in case it's not been mentioned--John Lomax and friends. I consider the Lomax version classic in terms of the meaning of the lyrics--one of our most beautiful songs. Woody Guthrie's version is sprightlier. Why do you think this is so?



Woody Guthrie's family, Okemah, Oklahoma



















QUESTIONS: As with Leadbelly, there's a lot of social history in Woody Guthrie's songs--and in his life (he was born in Okemah, Oklahoma  and grew up with the music of that place--it was in him all throughout his life, even as he moved into and through MANY other social and artistic worlds. This is probably the key thing to consider: Woody Guthrie's heritage--and his life--as giving form to his songs. How did he become "a spokesman for the common man?"  (Oklahoman, vagabond, hobo, musical wanderer, hollywood radio show host, then new york, the recordings with moe asche (founder of folkways records), friendships with leadbelly, sonny terry & brownie mcgee and cisco huston, plus his influence on pete seeger (who loved the music, but didn't come from woody's "real" country background) and other subsequent "folk singers." And I left out his career in the Merchant Marine (his ship was torpedoed in the Atlantic during WWII) and the songs that came from that...plus his drawings and paintings...AND his jaunty autobiography (Bound for Glory). 


Woody Guthrie, Eric Shaal photo, New York, 1943