Race Records and Race Records and Hillbilly Music Hillbilly Music

Musical DiversificationMusical Diversification

Record companies targeted new Record companies targeted new audiences between World War I and audiences between World War I and World War II (1918–40). World War II (1918–40).

Recorded music derived from the folk Recorded music derived from the folk traditions of the American Southtraditions of the American South

– Migration of millions of people from rural Migration of millions of people from rural communities to cities such as New York, communities to cities such as New York, Chicago, Detroit, Atlanta, and Nashville Chicago, Detroit, Atlanta, and Nashville in the years following World War Iin the years following World War I

Race Records and Hillbilly Race Records and Hillbilly Music Music

Terms used by the American music Terms used by the American music industry to classify and advertise industry to classify and advertise southern music.southern music.

Race RecordsRace Records– Recordings of performances by African Recordings of performances by African

American musicians produced mainly for sale American musicians produced mainly for sale to African American listenersto African American listeners

Hillbilly or Old-Time Hillbilly or Old-Time – Music performed by and intended for sale to Music performed by and intended for sale to

southern whitessouthern whites

Mamie Smith (1883–1946)Mamie Smith (1883–1946)

Known as the “Queen of the Blues” Known as the “Queen of the Blues” Pioneer blues singer, pianist, and black Pioneer blues singer, pianist, and black

vaudeville performer vaudeville performer In 1920, she recorded the bestsellers In 1920, she recorded the bestsellers

“Crazy Blues” and “It's Right Here For You, “Crazy Blues” and “It's Right Here For You, If You Don't Get It, 'Tain't No Fault of If You Don't Get It, 'Tain't No Fault of Mine.” Mine.”

Mamie Smith’s success as a recording Mamie Smith’s success as a recording artist opened up the record industry to artist opened up the record industry to recordings by and for African Americans.recordings by and for African Americans.

Race Music Race Music

The term was first applied by Ralph The term was first applied by Ralph Peer (1892–1960). Peer (1892–1960).

– A Missouri-born talent scout for Okeh A Missouri-born talent scout for Okeh Records Records

– Had worked as an assistant on Mamie Had worked as an assistant on Mamie Smith’s first recording sessionsSmith’s first recording sessions

Race RecordsRace Records The performances released on race records The performances released on race records

included a variety of musical styles:included a variety of musical styles:– BluesBlues– JazzJazz– Gospel choirsGospel choirs– Vocal quartetsVocal quartets– String bandsString bands– Jug-and-washboard bandsJug-and-washboard bands

Verbal performancesVerbal performances– SermonsSermons– StoriesStories– Comic routinesComic routines

The BluesThe Blues

Definitions:Definitions:

1. Describes a feeling—“I’ve got the 1. Describes a feeling—“I’ve got the blues” blues”

2. Refers to the blues style of singing or 2. Refers to the blues style of singing or playingplaying– blues vocals—like intensified speechblues vocals—like intensified speech– narrow range; rough, highly inflected timbre narrow range; rough, highly inflected timbre

3. Indicates a musical form—twelve-bar 3. Indicates a musical form—twelve-bar chorus, AAB text chorus, AAB text

Blues FormBlues Form

A standard rhythmic harmonic A standard rhythmic harmonic structure in which a twelve-bar chord structure in which a twelve-bar chord progression is tied to the AAB text in progression is tied to the AAB text in three four-bar phrases. three four-bar phrases.

It is also called “twelve-bar blues.”It is also called “twelve-bar blues.”

Text of a Blues SongText of a Blues Song

Rhymed couplet—each chorus of a Rhymed couplet—each chorus of a blues song contains two lines of text blues song contains two lines of text with the first line repeated. The text with the first line repeated. The text is AAB:is AAB:

– I hate to see the eve-nin’ sun go downI hate to see the eve-nin’ sun go down– I hate to see the eve-nin’ sun go downI hate to see the eve-nin’ sun go down– It makes me think I’m on my last go-It makes me think I’m on my last go-

roundround

Form of a Blues SongForm of a Blues Song

Melodic form—each line is sung to its Melodic form—each line is sung to its own melodic idea. own melodic idea.

Rhythmic form—each phrase of a Rhythmic form—each phrase of a standard blues chorus lasts four bars. standard blues chorus lasts four bars. One chorus of a blues song is twelve One chorus of a blues song is twelve measures long (3x4). measures long (3x4).

Harmonic form—the harmony of a Harmonic form—the harmony of a blues song is I, IV, and V chords.blues song is I, IV, and V chords.

