The examples on this page start with an sampling of West African music. If you listen closely, you will hear various inflections that will be apparent in the examples that follow. These inflections include:
Slurred or bent notes
A strong rhythmic pulse
Rhythmic sophistication (syncopation)
Call and Response
This is followed by an example of a work song which was a huge stepping stone to both Blues, Gospel and other forms. There are distinct differences between these styles. Below that, we hear examples of two contrasting blues examples: Classic and Country (or Delta) Blues.
Finally, I have included a clip from a Spike Lee film that I use when I introduce the concept of Minstrels and Vaudeville, both, though racially offensive, were enormously popular forms of early American entertainment and vital to the dissemination of African American music.
It is interesting to note that, from a purely musical perspective, the environment of the performance had a lot to do with the resulting musical sound. If you contrast African music with Medieval Gregorian Chant which was performed in cathedrals with lots of echoes, as opposed to outside venues. You will hear the the former is serene vocal music containing lots of long tones that rely on the reverberation of the churches. The latter utilized complex rhythms performed on percussion instruments. These would be washed out if performed in the European cathedral.
The Griot- West African Music & Entertainment Classics -1989
The Griot basically a traveling poet /musician and storyteller who relayed stories and news items via entertainment in parts of West Africa.
Listen for:
The rhythmic pulse
Syncopation
Vocal inflections (these developed into Blues Notes in America)
Call and Response
Topics: Roots of African American Culture, Slavery, Roots of Blues, Sharecropping.
This example is amazing. It has many of the elements that you heard in the previous example. This is very much like what some of the field songs on the plantations may have been like at the turn of the century. This secular form of African American music was a predecessor to the Blues.
This was recorded by Pete and Daniel Seeger at a Texas prison in Huntsville 1966.
Topics: Roots of Blues, Roots of Country, Slavery, Sharecropping
This clip is part of a short film that was made in 1929 that put a visual spin on Bessie's 1925 hit. The original recording featured jazz trumpeter Louis Armstrong. This is considered classic blues. It is more formally structured and typically has more written parts than the Delta style Blues below. This style was often accompanied by seasoned jazz musicians.
Classic Blues was typically performed by female singers in Vaudeville shows. One reason that females were preferred was that they were perceived to be less intimidating to white audiences.
This song was written by W. C. Handy who was more of a pop, dance composer. He shows his deep appreciation for blues as an art form by including many characteristics this music in the tune. This song was a major hit and a huge advancement for African American music popularity.
WC Handy was wrongly called "Father of the Blues." He was not a really blues musician. He lead a pop/dance ensemble and incorporated Blues nuances into his compositions. He WAS enormously important in introducing the Blues to the masses.
Topics: Blues form, African American Stereotypes
You will hear a solid example of strict 12 bar blues form in the first two verses. In this form the lyric typically:
Make a statement
Repeat the statement
Sum up the statement
0:00 A Capella vocal introduction
1:10 James P Johnson enters with a piano intro
1:22 First verse of the 12 bar form begins. First vocal line is stated in the 1st 4 bars
1:34 First vocal line is repeated in the second 4 bars over a different (sub-dominant) chord.
1:46 Firs line is summed up final 4 bars of the verse
1:59 Second verse begins with the same form. Notice the call and response with the voices and instruments
2:31 The song goes to a climactic 16 bar bridge. The strict blues form is broken here.
3:14 The song returns to a 12 bar form however, the first two lines are not repeated this time.
3:54 The background singers take the lead and Bessie fills with responses in between the phrases
This is a fun and gripping story from American folklore to share with a classroom:
The legend is that Robert Johnson sold his soul to the devil in order to become a great blues man. One of the stories goes Like this:
If you sit at at specific crossroad locations (rumored to be where Highway 61 and 49 intersect) and ply guitar around midnight, a large man with a hat will appear and ask to play your guitar, when you hand it to him, the "deal" has been made. You have traded your soul for musical superiority.
The truth was that Johnson went away to Clarksdale for a while where he had access to a phonograph. this enabled him to play recordings of great blues players over an over until he could learn the parts. To this day, this is how great musicians learn.
This wikipedia link will give you more information
A smooth and well controlled voice that would be welcomed on any pop record.
Astonishing guitar technique, hence the legend above.
Johnson was a great writer who composed well beyond the expectations of a Delta blues performer, most of whom typically relied on improvised instrumental performances.
This may be Robert Johnson's best known song. It was made famous by the cover that Eric Clapton did of it in the 60's. This is where Johnson proliferates the legend of selling his soul to the devil. This is a great example of his bottleneck guitar technique which he alternates with conventional fingering.
Topics: Sharecropping , Blues, Roots of Rock, Roots of R&B, Roots of Country
Robert Johnson alternates between using the bottleneck (slide) technique and conventional fingering of the guitar. I have pointed out a few of these spots in the song. Try to listen closely for the differences. He tunes his guitar to a G chord for this so that he can just lay the slide on the guitar and move it up or down to change chords.
0:00 slide used for introduction
0:03 Slide is lifted of the neck and conventional fingering is applied for the turnaround to introduce the vocal
0:12 Back to the slide for the first verse. He is playing around the 12th fret to get the G chord sound.
0:18 Slide is lifted off again to lead to the next chord (C7)
0:26 C7 is outlined without the slide
0:48 Second verse begins these concepts continue. You should listen for them and try to pick them out.
Notice that Johnson uses the slide for a more melodic, "vocal-like" sound and returns to conventional fingerings when he is trying to establish more of a "groove."
I went down to the crossroads
fell down on my knees
I went down to the crossroad
fell down on my knees
Asked the lord above "Have mercy now
save poor Bob if you please"
Yeeooo, standin at the crossroad
tried to flag a ride
ooo ooo eee
tried to flag a ride
Didn't nobody seem to know me babe
everybody pass me by
Standin at the crossroad babe
risin sun goin down
Standin at the crossroad babe
eee eee eee, risin sun goin down
I believe to my soul now,
Poor Bob is sinkin down
You can run, you can run
tell my friend Willie Brown
You can run, you can run
tell my friend Willie Brown
(th)'at I got the croosroad blues this mornin Lord
babe, I'm sinkin down
And I went to the crossraod momma
I looked east and west
I went to the crossraod baby
I looked east and west
Lord, I didn't have no sweet woman
ooh-well babe, in my distress
Minstrels and Vaudeville were early venues for popularizing Blues and Jazz. However, it came with a cost. These forms of turn of the century entertainment exploited African American music to the point of stereotypes, ridicule and flat out insults to the culture. This clip is an excerpt from Spike Lee's underated film "Bamboozled."
It is montage of years of Black stereotypes strung together to the beautiful music of Terrance Blanchard's score. It may be the fastest and easiest way to illustrate the stereotypes in film and media.
Topics: Minstrels, Vaudeville, African American Stereotypes in film, TV and other entertainment.
This is a great discussion opener or writing prompt.
This is complied by the Atlanta Black Star. It reveals original lyrics that have since been replaced from songs as well as versus that have since been omitted. Remember, a lot of this is folk music and the lyrics could have varied through various regions. Good food for thought though.