Twelve-Bar BluesTwelve-Bar Blues

11 2 3 4 2 3 4 55 6 6 77 8 8 99 1010 1111 12 12

II IV I IV I V IV I V IV I

Classic BluesClassic Blues

Classic blues songs were Classic blues songs were performed by high-class nightclub performed by high-class nightclub singers.singers. Alberta Hunter (1895–1984)Alberta Hunter (1895–1984)

– Billed as the “Marian Anderson of the Blues” Billed as the “Marian Anderson of the Blues”

Ethel Waters (1896–1977)Ethel Waters (1896–1977)– Entertained the growing African American Entertained the growing African American

middle class in New York, Chicago, and other middle class in New York, Chicago, and other northern citiesnorthern cities

Classic BluesClassic Blues

Singers who performed in a Singers who performed in a somewhat rougher stylesomewhat rougher style

Gertrude “Ma” Rainey (1886–1939)Gertrude “Ma” Rainey (1886–1939)– Popularly known as the “Mother of the Blues”Popularly known as the “Mother of the Blues”

Bessie Smith (1894–1937)Bessie Smith (1894–1937)– ““Empress of the Blues” Empress of the Blues”

Rainey and Smith developed their Rainey and Smith developed their singing styles in the rough-and-singing styles in the rough-and-tumble black vaudeville and tent tumble black vaudeville and tent shows.shows.

Bessie Smith (1894–1937) Bessie Smith (1894–1937) The “Empress of the Blues” The “Empress of the Blues” The most important and influential of the The most important and influential of the

woman blues singers from the early woman blues singers from the early twentieth century. twentieth century.

Born in Chattanooga, Tennessee; began Born in Chattanooga, Tennessee; began recording in 1923 recording in 1923

Stylistically a blues singer even when Stylistically a blues singer even when performing novelty and vaudeville performing novelty and vaudeville numbers; had a majestic voicenumbers; had a majestic voice

The centerpiece of Columbia’s race The centerpiece of Columbia’s race record labelsrecord labels

W. C. Handy (1873–1958)W. C. Handy (1873–1958) The “Father of the Blues”The “Father of the Blues”

– The most influential of the classic blues composers The most influential of the classic blues composers – Son of a conservative pastor who forbade him from Son of a conservative pastor who forbade him from

playing the guitarplaying the guitar Learned to play the cornet instead Learned to play the cornet instead

– Went on to college, received a degree, and became a Went on to college, received a degree, and became a schoolteacher schoolteacher

Handy cofounded the first African American–Handy cofounded the first African American–owned publishing house. owned publishing house.

His music owed much to Tin Pan Alley as well as His music owed much to Tin Pan Alley as well as African American folk traditions. African American folk traditions.

His biggest hit was “St. Louis Blues,” written in His biggest hit was “St. Louis Blues,” written in 1914.1914.

Listening: “St. Louis Blues,” by W. C. Listening: “St. Louis Blues,” by W. C. Handy, sung by Bessie Smith (1925)Handy, sung by Bessie Smith (1925)

This was the type of recording that This was the type of recording that introduced much of white America introduced much of white America to the blues. to the blues.

A hybrid approach to the blues A hybrid approach to the blues – Removed from the “down-home” Removed from the “down-home”

interpretation by country blues interpretation by country blues performers and composers such as performers and composers such as Charley Patton and Blind Lemon Charley Patton and Blind Lemon Jefferson.Jefferson.

Listening: “St. Louis Blues,” by W. C. Listening: “St. Louis Blues,” by W. C. Handy, sung by Bessie Smith (1925)Handy, sung by Bessie Smith (1925)

AccompanimentAccompaniment——reed organ and cornetreed organ and cornet– Louis Armstrong on cornetLouis Armstrong on cornet– Fred Longshaw on reed organFred Longshaw on reed organ

Call and response between cornet and Smith Call and response between cornet and Smith FormForm

– Based on the AABA model commonly seen in Based on the AABA model commonly seen in Tin Pan Alley songsTin Pan Alley songs

– The final section is really a “C,” having a new The final section is really a “C,” having a new melody but relating to the earlier “A” section melody but relating to the earlier “A” section of chords. of chords.

– The “A” and “C” sections represent the The “A” and “C” sections represent the twelve-bar blues.twelve-bar blues.

Listening:Listening: “St. Louis Blues,” by “St. Louis Blues,” by W. C. Handy, sung by Bessie Smith W. C. Handy, sung by Bessie Smith

(1925)(1925) A A

– a. a. I hate to see the eve-nin’ sun go downI hate to see the eve-nin’ sun go down– a. a. I hate to see the eve-nin’ sun go downI hate to see the eve-nin’ sun go down– b. b. It makes me think I’m on my last go-It makes me think I’m on my last go-

roundround AA

– a. a. Feelin’ tomorrow like I do todayFeelin’ tomorrow like I do today– a. a. Feelin’ tomorrow like I do todayFeelin’ tomorrow like I do today

Listening:Listening: “St. Louis Blues,” by “St. Louis Blues,” by W. C. Handy, sung by Bessie Smith W. C. Handy, sung by Bessie Smith

(1925)(1925) B B

a.a. St. Louis woman…St. Louis woman… b.b. Pulls my man around…Pulls my man around… a.a. Wasn’t for powder…Wasn’t for powder… b.b. The man I love…The man I love…

CCI got them St. Louis blues…I got them St. Louis blues…